The follow up to “Echo Beach” and with a more guitar / indie sound by Canadian band Martha And The Muffins. From November 1980 and released in the UK on Dindisc. Again Mike Howlett is on production duty. It was from their second album “Trance Dance” (which on the B-side in slightly edited version)
The line-up was; Bass – Carl Finkle, Drums – Tim Gane, Guitar – Mark Gane , Saxophone – Andy Hass and Keyboards / vocals – Martha Johnson and Martha Ladly (never knew there were 2 Martha’s!)
“Trance And Dance” is more New Wave with rhythm boxes and phasing synths.
Thomas Dolby’s synth sounds are all over this Lovich track from 1982 (although it is credited to Les Chappell !, remixed by the formidable trio of Bob Clearmountain, Dick Wingate and Jane Brinton and not the same as the UK version. More commercial sounding although it does still has that weird “operatic” ending.
The “Version” is more a dub mix, with plenty of synths. You can really hear the arrangement, that drum machine! I just wish they didn’t have corny, “Cowboy Western” synth hook !
From 1985 and with a Nigel Grey extended mix “Cry” still sounds lush and emotional even today thanks to help from Trevor Horn with the initial production.
The B-side is starts with tribal drums and goes on a percussive journey Yello would be proud of. Weird and eccentric just like its authors.
And here is the US Twelve which has the single version and an extended version by Nigel Gray but the remix was done by J.J. Jeczalik (founder of The Art Of Noise) He re-orders the track giving it more of an AON rhythm feel but keeping the original still in there. An augmentation rather than a radical remix.
Proof that the Fairlight could provide warm songs.
Last series was back in February and Mike B has kindly provided a large batch of Aussie stuff for me to curate and expose to you guys. Starting with early 80’s stuff (up to 1983) – most of the bands have appeared on here already so I’m bracing myself for a load of re–up requests from folk curious to listen to more. They maybe on Spotify (spits) but maybe not.
Flash And The Pan – Media Man (US Promo 12″)
Harry Vanda and George Young, both former members of The Easybeats, had been putting out stuff since 1978. This was a bit of a break through single from 1980. New Wave theme written all over it, synths v rock. Touches of Roxy Music with some nice keyboard sounds, I better they didn’t know they would be writing about President Trump all those years ago.
As you’d expect the “Club Version” is slightly extended but not too dissimilar to the 7″ version , also included.
Backed by a couple of tracks from the album “Lights In The Night.” “Restless” feels a lot like Blancmange’s “Living On The Ceiling” in its exotic arrangement with the driving bass of Les Karski. There is also an edited, 7″ version of “Welcome To The Universe” with more of the conventional Rock elements with lead piano by Warren Morgan.
Moody synths and a Goth edge start this 1982/3 track before swerving towards Duran Duran / Simple Minds territory in a good way. Getting a Steve Thompson mix gives the mix a polished edge. That great bass from Nick Swan is really brought out in the Dub Mix.
“Average Inadequacy” is a hidden gem B-side, quiet but menacing with a good riff. Less generic than the A-side with some nice synth. It was a previous single from 1980 given an update in a “club version”
Back to 1978 and this punky rock anthem from Melbourne’s Skyhooks. From their ‘Guilty Until Proven Insane’ and covered by Iron Maiden. ‘Shirley’ Strachan on Lead Vocal,Bass – Gregory John Macainsh , Drums, Percussion, Backing Vocals – Fred Strauks, Guitars – Bob Starkie, Guitars – Bob Spencer.
It certainly has a Meatloaf vibe to it with those “high” vocals, great Rock N Roll!
Fun, Country Rock track “Don’t Take Your Lurex To The Laundromat” sits on the B-side with “Do The Hook” a basic bluesy rock and roll, with good interplay between guitars.
All styles catered for in this series. Back to synthpop with HUGE electronic drums mixed in with a sampled brass section. A later release (Nov 1983) from Perth’s female fronted band, Lynda Nutter and the lads.
The band’s name refers to the brown venomous snake, the dugite, common to Western Australia.
Plenty of funk influence on this making it sound like early Madonna via ABC, produced and mixed by Carey Taylor.
B-side is more drum heavy but has some nice guitar, it was from their final album “Cut The Talking”
Good old Men At Work , opened many Western eye’s to the fact that Oz had a music scene. Here with a 1983 track from “Cargo” and not extended but re-mastered!!
“It’s A Mistake” is a mid-tempo, anti Cold War song, catchy – and new to me!!!! (schooled by Mike B!)
