One record at a time: 417. Ed Starink - Synthezier Greatest (The Ultimate Collection)

Unless you are an electronic music uber-geek, the name Eduard Starink probably doesn't mean much to you. And who can blame you? Hell, they didn't even bother to put the man’s name on the front of his records, so it is no wonder few people have heard of him.

You see Ed produced a series of 'sound-a-like' compilation albums that were much like the "Synthesizer" records made by Project D. Yet, aside from a performer credit hidden on the inner sleeve, the main producer of the work was never explicitly stated. From what I can tell, Ed was happy with this arrangement and chose to allow the "Synthesizer Greatest" brand take centre stage. 

I first heard about these albums around 1991 when I stumbled across a very cheap cassette of the first compilation in a shop in Wakefield. I knew exactly what I was buying, so it was no surprise to find that these tracks weren't attempts to remix, extrapolate or create variations on the original work; they were just smudged carbon copies. 

As you might expect, Vangelis and Jean Michel Jarre compositions are heavily represented in the tracklisting with the usual suspects like Kraftwerk, Art of Noise and Jan Hammer also getting a look in. My musical taste changed quite a bit during the early nineties so the "Synthesizer Greatest" cassette soon began to gather dust and it eventually fell out of my possession.  

Fast forward thirty years and I saw this new compilation released as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl. Whilst nostalgia drove me to purchase this record, it hasn't driven me to play it very often.

Rather than replicating the tracklisting of the original album, this record labels itself as the "Ultimate Collection" and seems to randomly pick tracks from the first few entries in the series. This is a shame as some of Starink's best efforts seem to have slipped through the net. The impressive rendition of Vangelis's "Hymn" is missing along with the pulsating "Chase" which was originally recorded by Giorgio Moroder. Personally I don't think the theme from "Twin Peaks" represents 'synthesizer music' and I have no idea why a seemingly new rendition of the traditional piano piece "Gympnopédie" deserves inclusion. Something of a mixed bag that is only worth investigating if a wave of nostalgia compels you. 2/5 

One record at a time: 416. Dusty Springfield - Reputation

I have always felt rather indifferent about this album and I have to admit, I only own it because of its link to the Pet Shop Boys. Even the involvement of my favourite group wasn't enough to stir me into action when it was released and I didn't buy "Reputation" on compact disc until about ten years after it was first made available. I didn't spring for this LP until as recently as 2022.

Unfortunately, the first side of this record is produced by a series of 'guns for hire' that created tracks of varying quality. I recently learnt that the title song is a cover version that, save for Dusty's voice, doesn't sound very different from the original. The third track, "Arrested By You" is also a cover of a Rupert Hind ballad that is as limp as an old sock. "Time Waits for No One" is just generic rubbish that sounds like 'production by numbers' and, whilst "Born This Way" is fair enough as a statement, the music is pretty uninspiring. No, the action here is definitely reserved for the flip side. 

As soon as the rolling bass and Fairlight strings of "In Private" begin to ring out, things feel much more homely for a Pet Shop Boys fan. Aside from the other magnificent single, "Nothing Has Been Proved" there are more adventurous songs (or 'experimental' as Neil Tennant described them) in the form of "Daydreaming" and "Occupy Your Mind". The latter song in particular has always stuck me as sounding amazing with its rave inspired TR-808 beats and pulsing synth basslines. 

The only duff note for PSB comes in the form of yet another cover version. "I Want To Stay Here" which was written by Carole King and Gerry Goffin (who also wrote several songs for Dusty's famous "Dusty In Memphis" album) back in the sixties. The slightly twee melody and poor backing vocal arrangement don't really fit with the more progressive sound featured on the rest of the album and I can't work out why this song was included.  

The album was 'executive produced' by Pet Shop Boys - which essentially means they recommended producers and songwriters to Dusty and tinkered with the finished tracks (such as removing the saxophone solo from "Arrested by you"). Whilst this record boosted Dusty's reputation back in the nineties (see what I did there?) and made yet another stellar entry to the Pet Shop Boys CV, the first side doesn't really stand up to scrutiny today. 2/5

One record at a time: 415. Soulwax - From Deewee

I have lamented the decline of The Vinyl Factory in other posts, so I won't go into it again; but suffice to say back in 2017 they actually produced something worth listening to.

I bought this limited edition of "From DeeWee" based on my love for the Soulwax album "Nite Versions". This version differs from the standard release as it has different artwork, uses clear vinyl and was limited to 500 copies. It's not worth a fortune (you can buy a copy for less than £100) but it does sound very good and is the best way to hear this unique album.

