A hopeful synth tinged Indie anthem from 1989. Produced by Julian Mendelsohn and mixed by Bob Kraushaar. Uplifting saxophone. A lead single for the album, “Good Together” there is a certain Epic quality in the feel. It featured in the New Order biopic “Control.”
The funk is brought on with an instrumental version “Love Is The Way” and “Day 2” a revisit of 1982 track “Day 1”, a short instrumental that is drum machine driven with elements of Yello atmospherics.
From Germany’s Freiheit this was released in April 1990, so it’s 30 year anniversary. Light AOR / Pop Rock with a big helping of synths and tech. The line-up for this album was ) Vocals, Keyboards – Stefan Zauner, Drums – Rennie Hatzke, Electric Guitar, Acoustic Guitar – Aron Strobel, Keyboards – Alex Grünwald and Bass – Michael Kunzi.
Produced by Armand Volker, I like there was a sampler assistant – Wolfgang Müller. Th tracks were re-recorded into English from their 6th LP, Purpurmond (in English, Purple Moon) Making it their 3rd English language album.
As usual you do get lots of variety. Mid-pace ballads, electro funk (with raps) – all with their signature E.L.O. layered vocals and Beach Boy-isms. No filler on this album. A lot of that sample sound first heard on “Running Up The Hill” by Kate Bush. (well on 2 tracks) Quite like the “In The Middle Of The Night” and the way it constantly changes.
Sorry it’s only 192 kps Rip! (It must be an old rip) But you get the general idea.
So before I listened to this I thought novelty, one-hit wonder, Cabaret band.Was I wrong ?
After the opener (that every knows) we get into some Psychedelic Rock, like a sickly cousin of The Damned.
The line-up included; The Doctor (Clive Jackson) – lead vocals, Steve McGuire – guitar, Richard Searle – bass guitar, Steve “Vom” Ritchie – drums and Wendi and Colette Anadin – backing vocals. It was produced by American Craig Lennon, responsible for the discovery and early development of bands including Talking Heads and Ramones.
It’s almost a duet between the Doctor and the Anadin Brothers on most tracks. “Moon Song” has a suitably 70’s Hippie vibe to it – the longest track on the album.
“The Miracle Of The Age” was a very early single produced by XTC’s Andy Partridge and shows early promise.
After listening to the album…. Yes, they are – not much here to grab on to, Sorry not my bag!
A rare promo release from 1982 from The Gulls which included previously unreleased track “Pick Me Up”, to help their exposure in the U.S. and continuing the marketing as the ‘New’ Merseybeat.
“I Ran” doesn’t sound extended but starts off in a more sudden way, still takes you back to that time.
“Messages”, which always reminds me of early Spandau, is more indie New Wave, with plenty of guitar, thanks to Reynolds’ Sonicsnout guitar tone and driving bass.
“Pick Me Up” is even more angular, very New Wave and should of been on the debut album. Got a Devo feel to it with Ian Curtis like vocals, a great rare B-side.
From 1987 and the 2nd single off “Kick” remixed by Francois Kevorkian and Michael Hutchinson who do a decent job, adding a few extra elements but keeping you interested.
“On The Rocks” is a sleazy, late night jazz instrumental track. Plenty of synth horns and real horns. Part of this song was also included in the Video documentary “In Search of Excellence.”
Machinations – Do To You (The Pee Wee Cut) (LTD Aussie 12″)
Also from 1987 and going more synth orientated with a definite dance funk edge we have Sydney-based Machinations. Mixed by Oz DJ Pee Wee Ferris with plenty of edits this was from their final album, “Uptown” produced by Andy Wallace.
The other tracks are more “band” sounding. “Looking….” has a mid groove with some loud keyboard riffs, Yamaha DX-7. A bit like a darker Kajagoogoo to my old ears.
“Done” is a bright, dance/funk track derived from the A-side. Prefer it to the main mix, nicely extended with some great horn work.
From 1988/9 and Pseudo Echo had grown their hair and embraced rock…..Gulp!! (Christian Rock?!) for this their third album. Moving with the times it seems.
The line-up was ; Bass Guitar, Backing Vocals – Pierre Gigliotti, Drums, Backing Vocals – Vince Leigh, Keyboards, Backing Vocals – James Leigh and Lead Vocals, Guitar – Brian Canham.
