One record at a time: 460. Way Out West - Way Out West

Fifteen years ago I wrote on this blog: 

"I have never been able to pin point quite why I love the music of Way Out West. Ever since I first heard ‘Domination’ in 1996, I have been entranced by the band’s output. Album tracks such as ‘Sequoia’, ‘Activity’, ‘Call Me’ and ‘Ultraviolet’ are amongst the best pieces of electronic music ever composed." 

This all might sound like hyperbole, but I genuinely believe that Way Out West make music that transcends the genre of dance. I think my admiration is derived from the fact that, whilst many of the band's contemporaries proved to be ephemeral, much of Way Out West's early work still resonates with me.

Their self-titled debut album, originally released in 1997, is a perfect example. My copy is the 2025 reissue from Music On Vinyl—one of just 750 individually numbered double blue vinyl sets. Although that sounds impressive, the reality is you can still buy a brand new copy for around £30. The relatively cheap price probably accounts for the lack of gatefold sleeve and the plain inners that feel a bit underwhelming. Thankfully the music transcends the packaging. 

Proceedings kick off with the single "Blue" which is based on the music from the cult film "With Nail and I". Some people find it hard to discern the original melody in amongst the growling synths and relentless breakbeats, but it is there. The track delivers a compelling blend of foot moving progressive house and pure listening pleasure—I enjoy it immensely.

Hot on the heels of the opener is the hit single "The Gift" and this track probably accounted for 90% of the sales of the album. Here the Westies wrap manic breakbeats and lush synth chords around a sample of Joanna Law singing a line from the folk song "The First Time Ever I Saw Your Face". I'm really not a fan of folk music and I was perfectly prepared to hate the version of the song the sample is taken from, but Law's cover is actually a rather funky downtempo take titled "Fist Time Ever". As good as it is though, this track is never going to be my favourite.

The last track on the first side is a ambient piece called "Earth" that actually closes the album on some other formats. You get a definite sense that this song was shoehorned in because there was nowhere else for the cutting engineer to fit it. This is a bit of a shame as placing the track here both breaks the early momentum and robs us of a come down at the end.

On the flip side of the first disc, we’re treated to “Domination”- a track that almost defies description. The best way to capture this song's essence is to call it a rip-roaring breakbeat masterpiece with gorgeous synth loops, lush chords, and vocals by JFK—sort of. Next up there are some faint ragga vibes on the appropriately titled "Dancehall Tornado", but the music remains firmly rooted in trance and breakbeat.

"Sequoia" that opens the second disc is a personal favourite. This is one of few tracks with a prominent four-on-the-floor kick drum and open hats on the third beat and it makes for a nice change. The samples are used more sparingly here and the pulsating synths are allowed to take centre stage. "Questions Never Answered" is a bit more straightforward and really doesn't do enough to warrant a runtime of nearly nine minutes. 

Things pick up again with the single "Ajare" which deserved to do chart higher on both the occasions it was released. As the synths blast like sirens the TR-909 hit hats provide a relentless backdrop to the perfect vocal samples. "Kind of the Funk" successfully explores the big beat territory normally patrolled by the likes of Chemical Brothers or Fatboy Slim. The vinyl finishes off with "Drive By" which seems to be an edit of the "Club Mix" of "Blue" from the CD single.

After this initial flush of artistic perfection Way Out West lost their way a bit and became a little more inconsistent. Whilst their second album is good, their third effort "Don't Look Now" saw them use a female vocalist and adopt a more mellow sound. This move really didn't work for me and I lost interest in the band until "We Love Machine" was released in 2010. Whilst Jody and Nick do still surface together occasionally its eight years since their last album and nothing will ever feel quite like this did in 1997. 4.5/5

One record at a time: 459. Wang Chung - Mosaic

My copy of Wang Chung’s fourth album, “Mosaic,” was originally pressed for the Italian market, yet somehow it found its way to England. Like the rest of my Wang Chung collection I acquired this record from eBay around ten years ago, but I can't say this one has been played as much as the others. 

The album opens with a track that proved to be both a blessing and a curse for the band. “Everybody Have Fun Tonight” became a huge hit in North America and catapulted the band into the spotlight. Despite its commercial success, the song has been parodied and even mocked, largely due to the line: “everybody Wang Chung tonight.”

A seemingly casual use of the band’s name as a verb had unexpected consequences and invited a degree of ridicule. From what I’ve read, however, the band has always maintained that “there’s no such thing as bad publicity,” and they’ve embraced the joke with good humour. Still, having their biggest hit lampooned and dismissed as an object of ridicule won't have helped their credibility.

On this side of the Atlantic, the joke didn’t quite land, and “Fun Tonight” barely made an impression on the UK charts. Perhaps there was no joke to get. It’s not a bad song, but it doesn’t reach the heights of “Dance Hall Days.” In fact, there are stronger tracks scattered throughout the album than their most famous single.

The follow up single "Let's Go!" that opens the flip side of this album also managed to crack the top ten in the USA (but was met the same underwhelming response here in the UK) but the internet seems to have forgotten this and is happy to brand the band a 'one hit wonder'.

