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

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