The crackly but thankfully unscratched vinyl begins with “Pop Muzik”, which arrives with the sort of confidence normally reserved for people who wear hats and sunglasses indoors. It is catchy, odd and completely aware of its own ridiculousness, which is probably why it still works.
After that, the album proves why M are considered a one-hit wonder. “Woman Make Man” is brief, odd and disturbing, but thankfully Wally Badarou’s distinctive contributions stand out more than Scott’s sleazy and frankly appalling vocals. “Moderne Man/Satisfy Your Lust” is a disco number that uses an orchestra, but rather than capturing the vibe of classics like “Night on Broadway”, it sounds more like the theme tune to a seventies comedy show that was cancelled after one series.
“Made in Munich” leans into the record’s European gloss, while “Moonlight and Muzak” is probably the strongest evidence that Scott sold his soul to the devil of disco. “Cowboys and Indians” is stranger than it needs to be and makes me feel like I have slipped into a parallel universe or am experiencing some sort of drug-induced psychosis. “Unite Your Nation” wraps things up with more nausea-inducing nonsense.
Overall, “New York, London, Paris, Munich” is very much a record of its time and, as someone who was alive in 1979, I can say with some confidence that not every moment deserves a revival. I don’t hate many records, but this one is making a surprisingly strong case for admission to that small and unfortunate club. Is it the done thing to ask for a refund of a pound from a charity shop? 1/5