The artwork tells us the music included here was recorded in one take, but we also know that the performance was comprehensively rehearsed, there were multiple takes and the whole thing was subsequently mixed, edited and expanded. All of this attention to detail means that the finished record avoids all of the pitfalls inherent in a live performance, but preserves some of the spontaneity.

Much like "Nite Versions", the brothers Deewee blend vintage synths and drum machines with live drumming and bass guitar to create disco tinged electro that will satisfy even the most demanding electronic music fan. My personal favourites are two of the first tracks "Masterplanned" and "Missing Wires" which are underpinned by rubbery analogue synth bass and gloriously simple beats."Do You Want To Get Into Trouble" is another highlight that even caught the ear of my young children, "Who sings this song? Who? Soulwax? Never heard of them." But they were both dancing.

What I like so much about the music on this album is that it has strong melodies and ideas. There is no abstract or self indulgent noodling to be found on "From Deewee", everything is efficient and calculated. The approach is almost like that of Kraftwerk where ideas flow into each other and are realised precisely. There are also idiosyncrasies such as the curious spoken introduction to each side stating the catalogue number and each side finishing in a locked groove. It might not sound like Kraftwerk, but their DNA is palpable. 4/5

One record at a time: 414. Soulwax - Nite Versions

I discovered “Nite Versions” when I heard the tracks “Another Excuse” and “Compute” on the Xbox 360 game “Test Drive Unlimited”. I played the CD almost relentlessly during 2007 and it remains firmly embedded in my list of favourite albums.

This double coloured vinyl version was released to mark the 15th Anniversary of the original release as part of Record Store Day 2020. Because of the COVID pandemic Record Store Day that year was a much more civilised affair conducted entirely online. There was no queueing from silly-o-clock in the morning with other middle aged men; all I had to do was go online at the prescribed time and place my order. Much better.

"Nite Versions" is actually a remix album that takes songs from the band's "Any Minute Now" and adds a much needed sprinkle of magic. The Dewaele Brothers create some really unique remixes with all kinds of crazy effects, loops and Korg MS20 patches thrown around. The music here is hard to pigeonhole as much of the original alternative rock tracks are retained and then draped in disco clothes with accessories by the eighties electro scene. I think the sound is best described as "dance punk".

My personal favourite is "I Love Techno" with "Another Excuse" and "Compute" being the other two standouts. As "Another Excuse" is mixed by DFA its sound is very reminiscent of LCD Soundsystem at their disco peak and creates a perfect high on which to finish.

Whilst I have just realised this album is almost twenty years old, but it still sounds incredibly fresh and innovative to me. I don't listen to this album as much as I used to but it is still fun to give it a spin and reminisce. 4/5

One record at a time: 413. Soft Cell - *Happiness Not Included

Twenty years after their last long player, Dave and Marc decided to go into the studio with Philip Larsen of Manhattan Clique and record a new Soft Cell album. This is the standard yellow vinyl that was released in 2022 and I can't help but think someone at BMG overestimated demand as I have seen it being sold for as little as £6 recently (I paid £19 for it on the day of release grrrrrr). 

Before you run off to Woolworths with your £6 postal order, remember this record is pressed at GZ Media so you will be taking a gamble. Some copies will be clean and sound OK, but others will be covered in a layer of paper debris and offer poor sound reproduction. Whilst my copy is relatively clean the sibilance on any word containing the letter 's' is very apparent.

One anomaly of the vinyl edition is that it contains the original mix of "Purple Zone" and not the version tweaked by the Pet Shop Boys. I presume this is because the vinyl had to be pressed far in advance of the release date and the late substitution of the remixed version could not be accommodated. 

There's another (vague) link to Pet Shop Boys with the opening track "Happy Happy Happy" which covers the same ground as PSB's "This Used to be the Future". In both songs the narrator reflects on the fact that the predictions for the future they were fed in their youth hadn't come true. It would seem great minds think alike and both groups have created wonderful tracks. 

On "Polaroid" Marc sings of meeting Andy Warhol in 1981 whilst Dave delivers a catchy backing track full of bleeps and booms. One thing that strikes me at this point is that Marc's vocals have changed and his delivery is much more dramatic - almost like he is singing in a West End musical. I'm not saying the vocals are bad; just different.

There are great songs littered across both sides of this record with "Light Sleepers", "Nostalgia Machine" and "New Eden" proving Dave and Marc's really know how to write a tune. On the downside the detached "Heart Like Chernobyl" is a bit of a misfire and the lyrics to "I'm Not a Fan of God" sound uncharacteristically misanthropic. But generally this album is a success and I look forward to hearing more from Soft Cell. 3/5 

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