It’s Sunday so more obvious 80’s twelves. I know for most of you it will be new but I’ve heard (and own) about 80% of the tracks so it’s a bit of a refresh with Blank & Jones remastering and have a subtle little fiddle with some of them. 26 tracks! All your Big Hitters are included.
Liking the Jeanne Mas track, Euro Pop from 1984 with a catchy bass (Dolce Vita style) and great Eurovision chorus. Very French! “Military Drums” is as cheesy as I remembered, a very camp anti-war song! The “Trouble” US Remix is probably the quickest H17 track released after “Fascist Groove Thang” – love the bass.
Always loved the Idol track but it appears to have been recorded in a diving bell at the bottom of the Irish Sea. The Spandau mix was definitely new to me, a lounge vibe with ambient synth touches. Always loved The Cure twelve, very experimental for them and never getting an official release.
The Narada Michael Walden track has more than a bit of Howard Jones in it. Gospel synth. Savage Progress use bits of the Talk Talk sample library before it goes of into synth reggae funk territory. John Taylor’s obscure track gets an extended version in true 80’s over the top production but never really gets going.
Writer, musician and producer Tina Forlorn sent me a kind email this week requesting a review of her latest EP “Pulled Apart”. The prolific London artist has released plenty of tracks, moving from acoustic guitar to synth all independently packaged and released with a fiercely DIY ethic I’m more than happy to oblige, so here it is…
Imagine if Bjork had heard Gary Numan’s “Telekon” – this would be the outcome.
Personal and intimate minimal synthwave with fragile vocals. The release has five tracks with opening “Pulled Apart” setting out the musical palette of rich synth chords, solid synth bass and sequencer. An uncomplicated arrangement it leads into my favourite track “How Far Down” with more minor chords and slightly vocoded vocals give it a mechanised feel. It moves on to more Dark Disco beat with sharp snare cracks. A bit Chris and Cosey with a deep , throbbing bass and some early Depeche Mode analogue lead.
“Dry My Tears” relies on a EDM styles bass sequencer with the delicate vocals counterpointing the heavier parts that makes way for sparse chords. “Out Of Time” brings the tempo down with the vocals ,isolated lead, simple drums and bass. Backing up my Gary Numan claim. It closes with an ambient and haunting instrumental reprise of the opener.
Get your large, shiny Disco Balls out for the Sunday session.
More Disco interspersed with some random Hip Hop and Hi NRG. Quite a lot of big hitters to start with. Not too dramatically different, probably a bit more punch on the Earth, Wind and Fire.
For the Disco connoisseurs the very funky track 5, featuring two of the Weather Girls (Izora Armstead and Martha Walsh) on a 1980 track.
The Patrick Cowley produced track by Tantra. Moroder vibe with the progressive arrangement on a track that was originally out in 1979. The highlight of this disc. A close second is the update on the 1975 track “Boogie Fever”, from Jackson sound a-likes The Sylers.
The closing Medley again has some one of the rarer Disco cuts featuring Teri Desario with the opening keeping mostly to other instrumental hooks.
Some more new skool / old skool from the UK and released in 2008/9.
Slybeats were the duo of Robin 12Tree and Jason “Laidback” Cohen
Rap over some tough electro beats on track 1. Recycled beats and bit more of a Afro groove. The last track has more of big beat feel with some acid bass plus a rap of dubious machismo.
Mr F likes it obscure as well, I believe, so thanks for this. From 1983 and from the Belgium and with a crackingly bad promo video. From Ghent-based musician Gerry D’Haeyer who had a minor hit with “Crocodile Tears” in 1981. Recorded with Alan Gevaert & Chris Whitley of Noh Rodeo.
Sequencers and that whistle preset sound. A bit Sigue Sigue Sputnik a bit Men Without Hats. Happy synthpop
B-side “Marina Key” is much better with a great lead analogue sound. A bit Cars (the US Band) sounding.
So here is the last portion of the Nitzer Ebb stuff mostly dealing with the singles from the ’94 album “Big Hit” and their dabbling into a more Rock / Grunge sound. Think Pearl Jam or Alice In Chains. I didn’t mind it when it first came , it was dramatically different sound.
Gary Miller (Bad Brains) provides the guitar on “Kick It” and added percussion from Jason Payne. It bubbles menacingly along with the Logical Edit building up the tension. The Short Dub is more of the same dubbed vocals but plenty of deep beats. Both by Paul Kendall.