Second track in the running order is "Hypnotise Me" which is another strong effort that was featured on the soundtrack to the film "Innerspace". I remember this film being quite a big deal when it was released and I imagine the band were pretty pleased to be associated with it. The song wasn't a big hit, but it has a great hook and energy to spare.

Beyond the singles, the album offers standout moments - “The Flat Horizon” deserves special mention, while the closing track, “The World in Which We Live,” delivers an epic finale. Admittedly, the momentum slows with the somewhat clichéd “A Fool and His Money” and “Betrayed” feels directionless, but the strength of the surrounding tracks ensures the album remains a rewarding listen overall.

This album sounds different to its predecessors as not only does it have a different producer, but because it was created using the Synclavier rather than the Fairlight. Alongside the electronics the band deploy a brass section and a veritable chorus of backing singers to give a somewhat more commercial and - dare I say it - American sound. 3/5

One record at a time: 458. Wang Chung - To Live And Die In L.A. (Music From The Motion Picture)

It’s rare for a renowned Hollywood director to become so captivated by a band that they invite them to compose the soundtrack for a film. Yet that’s exactly what happened when William Friedkin chose Wang Chung to create the music for, “To Live and Die in L.A.” in 1985.

It appears that Friedkin was a big fan of the album "Points On The Curve," with the song "Wait" being a particular favourite. It's unclear whether Friedkin knew that band member Jack Hues was classically trained before approaching them to score the film, or if he simply trusted that they would be up to the task. Either way the band accepted the challenge and they wrote and recorded the music in just two weeks.

The album presented here features songs used in the film on the first side and instrumental pieces on the second. The music is not written for orchestra but realised on contemporary instruments such as the Fairlight CMI, PPG wave and EMU Emulator II. Whilst there is a smattering of very eighties sounding guitar and some nice bass from Nick Feldman, this is a distinctly electronic score.

The title track is a clever song that shies away from the band's usual shiny pop sound and delivers something slightly more disturbing. Unusually the chorus descends in pitch which gives a highly atmospheric and introspective feeling. I'm not a big fan of the second track "Lullaby" as it sounds a little kitsch for my ears but "Wake Up, Stop Dreaming" supplies an overdose of Emulator shakuhachi samples before morphing into a pop song that matches the style of the title track. For whatever reason William Friedkin insisted on using the track "Wait" from their previous album on the film so it is reprised here too.

Amongst the instrumental pieces there is a distinctive track called "Black—Blue—White" which sounds uncannily like Front 242. It is interesting to note that the Belgian EDM pioneers have a similar track called "Black White Blue" and I find it hard to believe that there wasn't some 'cross pollination' going on as Jack and Nick scrambled to generate ideas for the soundtrack. 

There's also evidence of corners being cut with the nine minute opus "City of the Angels" which, as good as it is, simply amounts to an extended deconstruction of the track "Wait". Throughout these tracks you can hear distinctive PPG Wave choirs, Emulator strings and drums from the LinnDrum and its older brother the LM-1 - it's like an eighties synth spotting game. 

The final track "Every Big City" has such a strong eighties sound it could be mistaken for a modern tribute used as library music on YouTube (I'm not sure of this is praise or condemnation). Still, this is a highly entertaining album and the combination of clever songs and dark eighties instrumentals wins me over. 3.5/5

One record at a time: 457. Wang Chung - Points On The Curve

The annals of history might record the transition from Huang Chung to Wang Chung as a simple change in spelling, but for listeners, this shift marked a dramatic evolution in the band's sound and artistic direction.

Huang Chung's self-titled debut album, while competent, often feels tentative. Even the original version of their signature track, "Dance Hall Days," lacks the polish and energy that would later define the band. In contrast, "Points On The Curve" - their first release as Wang Chung - embraces a sleek, electronic-driven pop style that moves away from their earlier new wave influences.

When listening to the original UK pressing of "Points On The Curve" you might be struck by its unique running order, which differs from other international releases and all CD versions. Personally, I find this original sequence enhances the album's flow and cohesion, making for a more compelling listening experience. 

The album opens with the single "Don't Let Go" that features a bassline that is both simple and beguiling. It may not be as instantly catchy as some of the band's biggest hits, but this song does have a good groove and was among the first tracks to resonate with the public.

For many, the opening bars of "Dance Hall Days" evoke memories of 1983; for others, the song is forever linked to 2002's "Grand Theft Auto: Vice City." Regardless of your reference point, the track's quirky lyrics and infectious melody are infectious. There's also something about the descending chord progression of the guitar in this song that is quite fascinating. In fact "Dance Hall Days" is so good I can even tolerate the saxophones.

"Look at Me Now" stands out with its funk influences and wonderful orchestral sounds that are coloured by the distinctive, and rather mushy tones of the Fairlight CMI. That same Fairlight hallmark is present in "Even If You Dream," which also features classic Simmons toms and snare, delivering a true eighties overload. What’s especially remarkable on these tracks is the sound that producers Chris Hughes and Ross Callum coax from the LinnDrum. The reverb, EQ, and compression on the drum machine are expertly handled and among the best I’ve ever heard. 