Produced by the band with Julian Mendelsohn it does have a Stadium feel to it, Van Halen anyone ? Lots of guitar solo’s, I bet the original fans were gobsmacked! There is evidence of some decent song writing but cringe-worthy lyrics, there is still some synth in there somewhere. But….
Big drums from March 1988, getting a bit of a The The vibe about this but with a female lead. Roli Mosimann (Swans) provides the percussive heavy mixes on this massive Club Hit, from the album “Bonk.”
To remind you of the line-up; Sherine: Vocals / Percussion
Nick Disbray: Vocals / Percussion
Tony Antoniades: Vocals / Harmonica
Time Rosewarne: Vocals / Keyboards
Oleh Witer: Vocals / Drums
Adrian Scaglione: Drums
Neil Baker: Drums
Like a rocky Stomp and certainly has aged very well!
Nick Launey provides the “Popper Mix” but it has that 80’s sampled bass which immediately ages it , shame.
Jimmy Barnes – I’m Still On Your Side / Going To Mexico (LTD Aussie 12″)
From 1988 and back to some Rock with the iconic Jimmy Barnes. Country tinged rock given a Bob Clearmountain remix. Powerful, distinct vocals, belted out!
“Going To Mexico” is more boogie woogie rock, ZZ Top-ish.
From 1987 and the rap part called “Mediate” which works a lot better than the later mixes. It was mixed by Bob Clearmountain and Chris Thomas with the “Mediate” bit sounding very Tears For Fears.
The B-side has plenty of bass funk and Barry White vocals, Stax soul saxophone. A Tim Fariss composition.
INXS – New Sensation (Nick’s Twelve Inch Mix) (US 12″)
1988 and a rare remix of this massive track by INXS from er… Nick Launay. Plenty of new gimmicks as he plays around adding over dubs, drop outs and generally showing off. A good “alternative” listen for people who know the original.
Another weird B-side with an introduction to Spaghetti Western then going into James Brown via Monty Python. Sampling “I Need You Tonight” as well as loads more random samples.
As usual the US version has some additional mixes from this nice slice of Soulful House from 1991. Musto And Bones take control, adding some funky keys and adding Club depth to the Subterranean Mixes.
Sonique distinctive vocals are on the bonus track which has more of a Tech house feel to it, less Pop House and more a return to form. Paul Gendler adding the wah-wah guitar an old skool classic.
This was going to go into tomorrows Oz post but I could not bring myself to put it there but bring this 1988 release here, a proper Silly Sunday Song.
A synthpop cover of Little Eva’s classic rejuvenated by Phil Hammond. Sounding very Erasure in the backing too. The “Kohaku Mix” seems to be using a Dead Or Alive backing.
Kylie’s voice being bolstered by Dee Lewis, Mae McKenna, Suzanne Rhatigan and Mike Stock (!) Matt Aitken adds keyboards and guitar.
The elusive “Sankie Mix” speed everything up to HiNRG levels. Done by The Extra Beat Boys, a mixing duo for PWL, originally Jamie Bromfield & Boyowa ‘Yoyo’ Olugbo.
B-side is an album track featuring a bizarre, wobbly bass synth.
As we have a bit more time on our hands to appreciate the long player I thought I would do one of each every day – no particular genre. Stay Safe everyone!
Very apt for anyone suffering a bit of cabin fever at the moment.
From 1991 and from the album ‘Emotional Hooligan. A reggae feel to it with Liz Mitchell (Boney M) adding some background vocals.
Sherwood adds some samples and dub effects. The last mix by Paul Oakenfold & Steve Osborne keeps it the right side of Balearic with a nod to Pro-Gen by The Shamen, who they also remixed around the same time.
I absolutely love anything by Jack Dangers / Meat Beat Manifesto and it was nice to reminded of this as I have the CD single. It is when the drums kick in amidst the Space effects and creative use of samples, trippy – of course. The beginning interview sample was from 1967 and taken from Thrill Kill Kult’s track “A Daisy Chain 4 Satan.”
Freddy Fresh cuts and pastes as only he knows best, adding scratch effects and drops.
Depth Charge (Octagon Man a.k.a. Jonathan Saul Kane) also adds his additional samples and hypnotic drum with a grungy bass tone.
Dub Again is a pulsating bit of break beats and Big drums and some harmonies, the choice of the mixes.
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