Kris Needs (as Secret Knowledge) tickles a bit of DM tropes into the sound. He turns it into a good slice of Trip Hop.
“Skin Tight” has McCarthy duetting with himself over a rolling bass and guitar. Grungy Blues. “Dead & Gone” is from the same session with Randy K. Wilson as engineer. Grungy beats with a bit of Hip Hop and loads of guitar. Was this going to be their permanent musical direction
The Addiction Edit has Adrian Sherwood involved with mates Doug Wimbish on bass and Keith Le Blanc on drums. My favourite remix.
Another PK mix is the loopy and heavily edited “Banjo Sin” mix. No Banjo’s involved. It stops halfway through for a dubby build in the second half. The hardest mix is “hippygrip” with Randy Wilson layering up the guitars and boosting the bass to distortion levels. It even has a false fadeout.
Mark Saunders was in charged with the Radio Mix. Ebb final release, a bit of a heavy ballad – going into Suede territory ? Barry Adamson provides the other mix. Weird and interesting and quite trippy and explodes suitably.
Album track “Friend” gets a Randy Wilson mix, fuzzed guitars alongside a treated bass. Closing track “Beats Me” skitters along with a funk feel.
Again another more manageable folder of all things F. International (well mostly Canada) and new to your ears!
F A B – Happy People
Oz New Wave that Mike B might not of heard of!!! From 1985 and released on RCA Australia and recorded in Melbourne from a trio from Adelaide. Light and Summery it seems to be the main and only output of Stuart Day (Vocals and guitar) with Warwick Cheadle on bass and John Zak on percussion.
Fabulon – Life On An Island
On their own Luv A Fair Records out of Vancouver, Canada some Darkwave / New Wave from 1986 with Darren Simcoe on vocals, Martin Higgs on guitars and drum machine, David Omstead on bass, Simmons and drum machines and Randy Parr on keyboards.
Face Of Concern – Don’t Play / If It All Comes True / Really Doesn’t Matter
Three from a New Wave band from Atlanta, Georgia. A quartet made up of Joey Stowe (drums and percussion), Marc Stowe (guitar), Patti Ray (singer and keyboards) and Phil Fontana (bass) who were active around the mid 80’s. All releases were on Press Records (early home of 10.000 Manics and The Method Actors.
“Really Doesn’t Matter” gets some lovely E Bow guitar from Kevin Dunn (The Fans) and a load of guest musicians, Bill Kirch (on bass and guitar) Robb Meadows (on synth bass) and Dudley Willis (on piano and synth)
“If It All Comes True” is in fact the B-side. Both are high quallity in both production (Barry Piacente and Peter Dyer) and arrangement.
“Don’t Play” comes from the ’86 EP “Brighter Days” Programmed Drums and a darker chords. the piano giving it a touch of Ultravox whilst a bit of US AOR on the lead vocals and a faded out end leaving the piano.
Faded Films – Faded Years
Canadian New Wave with a definite touch of Talk Talk’s “It’s My Life”. Self released and out in 1986. The opening track of their only ever release, a four track EP. They were a 5 piece of Andrew Barlow, Dale Wiotte, George Manury, Mike Wilson and Joel Phelps.
A blend of Post Punk and jangly New Romanticism.
Fairies Welcome – Red Lines
Midge Ure on vocals ?? From 1988 and off the album of the same name. German synth rock with a Stadium Rock element. Two members are mentioned ; Matthias Jansen (Jetsam) and Torsten Traunecker
Digital chimes and atmospheres build to a Then Jericho style chorus. A saxophone makes an appearance amongst the crashing, epic production. Interesting.
Family Plot – My Mad Friend
Duel female vocals (Madeleine Morris from Moev) and duel bass on this slice of Goth from 1987 and from the album, “Convictions.” The Cure and Sioxie from the Adlington brothers and producer Dave Slagter. It sparks into life with snapping drums.
Bass Guitar – Bernie Addington and Phillip Addington
Drums – Everett Raeburn
Keyboards – Paul Addington
Vocals – Madeleine Morris (Moev)
Fatal Gift – The Watch
Released on Wrexham’s Yucca Records in 1984, this is from UK (Wales) band Fatal Gift. Vocals, Bass, Piano – Nick Semper, Guitar – Jon John Percussion – Snappy and Keyboards – Mike Williams. Engineered and mixed by Peter Coleman.
