More from ’84 and where The Banshees teamed up with the Chandos Players (who had worked with Marc Almond as Marc & The Mambas) to give some suitably string soaked Goth. Four great tracks, rerecorded with the strings and thus revamped. Of these four tracks, two songs were previous album tracks (“Overground” from 1978’s The Scream and “Placebo Effect” from 1979’s Join Hands) whereas the other two had appeared as B-sides for single releases (“Voices (On The Air)” and “Red Over White” for “Hong Kong Garden” and “Israel”, respectively). Personal favourite is “Voices” dark and moody, all helped by Mike Hedges (Soft Cell producer)
|B2||Red Over White||5:43|
Still in 1984 and this classy cut from the ,then, newly solo David Sylvian. Helped by an Anton Corbijn video and some suitably pretentious text from Paul Morley (ZTT founder and music journalist) A bit of a continuation of the late Japan sound this has a mouth watering roster of guests. Double bass legend Danny Thompson, Ex-bandmate Steve Jansen on percussion, the late,great Kenny Wheeler on Flugelhorn and 70’s session guitar legend, Phil Palmer. If you are successful you hire the best! B-side is an eerie instrumental of an album track with an equally long list of “dream team” musicians, Sakamoto, Jon Hassell etc..
|A||The Ink In The Well|
|B||Weathered Wall (Instrumental)|
The Blow Monkeys do a great impression of Blur/Suede with this early Indie thrasher. No, I’m not joking they did not start out tunes like the jazzy, “Digging Your Scene”, they were more guitar based with a just a smidgeon of saxophone. Produced by Pete Wilson (Style Council, Comsat Angels) it certainly opened my ears after many years. Must check out their debut album “Limping for a Generation”, a forgotten classic. B-side “Rub-A-Dub-Shanka” is a bit more jazzy but weirdly listenable. The 12″ is exactly the same as the 7″, ahhhhhhh I hate that!
From 1984 and the debut release from a Manchester based band. Really ? Terry Hall had moved on from The Specials and Fun Boy Three and teamed up with 2 ex-members of the Rockabilly combo Swinging Cats, Toby Lyons and Karl Shale. Not the light , dreamy pop of “Thinking Of You” but a more indie sounding along the lines of Echo & The Bunnymen. The Special Mix is more atmospheric starting off acoustic before those drums kick in. The 7″ is here too.
Excellent B-side, “Sorry” reappeared on the album “Virgins And Philistines” a year later as the last track. Morrissey would be proud of those lyrics !
A live vocal from The Tube
|A||The Colour Field (Extended Version)||3:52|
|B1||The Colour Field||2:56|
Keeping briefly with the old skool theme with this vocoder soaked piece of electro/hip-hop. From 1984 and featuring rapper Freeze Force, this was a pioneering dance track from Man Parrish, the original bedroom producer, in his suitably called Man Made Studios. Alongside him was fellow pioneer, Raul A. Rodriquez. The B-side is equally strong with some sounds I first heard on Yazoo’s “Situation” A true Dub mix with no rap but lots of primitive samples and loops. Wow! Long live the 808 !
Interesting making of video feature too
Boiling Point – POSPX 731
|A||Boogie Down (Bronx)||5:18|
|B||Boogie Down (Dub)||5:48|
A first for the blog (maybe the last) by featuring some Hi NRG stuff. It was from 1984 and it does involve electronics! On the Dutch label Dureco Benelux these were already established underground tracks and were remixed by Rutger “Rutti” Kroese , who did some dance stuff in the early 90’s. For added weirdness the sound of Big Ben chiming over the top features over the whole of the A side, mmmmmm think Divine Versus Hazel Dean.
|A.1||–Flirtations, The Featuring London Big Ben||Earthquake|
|A.2||–Marsha Raven Featuring London Big Ben||Catch Me|
|B||–Eastbound Expressway||Primitive Desire||5:56|
From 1984 and the last of stuff I’ve got from H20. Looking slightly pissed off on the sleeve as the general listening public had ignored them, this has a more smoother, commercial sound produced again by Tony Cox and Dave Bascombe. Plinky plonk piano and slap bass but some nice synth sounds. Two decent B Sides the moodier “Telling Lies” and the upbeat “Win.” Yup it sunk without a trace!
Another live bit of 80’s pop, dig those Simmons and bare mid riff!
|A||Who’ll Stop The Rain (Remix)|
From 1983 and off their album “Listen” this was a more commercial follow up to the slightly scary “Nightmares.” A laid back, summery synth tune with the metronome Simmons drums. The B-side was the track I always played, a rawer, live version of earlier single “I Ran” (now immortalised in the GTA video game series) from a gig at “The Ace” in Brixton.
Weird Vid as always
|B||I Ran (Recorded Live In Concert, London)||5:15|
|A||White Lines (New UK Master Mix By Mastermind Herbie)|
|B1||White Lines (Original Extended Mix)|
|B2||White Lines (U.S. Street Mix)|
The weird choice of a follow up single to “Wishing”, much darker more guitar orientated. Helped by the legendary Mike Howlett at his Conny Plank’s studio, it as Siouxie & The Banshees style guitars thanks to Paul Reynolds and driving bass by Frank Maudsley.
“Rosenmontag” (after the German Festival “Rose Monday”) is a weird electronic experiment, the sort that Ultravox liked to knock out as a b-side. Pounding and more electronic than their usual stuff.