One record at a time: 412. Soft Cell - Cruelty Without Beauty

After an eighteen year hiatus, Soft Cell decided to reform and release a new album. Whilst "Cruelty Without Beauty" was devoured by fans, the response from the general public was much more muted.

At the turn of the millennium conventional synth-pop duos were caught in a no-man's land where they were neither recognised as innovators nor esteemed as cultural icons. Erasure's "Loveboat" had unceremoniously run aground the year before this record was released and Pet Shop Boys had fared no better with the dismal "Release". At the time it felt like synth-pop was dead.

Personally I had no interest in Soft Cell in 2002 and I didn't acquire this album until about five years ago. Initially I wasn't too impressed by the music on the CD, but my indifference has subsequently turned into total seduction. By happy coincidence this rather smart double pink vinyl set was released just a few months after my awakening.

The first few numbers on this album draw on Dave Ball's forays into dance music with The Grid and sound like confident statements of intent. A cover of Frankie Valli's "The Night" was initially considered as the band's second single back in 1981 but a 'sliding doors moment' ultimately saw "Tainted Love" chosen instead. Almost twenty years later the idea was revived and we are treated to a rather nice electro track that sounds uncannily like Pet Shop Boys in their pomp.

Come to think of it, if you were to suddenly reveal that this album was secretly produced by Messrs Tennant and Lowe I wouldn't be in the least bit surprised. This is the record I wish Pet Shop Boys had made instead of "Release".

Personal highlights on the main album include "Sensation Nation", the James Bond-esque horns of "Desperate" and the tearjerker "Last Chance". All of these songs shine a light on Marc's superb vocal technique. Gone are the slightly suspect off key notes that plagued Soft Cell's early work and Marc sings in confident and engaging tones. This was probably the best his voice ever sounded.

What I also like about Marc is that his lyrics are often acerbic and cynical yet, as a listener, I never feel this vitriol is aimed at me. Everything is directed at "them" - and they know who they are.

This version of the album expands upon the original twelve tracks with no less than five additional songs. This bonus material more than matches the quality of the main album with "Somebody Somewhere Sometime" being the standout. Another favourite is the superb "God Shaped Hole" which sounds seedy enough to be on their debut "Non-Stop Erotic Cabaret" yet contemporary enough to play in any modern nightclub.

With the benefit of hindsight I can confidently declare this the best album from 2002 and probably the best album you've never heard. The phrase "overlooked masterpiece" was coined for moments like this. 4/5

One record at a time: 411. Soft Cell – This Last Night In Sodom

If the artwork failed to dissuade a casual observer from purchasing this record then the title would undoubtedly have done so. Even those daring enough to overlook the packaging might have found themselves bemused by this rather strange album.

The word I see most commonly associated with "This Last Night In Sodom" is....'dark'.  I suppose it can still be classed as synth-pop - but this is a different version of the band that fist emerged in 1981. In the search for something new and more fulfilling, Dave and Marc decided to produce their final album themselves and the electronic sheen of their debut was consigned to history. 

The subject matter of these songs sticks to the Soft Cell tradition of turning over the rocks that others dare not as Marc sings about drug addition, prostitution and murder. As they cast about creating sounds with the PPG Wave 2.2 and Oberheim DMX, the band seemed to fall on electric bass, Hammond organ and even, god forbid, guitar to underpin their new sound.

Opening number "Mr Self Destruct" picks up where the unfortunate "The Art of Falling Apart" left off with a frantic wall of sound that robs the song of its melody. Happily tracks like "Rough little rhinestones" and "Meet Murder My Angel" prove Dave and Marc could still write a fantastic song. There are some signs this was the band's first production as the double tracked vocals sometimes slip out of sync and the (intentionally) monaural sounding mix leads to a bit of a mush sometimes, but generally the songs win the day.

I find the track "Slave to This" fascinating as it sounds as close to Nine Inch Nails as anything I have ever heard that isn't actually written by Trent Reznor. My favourite track is "Surrender to a Stranger" which is positively bristling with ideas and hooks. The single "Soul Inside" is a bit disappointing but the more raucous "Where Was Your Heart (When You Needed It The Most)" has some neat touches and has added poignancy when you consider it was probably intended to be the last thing we ever heard from the group.

My copy of this vinyl is from 2016 (back when you would get a card with a digital download code) and is pressed by Optimal in Germany. There is some sibilance on "L'Esqualita" but otherwise it offers a faithful reproduction of the music. This record might not be everyone's cup of tea, but it is miles better than "The Art of Failing Apart" and it is definitely better than some might have led you to believe. 3/5

One record at a time: 410. Soft Cell - The Art of Falling Apart

Despite being over forty years old and clearly well used by its previous owner(s), my copy of "The Art of Falling Apart" is in pretty good condition. This first pressing was issued with a free 12" single that contained bonus material and a stamp indicates it went through the hands of a record shop owned by John Sheridan in Hull at some stage in its life (possibly in the late 80's).