Insistent sequencer on this Ultravox inspired song. Unusual vocals and a very airy production with plenty of hooks.
Fear Of Flying – Not Enough
US (New Jersey) New Wave from 1986 and from a self released album.
Bass, Vocals – Bruce DiBisceglie
Drums, Percussion, Vocals – Dave Stengel
Guitar, Synthesizer – Ray Nissen
Vocals – Brian Nolan
Delayed guitars and bouncing bass guitar brings James to mind. Very UK sounding.
Fear Of Flying – Tears Fall
Same name but a different band / sound. More synths in a Our Daughters Wedding kind of way. B-side of 1982 7″ “Balancing Act” on major RCA.
Comprising of Philip Fortescue Longden – instruments (Kudos and Rock band Bite The Bullet) and Paul Thane (singer)
Foluntear – Dancing On The Rainbow / In My Mind’s Eye
From 1988 and I bet they thought they had made it when their track was chosen to be in “Beverly Hills Brats”. What an awful band name from this band Southern California.
From Discogs
“Foluntear was formed in 1986 in Claremont Ca. They were heavily influenced by Duran Duran and Nik Kershaw (never!!!). The name was a cross between “Fallen Tear” and “Volunteer”. The core of the band was together until 1989 and then continued on in various forms for a few more years. During the years of 86-89, they sold over 10,000 of our 45s which featured “Dancing on the Rainbow” and “In My Minds Eye”. Both songs were played by Richard Blade on KROQ 106.7 and he referred to them as LA’s Duran Duran (never!!!!). They were a fixture in the local club scene and could be seen during the 80’s performing sold out shows at the Roxy, Whiskey and Madame Wongs West.
“Rainbow” is typical Synth Rock with some nasally vocals. Marketed, but not successfully, as Duran wannebies , not helped by being on the tiny Kingsound Studios label. You even get the B-side with more synths and heavy guitars. Five dudes on the front but only four credited on the record. Marc Gray – voices, Rik Thomas – Drums, Keyboards and other voices, Michael Burns – Guitars and John “Fig” Avilyn – Computers and keyboards.
Forlorn Hope – Forlorn Hope
Not a clue about this short, female sung acoustic number , sounds British and a bit folky. Plenty of twang and it’s certainly not Heavy Metal. Probably Canadian 😀
Franchise – Chain Of Hearts / Let’s Make Love Again
To the Netherlands and 1984 and synthpop. A bit AOR in a Phil Collins style. Both sides on this self produced and released rarity. The usual synth duo combo of Frans Bronzwaer (alias Richard Neal) from Heerlen and Lucas Vroemen (also in Reach Out and The Liberators) from Maastricht.
Prefer the Disco feel to the B-side and a bit of sultry sax.
French Revolution – Alien Too (Fallin’)
From 1988 and some Euro Trash and Pet Shop Boys via Army Of Lovers and their brilliant second single on Virgin Records.
Vocals by Peter Wivstam and Backing Vocals – Kjell Segerbrandt and Vicki Benkert. It’s as bombast and Swedish as anything in from the late 80’s. Comprised of the trio of Buffalo Bromberg, Jonas Warnerbring and Paris Edvinsson
I bet the 12″ mix is fun and yes there is a video!
Friends Of The Family – Rotten To The Core
Back to the UK and from 1987 on the Red Rhino subsidiary York’s Ediesta Records. A five piece of Andy Weir (later of Pram), Angus Dilworth, Matthew Eaton (later of Pram), Peter Dilworth and Rosie Cuckston (later of Pram)
Jangly New Order / Indie Pop with a female lead. Like Wedding Present with female vocals.
