One record at a time: 292. Gary Numan - Living Ornaments '79 and '80

"Living Ornaments" '79 and '80 were two live albums released by Gary Numan in 1980. Whilst both records could be bought individually, they were also released in a 'limited edition' box set that collected both discs together. As you can see I own the box set and an individual copy of  the '79 album. I think this is because I initially assumed the box set would be hard to find and decided to collect the albums singularly. However, I soon stumbled across a good condition box set at a reasonable price and the single '79 record I had purchased became redundant. 

The '79 disc kicks off with the impressive instrumental "Airlane" before Numan takes the stage for a rather brisk version of the monster single "Cars". Numan dismissively introduces "We Are So Fragile" as "an old b-side" before the band once again light the blue touch paper and go off like a rocket. These recording were made in the days before click tracks and the band must have relied solely on the rhythm section to dictate the speed of the performance. Drummer Ced Sharpley somehow manages to faithfully recreate the distinctive beat of "Films" and the band follow his lead with a faultless performance. There's an older Tubeway Army song "Something's In The House" which reminds us that Numan had already released three albums by the time he embarked on his sell out tour of the nation.

The slightly ponderous "This Wreckage" opens the second disc but it receives a rapturous reception from the crowd. We rattle through a slew of solo and Tubeway Army material before we reach the fantastic "Remind Me To Smile" which sounds really good once it gets going. The '80 disc fills in the holes by including "Are Friends Electric?" and other high profile material that was omitted from the first album. Whilst the prospect of sitting and listening to both albums back to back feels a little like overkill, they feature some good performances that are easily digestible when consumed singularly. 3/5

One record at a time: 291. Gary Numan - Telekon

I bought this 2011 repressing of "Telekon" from Sister Ray records in London not long after it was released. You would be forgiven for thinking that there are more than enough copies of old Gary Numan albums knocking around, but this new version has the advantage of being spread across two discs and includes two tracks not featured on the 1980 release.

After the runaway success of "The Pleasure Principle" Gary went away, bought some shiny new polysynths (Prophet 5 and Jupiter 4) and set about recording his third "machine music" album. The first track "This Wreckage" is a petty dark piece with lyrics that hint at Numan's discomfort with his new found fame. Despite it's seemingly bleak tone there is a great hook running through this song as it stutters along in an angular, but strangely pleasing way. 

"The Aircrash Bureau" features Paul Gardiner's multitracked bass alongside some Roland CR-78 percussion and piano flourishes courtesy of Denis Haines. There's definitely a broader sonic palette here when compared to the previous album, but it isn't always to my taste. The song "Telekeon" is a case in point where the arrangement just doesn't work and the vocals are really quite irritating. 

One of the best songs on here is the brilliant "Remind Me To Smile" which has a catchy handclap motif and some funky rhythm guitar work. "Sleep by Windows" sounds more like something we would have heard on "Replicas" and feels like a step backwards. The first disc finishes with the rapid fire "We Are Glass" which was a single in 1980 but was not featured on the original version of the album.

"I'm an agent" is a pretty good song but I really don't like Numan's snarling vocal delivery. There's a bit more vivacity on "I Dream of Wires" which was even good enough for Robert Palmer to record a cover version. "Remember I was vapour" is another example of the surly vocal delivery Numan seemed to adopt in 1980 and it's not becoming.

The lament of "Please Push No More" is based on a good idea but it becomes boring and repetitive after five and a half minutes. The "Joy Circuit" proves that no matter how many times you overdub a single violin it will always sound like a terrible scratchy mess. We finish with another single omitted from the original pressing, "I Die: You Die". This song was a swipe at an increasingly hostile music press who seemed to have forgotten that their relationship with artists was one of codependence. In 2024 it's easy to see who had the last laugh when you look for a review of Numan's latest album in Melody Maker, Smash Hits or Sounds. 3/5

One record at a time: 290. Gary Numan - The Pleasure Principle

Sometimes, it's only when I come to write this blog that I realise there are some gaps in my collection. As I pulled the first Gary Numan LP from my shelf I couldn't help but wonder why Tubeway Army's first two albums weren't there. At first I wasn't sure if I had filed them under "T", but I soon realised that I don't actually own them on vinyl. So, for this entry, we will have to look at the first LP released under Gary's own name, "The Pleasure Principle". My copy is an original from 1979 that is in very good condition to say it is over forty years old.

Proceedings open with the instrumental "Airlane" which has a great melody and some breathless drumming from Ced Sharpley. It's no secret that this album features an enormous amount of the Polymoog keyboard (as distinct from the synthesizer model) preset Vox Humana and the sound is thrown straight at us here. Up next is the classic track "Metal" which has quite polished production to say it was recorded in 1979 by a man who was only 21.

This may be something of an anathema, but I am forced to admit that I'm not much of a fan of "Complex". For me this song is just too ponderous and the scratchy violin really annoys me. "Films" has a killer beat but there is more to enjoy here than just the drumming. Equally "M.E." is more than a just a repurposed sample - it's actually a really good song. 

On the flip side, "Tracks" is reminiscent of "We Are So Fragile" from the previous album and sounds a little bit too derivative for me. Similarly "Observer" is almost a rehash of the monster single "Cars" which is also included here and is rightly revered as groundbreaking synth-pop. I have always found the melody and main riff from "Conversation" strangely intriguing and consider the song to be underappreciated. Things round out with "Engineers" which doesn't break from the well worn sonic palette employed by the rest of the disc. This album broke new ground when it was released and it still continues to fascinate today. 4/5

One record at a time: 289. No-Man - Love You To Bits

By the time 2019 rolled around I'd rather given up on No-Man. It had been eleven years since their last album and both Tim and Steven seemed to be happy pursuing solo projects. 