As I drop the needle the first thing that strikes me about this album is the sheer density of the arrangements. The electrifying tension that hung between the notes of "Non-Stop Erotic Cabaret" has been banished, only to be replaced by a deafening wall of sound. There's absolutely no dynamics contained in this album and it sounds like every fader on the mixing desk was pushed up to eleven. 

I find the phenomenon most annoying on tracks like "Where The Heart is" when the chorus hits with all the subtlety of a brick. There's a great song somewhere in this morass, but Marc's vocal is unceremoniously pushed right in our faces so we can barely hear anything else. The end of "Heat" sounds like everyone in the studio threw in an idea or embellishment which resulted in a cacophony. On the title track Marc seems to be singing as loud as he possibly can in order to be heard over the various instruments and, like any shouting match, it isn’t fun to listen to.

I'll be honest, I couldn't get to the end of this record and had to terminate it halfway through the second side. I reverted to listening to digital files and decided to compare them to the vinyl. Whilst my mp3 files (and the compact disc they were sourced from) sound much better than the wax, there's no doubt the music lacks subtlety or guile. Producer Mike Thorne probably sums thing up best when he says the record was, "Monochromatic and sprawling (when) compared with the economy and precision of the first." 1.5/5

One record at a time: 409. Soft Cell - Non Stop Erotic Cabaret

I have to admit, I didn't own "Non-Stop Erotic Cabaret" until I bought the CD in 1996. I acquired this copy of the original UK vinyl in 2019 and it sounds in pretty good shape.

I think had been deterred from exploring the Soft Cell's work because of the ubiquitous nature of "Tainted Love." There's no doubt their mega-hit warranted its success, but I heard it so frequently I imagined that if you were to press your ear against the wall of any nightclub, you might still perceive its echoes resonating within the very fabric of the building. Today, I can listen to the song quite happily, but it will never be my favourite and, in some ways, it isn't characteristic of its parent album.

To my mind, this is a concept album about vice. One definition of the word 'vice' is: "Criminal activities involving prostitution, pornography, or drugs" and, with the exception of "Tainted Love", the songs on this album seem to address these subjects. We hear tales of dwarves being paraded up and down the high-street on a leash, people who are watching seedy films in which they may (or may not) be featured and a man being blackmailed over his rather naughty secret life.

Key to the early success of Soft Cell was their unique sound. Made with just two synthesizers (Synclavier and Korg SB-100) and a drum machine* (Roland TR-808), the sound canvas is minimalist in approach, yet the songs still manage to paint the most vivid pictures. Or as the album's producer Mike Thorne described it: "Flash was at a minimum, the message maximum."

Unfortunately, as with most albums from the eighties, there are saxophones. I can't help but wonder what has happened to all the session musicians that used to warble and screech their way through pop records. Maybe there is a giant retirement home full of former professional saxophonists who now have nothing to do but sit around and reminisce about the old days. Let's hope they don't escape. 3/5 

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* This statement is actually only true of the album tracks recorded in New York. "Tainted Love" was recorded before the rest of the album and features a Roland CR-78, Pearl Syncussion drum pads, a Simmons claptrap and an Electro Harmonix Super Space Drum. The distinctive 'bink bink' sound was made using a Star Instruments Synare 2 played through a delay.

One record at a time: 408. Simple Minds - Glittering Prize 81/92

The single "Alive and Kicking" was re-released in 1992 as it was being used to promote the newly formed Premier League. This compilation sought to capitalise on this increased exposure and offers a retrospective of the band's Virgin output. Yet by the time this record was released only two of the original members remained and the band had developed into some sort of stadium rock outfit designed to appeal to American audiences. 

This particular vinyl came into my possession in January 2025 and is considered a misprint because the heart on the sleeve is white rather than the intended golden colour. The record is in very good condition and offers faithful sound reproduction. The CD I bought at the time of release contained sixteen tracks but the limitations of the LP means it loses both "Mandela Day" and "Speed Your Love to me".

Whilst most of the hit singles you might expect have been collected here, I'm not convinced this is the most holistic representation of the band's work. Virgin didn't bother licensing any material from their first three albums on Arista Records so there's no early material and I'm not convinced some of the more recent (recent in 1992) songs warrant inclusion. 