Fruits Of Passion – Kiss Me Now (Extended)
An extended mix of a mid-tempo blaster from 1986 (i think Dennis Tomacruz was after this!) Produced by Jon Kelly and given a Texas / Blow Monkey’s vibe with those strings and guitars. Nearly 8 minutes of over the top late 80’s arrangement
FUTURISK was a pioneering electro-punk group that recorded and performed in the pre-midi era of the early ’80’s. They had two vinyl releases that sold out, a legendary live show and some videos, but for a number of reasons by 1984 Futurisk was history. Eventually the main core of Futurisk would be the Kolosine/Hess/Howard line up, but in ’79 when a teenage Jeremy Kolosine won studio time & money in a competition with his drum-machine triggered guitar-synth act called ‘Clark Humphrey & Futurisk’, he decided to form a band around the name to record a more punk release “The Sound of Futurism 1980/Army Now”. It was an ambivalent anti-war anthem, with Jack Howard on drums, Frank Lardino on synth and Kolosine on vocals and guitar synth. In ’81, Kolosine, who had gotten absorbed in a new synth/sequencer replaced Lardino with synthesist/recordist Richard Hess who had a myriad collection of Moogs, Oberheims and CATs,etc. and the line up for the “Player Piano EP” was cast. The EP, like the live show, was a strange blend of punk/minimalist/disco influenced electro pop, with drum-machine triggered synths and often frantic real drums all led by Kolosine’s schizophrenic Bowie/Ferry/Foxx adulations (and about 20 seconds of punk-funk guitar). It was recorded by Rich and the band in the rooms of Ron K’s house.The drum sound, gotten in a bathroom, rocks, even today. Reportedly, Futurisk may have been the 1st synth-punk band in the American South…or something, and 1981’s track ‘Push Me Pull You (pt. 2)’ was an early pre-‘Rockit’ excursion into electro-funk. In 2003 LCD Soundsystem’s James Murphy gave a complimentary wink to Futurisk by using the track on the delightful Colette # 5 DFA Comp CD. In 2007 an unreleased 1982 version of the track “Meteoright” was included on the “Found Tapes” compilation vinyl LP, and in 2010 a 30th Anniversary 12-inch vinyl release of “Player Piano” came out on Minimal Wave Records and included unreleased tracks. In 2011, Futurisk’s “Lonely Streets Remixes” was released on Minimal Wave / Cititrax Records with remixed tracks by Chris Carter (Throbbing Gristle,Chris & Cosey), Tom Furse (The Horrors), Prince Language (DFA, Editions Disco) and Complexxion from the UK.
Seems interesting and a great closer for this compilation.
Minimal synth wave from 1982 with a live feel. Love a dirty synth solo.
More obvious 80’s but in 12″ form and ever so slightly tweaked by Blank & Jones to make it interesting.
As usual beware of the near instrumental Kajagoogoo track, potential floor emptier.
The Synth Motown style on the Endgames track was an interesting listen. Needs more airtime. Not heard of the Matia Bazar track before, synth lovely with a bit of a bite from the veteran Italian band. A track from ’85 with Classical melodies. The Blue Nile track I’m sort of familiar with, funky and upbeat – not like their usual stuff.
All the rest are probably on here (or should be) So for the lack of comments.
Your weekly dose of edited and extended Disco with the odd 80’s track thrown. Thankfully they are not any of those ‘orrible early 90’s remixes that butcher the original and add unnecessary drums and gimmicks. (well mostly)
It’s the rarer disco that I like discovering such as the Sterling Saint Jacques from 1980 and it’s intricate arrangement. Originally the B-side of “Muscle Man” and very Moroder / Sparks. All about the sax.
Weirdly “AEIOU ” is dropped in, a great remix of this quirky bit of synth funk. Lisa’s track keeps up the synth count, even though it us full of cheese.
Forgot that the original of “There For The Grace Of God…” was by Machine, here in an unspoilt , supped up version faithful to the 1979 Disco Era.
One dud is the Amii Stewart remix; my ears hurt! Please Stop!
As usual it feature a blink-and-you-missed-it megamx. George will probably provide the track list.
Friday means something related to Beats and Breaks and here are 3 three track twelves of Booty Breaks. Not quite old school but solid enough and a little bit naughty / bawdy. From the UK and released in 2008 / 9 a few twelves from the duo of Nick Annand & Ed Hicks. Shame they are only MP3’s
Eve Jeffers adds some female rap on track 1 with some old skool / new skool bass.
“Shake The Pressure” is based on a famous 80’s electro track that I’ve forgotten the title (Jeez!)
The next volume has 3 more bootleg versions starting with the electro groove of Top Shelf. (the collective of Fixx, Chris B, D-Funk , G-Force) a bit repetitive.
A chopped up and looped version of an early Missy Elliott maybe useful. Remixed by Miami Duo Ash Rock and Jimithegenius. A bit short but nice and punchy.
A love a weird update and kudos for updating the 1967 classic “Beggin'” using the amen break and some chopped up guitar. Genius.
myvinyldreams 