The 5th album, released in 1976, from the legendary Steely Dan, featuring jazzy rock with a satirical slant. Musicianship of the highest quality by Walter Becker, Larry Carlton and Donald Fagen.
From 1981 and on the legendary Stiff Records label and produced by Langer and Winstanley. I’m not sure at the time if they were marketed as the female equivalent to label mates, Madness. This is less of a novelty record as “The Clapping Song,” “Iko Iko” or “Sign Of The Times.” It’s a funky ska number with half rapped lyrics.
Quality B-side as well; lively with lots more brass and a killer bass.
From 1988 and the BIG one from Roland and friends. Surprisingly not up here already! I want prattle on any longer. Justin Strauss and David Z provide the remixes with Edits by Chep Nunez so everything is in safe hands.
The original line-up made a comeback this year with the album “Ascension,” where the old hits were re-recorded with an Orchestra. (Think Midge Ure, Visage et al) No one really battered an eyelid, shame really.
This was a after Paul Reynolds, the guitarist, had left the group and for me the sound had gone. More synths were used to fill the gap but I didn’t like it when it came out at the time (October ’85) and don’t really care for it now. So why post it ? For the fans of the band and also out of morbid curiosity. (Would I like it again ?)
Very high paced and featuring a load of Fairlight, it was the first release from their 4th LP “Dream Come True” produced by band member Mike Score and mixed by Nigel Green and engineered by Stephen McLaughlin. Carmen Manley provided the female backing vocals with reggae guitarist, Michael Irving filling in on a small, picked solo. It featured Lauren Bacall on the cover.
Flock Of Seagulls does disco with annoying flange effects. The 12″ slightly improves it. The Medley is in fact the worst megamix I think I’ve heard….ever. Talk about lack of subtly! Oh, the video, was it done using Mario Paint ?
The late Matt Fratton had a short lived recording career of just 4 singles (although he toured with Depeche Mode in 1984) saw him have a minor hit back in 1983 with backing vocals sung by Eddi Reader of Fairground Attraction fame.
Produced by Phil Thornalley it uses samples to good effect and has a catchy chorus. The 12″ version is miles better than the 7″ (also included) The B-side track is just a voice and piano, an emotional ballad with trumpet solo.
A bit of an overlooked track from China Crisis from 1984 and to this day I’ve not a clue of what its about and hence it didn’t break into Top 40. It’s quite synthy for China Crisis with a sample of something being dropped through a drainpipe distracting but memorable at the same time.
It’s augmented with a couple of live tracks with a concert opener “Here Come A Raincloud” (reminding me of Durruti Column) and a live interpretation of “African And White” (with some excellent drumming) both recorded at Reading University (31. 1. 84)
From Underground to Overground as people become curious about this late 80’s dance sound. Released in ’88 by Maurice Joshua who did a bit of a Guy Called Gerald by bursting on the scene with this classic. Originally the B-side of his debut single “”I Gotta Big Dick” (???) it was remixed by London DJ , Les Adams (from DMC) given it Worldwide success the following year. The “Sharon & Tracy” mix is the more commercial sounding, whilst the “Kevin & Trevor” mix was a the harder, more clubby style with more of the typical House sounds thrown in, Todd Terry-ish. (Sexism and remix’s heh?)
I think a prefer the “Deep Dub” with its bird tweets and 808 State vibe.