B-sides are both killer tracks “Who Can It Be Now” (my personal favourite by them) and the New Wave dance track “F-19” an obscure instrumental proving their high musicianship, love the sax solo at the end.
Their breakthrough hit from early 1983 and here in the 2 track US release. One I have definitely heard (and loved) before. Mixed by Nick Martinelli & David Todd it still has that haunting, timeless tone but is different to the version most are familiar with. More space between the instruments, less muddled, solo’s and a different vocal take.
I remember trying to dance to this back in 1986 and couldn’t. Still admire the mix of electronics and real sounds. The Dan Brown bass and pounding Dave Palmer drums make it such a strong rhythm section. The Guy Barker trumpet solo is great, he also provided one for “Sometimes” by Erasure.
All the mixes are gathered together on this US 12″ version with Roli ‘Stoli’ Mosimann extending the main version. The “Skull Crusher Mix” is much less cluttered and is good alternative listen even with the weird vocals effects halfway through, probably the version I’d DJ out to (To an empty dance floor!)
Still never keen on the thankfully short “Energy Mix” , it just doesn’t go anywhere. Big , deep bass tho’.
I can’t believe I’ve had to post 84 times so that re-up requests are approved. New links are up, but only one link to choose from. Oh and if I forget you’re shout up!
The Style Council – Promised Land (US Promo 12″) For Jeffrey (a fresh fresh link!)
A 1986 release from the L.A. quartet. The Line-up was Michael Quercio – vocals and bass (ex-member of the early 80’s band The Salvation Army) , Steven Altenberg- guitars, Mike Mariano – keyboards and Danny Benair – drums. The band came about from the “Paisley Underground”, a name to describe a subset of the 1980’s L.A. music scene which included bands such as Dream Syndicate, Rain Parade, Green on Red, the Long Ryders and the Bangles.
Synth strings and a strong indie vibe. Ian Broudie produced and sounding ever so much like “Lightning Seeds.”
“Regina Caeli” is a traditional hymn sung in the Latin with a sparse synth backing. Very Weird!
Why on here?
William Orbit remixes the last track , an extended mix of the opening track from their album “Ever After”. Weird organ sounds start it off then it kicks into a indie, synthpop dance track. Lots of echoing effects and a great 12″ Mix.
By 1985 The Korgis (now the duo of Andy Davis and James Warren), had truly embraced the synths.
The title track from the album ,”Burning Questions” fits in with what Howard Jones / Duran Duran were doing at the time and embraces Far Eastern sounds as well as imagery. After a long instrumental introduction we get synths and samples building up to the song arrives after nearly 4 minutes.
“Waiting For Godot” is an atmospheric instrumental, soundtrack-like and something Ultravox would be proud of. James Warren was soon to embark on a solo career as this was re-released under his name.
Ph.D were remembered for their own brand of keyboard led soft rock. The band took its name from the initial letters of its three members’ surnames; Simon Phillips (drummer and son of band leader Sid Philips), Tony Hymas (keyboards) and Jimmy Diamond (vocals)
This was the lead single from their second album “Is It Safe ?” that didn’t get a UK release! Orchestrated and with some nice guitar. So good it comes with an instrumental of its own. A mid-paced ballad but very well arranged.
Bonus and to boost sales was their one hit wonder “I Won’t Let You Down” from 1981. A classic that is both quite unique in it’s synth rock sound with those incredible vocals of the much missed Mr. Diamond.
This is an interesting , obscure album from 1981. Quite a few styles span over the 12 tracks. It features Bill Nelson on synths (you can tell by his choice of sounds and playing style) and Midge Ure produces and plays on the opening track.
Snips was guitarist , singer and songwriter Stephen Parsons who had been early 70’s band Sharks, whose sound influenced a few of the punk bands. He does like the short song with plenty of the album’s tracks being well under 3 minutes. Also appearing on the album was bass – Jackie Badger (Berlin’s Jo Julien provides bass on track 3) drums – split between session drummer Clem Cattini and Dave Mattacks, guitars and keyboards – Chris Spedding (who also produces) while Duncan Bridgeman helped out Nelson on synths and also on production.
I’m liking the more experimental tracks, “Telepathy” short and sounds a bit like Be Bop Deluxe. The complex and longest track on the album, “Work” and obviously the synth punk of “Nine O’clock” It does have more of a power pop feel to it though as it was recorded in 1979, some of the lyrics are a bit cringe-worthy , “Tight Shoes”
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