We open with the pulsating bass of "Waterfront" (which I recently realised is actually a loop and not played continually for five minutes) which provides instant gratification. Even more immediate is the non-album single "Don't You (Forget About Me)" which is one of the band's most widely known hits and probably the biggest draw for many casual observers. "Love Song", "The American" and "Promised You a Miracle" have a distinctive, early eighties vibe that sounds so much better than the bland rock the band began to churn out in the middle of their career.

Speaking of bland rock, "Sanctify Yourself" pales in comparison to some of the illustrious company it keeps and I'm not a fan of "Ghostdancing" either. Also disappointing is "See The Lights" which features plastic Korg M1 piano alongside Jim Kerr's best Bono impression. Personally I'd much rather have heard "Up On The Catwalk" or even "This is Your Land" which achieved similar chart positions and were much more interesting compositions. 

In summary I'd say this is a far from perfect compilation and anyone looking for an introduction to the band's wider work would be better served by more comprehensive efforts such as 2019's "40: Best of 1979-2019". 3/5

One record at a time: 407. Simple Minds - Street Fighting Years

"Street Fighting Years" served as my introduction to the work of Simple Minds. Back in 1989 I was familiar with some of the band's hit singles, but this was the first time I bought one of their albums and delved a little deeper. 

I can't really tell you why an electronic music obsessed teenager bought an album made by a traditional rock band, but I do remember the release was promoted as quite an occasion; so maybe I just got caught up in the excitement of it all. I also think the involvement of Trevor Horn must have contributed to my initial enthusiasm.

Whilst I bought the compact disc back in 1989, I picked up this record in 2014 from eBay. The disc is in very good condition and boasts the quality you would expect from the EMI pressing plant in Hayes.

The title track that begins proceedings is a slow burner that either builds atmosphere or opens as a damp squib depending on your mood. Another six minute long track "Soul Crying Out" has a little more melody but I can't help but feel Trevor Horn restricted keyboard player Mick MacNeil to using a Hammond organ and, much to its detriment, this album seems to eschew synthesisers.

You really get a feel for Trevor's influence on the next track "This Is Your Land" when after around four minutes it enters into a grand coda that mimics "You're The Voice" by John Farnham. Don't get me wrong, there is nothing wrong with "You're The Voice", but I don't see the sense in copying it. There are a few Fairlight derived motifs (which Horn refers to as "gags") thrown around here and there, but "Kick It In" seems to have the most with samples that you may recognise from records by Yes or Art of Noise.

By the time I reach the eighth track I have become tired of the incessant Hammond organ through a Lesley cabinet and I am longing to hear something else. Happily the tracks that made up the "Ballad of the Streets" EP ("Mandela Day", "Biko" and "Belfast Child") are superb productions and such poignant songs ensure we come to a stirring finish. 

I have a soft spot for this album as it was amongst the first I ever bought on compact disc; but I have to acknowledge that much of my regard I have for it is based on nostalgia rather than a love of the actual content. 3/5

One record at a time: 406. Simple Minds - Once Upon a Time

With consummate timing, this record arrived from eBay a few days before I was due to post about it. Whilst my collection contains both a CD and the digital files of "Once Upon a Time", this is the first time I have owned it on vinyl. The record only cost me a few pounds and sounds immaculate.

To me, the highly stylised artwork of this record was a sign of a rather cynical cash in. This album was released on the back of a number one hit in the USA ("Don't (You Forget About Me)") and I can just imagine the A&R team at Virgin Records losing their minds at the thought of Simple Minds working with the same people who had produced U2. No matter what, this record had to look appealing to the American public.

Unfortunately this record isn't nearly as good as the two albums that preceded it. Opening track "Once Upon A Time" is standard AOR fare that has nothing to recommend it. Things don't improve with the dismal U2 pastiche "Ghost Dancing" which is so dull I find it hard to listen to. 

Things pick up with the single "Alive and Kicking", but its constant use in promoting the launch of the Premier League back in 1992 mean it soon becomes tiresome to my ears. The only track I do genuinely like is "All the things She Said" which has a great hook and offers flashes of the real Simple Minds who seem to be hiding behind the sonic veil thrown up by the producers.

Things don't improve much on the b-side as the lyrics of "Oh Jungleland" are amongst the worst I have ever heard from a normally impeccable Jim Kerr. The dull rock of "I Wish You Were Here" and "Come a Long Way" drift over me and only the single "Sanctify Yourself" offers something close to originality.

To my mind this whole record contains nothing but insipid rock designed for American radio. I guess something had to be sacrificed in order to appeal to their new American masters, but for me, the band sold its soul. Derek Forbes's bass is sorely missed and the female backing singers are totally at odds with everything else that is going on. This isn't one for me. 2/5