In terms of the compositions I also like "Wait" and "Don't Be My Enemy" - with an honourable mention to "True Love". And yes, "Talk it out" is supposed to end like that. Whilst this album isn't as perfect as my memory tells me, it remains a cornerstone of eighties pop. 4/5

One record at a time: 456. VCMG - Ssss

In 2012, Vince Clarke and Martin Gore joined forces to produce an album of minimalist dance music under the imaginative monicker VCMG. I am not sure what prompted these former bandmates to collaborate in this manner, but it is worth noting that they have not repeated the exercise. Although the relationship seemed cordial enough at the time, it never stuck me as a natural reunion; more a marriage of convenience.

For some reason I bought both this double album, the compact disc and all of the 12" EPs that were released alongside "Ssss" (maybe the anticipation proved too much for me). As it turns out I didn't even need to buy the CD as it came free with the vinyl anyway - so I really do have far more copies of this album than I need. I wouldn't mind this veracious consumption if I actually liked the album, but I can't recall listening to it once in the last thirteen years. On the plus side the vinyl sounds immense with deep bass and near flawless sound reproduction.

As soon as I drop the stylus, the sound of the first track "Lowly" brings back memories and proves to be surprisingly entertaining. I find these tracks hard to pigeonhole but I'd describe the music as minimal techno or a less angular form of IDM. Their sound is more melodic than Autechre, less acid than Richie Hawtin and not as raw as Aphex Twin. To my ears VCMG have a tendency to float around the same space as Speedy J - but purists will probably tell me that's a load of rubbish.

The Achilles heel of all of these tracks is that they are just too damn long. As you might expect, the ideas are solid and the instrumentation impeccable, but things do have a tendency to just ramble on. "Wind Up Robot" and "Bendy Bass" are a case in point where a good three minute trim would make for a much more enjoyable experience. 

Whilst "Single Blip", "Aftermaths" and "Spock" were released as singles I have absolutely no idea what promoted them above anything else here. Maybe the choice was arbitrary. That's part of my problem with this record: it sounds a like one amorphous mass where its difficult to distinguish one track from the next. I totally get that this is two esteemed songwriters throwing off the shackles of pop and trying something different, but it misses the mark for me. I hope to hear this album again in another thirteen years but I somehow doubt it will come out of the sleeve before then. 2/5

One record at a time: 455. Jon and Vangelis - The Best Of

After Jon Anderson and Vangelis put their collaboration on hold, Polydor Records decided to fill the gap with a compilation. The imaginatively titled "Best Of" gathers together the highlights from the band's first three albums and includes their two top ten singles. Released in 1984 this LP broke the top ten and earned the record company a good deal of money for minimal outlay. 

"Italian Song" from the album "Private Collection" might not be the most energetic opening, but it does at least have a strong melody. The hit single "I'll Find My Way Home" is another strong composition but keeps us in the 'easy listening' space a bit too long. 

Things really start to kick off with "State of Independence" which was originally released as a single in 1981 but it sank without a trace. The song was reissued to promote this compilation and it did manage to scrape into the top 70 at the second time of asking. Despite relatively poor commercial success this is undoubtedly one of the pair's best songs and the success of the later Donna Summer version attests to this. The edited version presented here is nice enough but I'd have preferred the full version that was featured on the album "The Friends of Mr Cairo".

Speaking of "The Friends of Mr Cairo" we actually get the full twelve minute version of the title track on the second side along with the rather limp "Outside Of This (Inside Of That)". There's a nice flourish at the end of the album with "He Is Sailing" and "I Hear You Now" rounding things out in style.

Whilst there are two or three tracks on this compilation that don't exactly set my world on fire, I can't think of much else in the band's back catalogue that would replace them. The record company made a good effort with what they had and this is probably the only Jon and Vangelis album you will ever need. 3/5

One record at a time: 454. Jon and Vangelis - Private Collection

Having achieved commercial success with their two previous albums, Jon Anderson and Vangelis decided to team up again and release "Private Collection". Here I will be listening to what Discogs says is an original UK pressing, but as the sleeve has references to a compact disc version, I am not convinced it is from 1983.

Opening track "Italian Song" has a wonderful melody and as Anderson translated his nonsense lyrics into Italian they are much more digestible. "And When the Night Comes" is a good track right up until the point Anderson starts trying to tell us, "A woman needs to feel alive, a woman needs her sex". Even if I judge these lyrics in historical context I still can't digest such sexist nonsense. 

Whilst the music on "Deborah" is pretty strong Anderson rather lets things down with his clumsy lyrics. Only "He Is Saling" comes up to the mark with its vocoder tinged vocals and superlative CS-80 bass. The final track "Horizon" is a very odd one. Imagine twenty two minutes of fairly tuneless synths and Andersons insistent vocals drifting along with no real purpose and you get an idea of just how boring this piece is. I'm glad when it is all over. Any marks here are for "Italian Song" and "He Is Sailing", everything else in this collection was probably best kept private. 2/5