To be honest I didn't really lament the lack of output from the band as their last efforts had left me feeling a little bored. Whilst the art-rock of "Schoolyard Ghosts" and the ambience of "Together We Are Stranger" might have their place, I longed for something with a pulse. I had no idea what to expect from this new album, but the sound that greeted my ears as I dropped the needle on this blue vinyl for the first time took my breath away.

Not only was there immediately the sound of a pounding bass drum, but it was augmented with analogue percussion that sounded just like "Ice Machine" by Depeche Mode. A driving synth bass rumbles under Tim's distinctive vocals as he sings of loving someone, "like I don't love you at all". "Love Me To Bits (Bit 1)" and its coda "Bit 2" left me dumbfounded and just a little bit emotional at how totally triumphant this record sounded. 

"Bit 3" kicks into life with some excellent drumming and Steven's precise guitar work before "Bit 4" heralds the return of the synths and a new leitmotif. Side one finishes with a reprise of the rumbling Moroder-esque synth bass from "Bit 1" but with a sprinkling of new lyrics.

The flip side opens with the subdued introduction of "Love You To Pieces (Piece 1)" in which Tim sings of a sticky love that left him weak. As the TR-808 style hit hats kick in, I can't help but anticipate the electronic tricks that Steven Wilson is about to pull out of the bag. Yes, we are hearing the same melody that was used on the first side, but the clever arrangement and Tim's constant development of the lyrics mean things never become boring.

"Piece 2" opens with an aggressive bassline and delivers one of the most amazing electric piano solos you'll ever hear. "Piece 3" continues to develop the relentless groove until things disintegrate into the welcome ambience of "Part 4" and "Part 5". For me this return to a more melodic and synth driven sound is manna from heaven. Also not to be missed is the magical "Love You To Shreds 1-3" on the single of "Bit 1". Amazing. I want more. 5/5

A forgotten gem

Five years ago I wrote a post about the remix 12" of "Inside Out" by Electribe 101. In my missive I complained this record seemed to have been miss-pressed as it had glitches, pops and all manner of background noise that ruined one of the best records the band released.

So imagine my excitement when lead singer Billie Ray-Martin announced the release of a four CD box set of parent album "Electribal Memories" that included the "MCM Mix" of Inside Out - my prayers had finally been answered. 

I did actually succeed in creating my own recording of the track with all of the artefacts edited out, but it took many weeks and I was never one hundred percent happy with it - but in the absence of the mix ever being released digitally, it was the best I was going to get.

So now I own a pristine digital recording of the mix and I only had to wait thirty four years. Patience is a virtue.

One record at a time: 288. Mo-Man - Schoolyard Ghosts

This album is another ponderous beast that explores the musical wilderness between art-rock and prog-rock. My copy is a 2015 remastered version split across 2 LPs.

Opening tracks "All Sweet Things" and "Beautiful Songs You Should Know" are kitchen sink dramas played out on acoustic guitar, piano and Tim's distinctive vocal tones. These song neither offend nor ignite the imagination.

"Pigeon Drummer" begins as a slow and quiet instrumental before suddenly exploding into a sea of tom drums and squealing guitars. This might have seemed like a neat trick when it was conceived but it only serves to destroy the mood for me. 

There's some wonderful strings on the first part of "Truenorth" which eventually combine with a welcome hip hop beat. As Tim sings of surrendering to the night and the orchestra swells, you realise this is one of the best songs No-Man have recorded in many years. Yes, it is overly long at twelve minutes (maybe they could have chopped out one or two of the jazz flute solos), but it will reward those who persevere.

"Wherever There Is Light" lost my interest the second a pedal steel guitar began howling but "Song of the Surf" is much more interesting and has a great melody. There's another trace of a beat on "Streaming" but the pedal steel guitar comes in to ruin any promise the composition might have shown. The final track "Mixtaped" is far too self indulgent and, whilst the band might have had great fun recording it, it's not much fun to listen to. There are three bonus tracks on side four but none of them stand out particularly. All the marks for this album go to the majestic "Truenorth", everything else is fairly superfluous. 2/5

One record at a time: 287. No-Man - Together We're Stranger

"Together We're Stranger" was released in 2003 and here I am listening to the 2015 remastered version. Unfortunately this pressing suffers from an issue with near constant clicks and pops throughout. I am yet to put these discs through my cheap and cheerful Disco-antistat cleaner, but I'm not convinced it would make much difference.

If this were a normal pop record full of rhythms and busy backing tracks, the additional noise wouldn't be of major concern, but as this is an intimate and atmospheric recording, the surface noise detracts from the experience quite considerably.

I think there is something magical going on here but I haven't yet discovered the key to unlock it. Sometimes an album can reveal itself through repeated listening, but I find that so hard to do in this day and age - so I fear I will never fully appreciate this record. "All The Blue Changes" is probably the most immediate track on here and I guess this is because it is also the only track on the album that creeps above eighty beats per minute. Don't get me wrong, not everything has to be a frenetic dance track, but these songs don't do enough to pique my interest so they can be like wadding through treacle. 2/5