We never do anything obvious on here! Meaning “Wait, Please” in Japanese.
Not much, if any, King Crimson on here. From November ’81 and two tracks from the LP “Disciple.” Co-produced by Rhett Davies it featured the line-up of; Chapman Stick, Bass Guitar, Vocals – Tony Levin, Guitar, Electronics [Devices] – Robert Fripp, Guitar, Lead Vocals – Adrian Belew and Percussion [Batterie] – Bill Bruford. Fans will say not the “real” King Crimson” but heh, it’s different.
This was a special mix / edit of a laidback track with Fripp’s guitar folding around the vocals. Perfect for a chilled day dream
“Elephant Talk” has got a bit of Talking Heads with Belew on lead vocals. Quirky but funky, Chapman stick being used by Levin and of course elephant noises.
The now defunct Daft Punk owe a lot to this fellow. Cerrone was at the height of his Disco popularity when this was released in 1978. A typical, full arrangement and utterly cool and timeless. Tapping into the NY Nightlife.
I prefer the more dramatic, in yer face “Rocket In The Pocket”, the squelchy synth blasts and funkier guitar blasts. (apparently by Jimmy Page!?) The studio version and not the live on with that break!
Debut on here from the Swedish band Ratata. Formed by Mauro Scocco, Heinz Liljedahl, Anders Skog and Johan Kling in 1980, From 1983 the group was a duo consisting of Scocco (vocals, guitars) and Johan Ekelund (bass, keyboards) and went for the a more synth driven sound.
This is the English version with backing vocals by Anders Ericson. Synthpop with plenty of bangs and crashes. A funky little number and quite rare. Reminds me a bit of Thomas Dolby, the arrangements and horns.
The B-side is a short instrumental of the B-side, some nice sounds on here tying it to the release date of 1984.
A new one to me and Marianne Faithfull from 1981 from the LP “Dangerous Acquaintances” and co-written with long time collaborator Barry Reynolds (guitarist in Blodwyn Pig) A little bit of a reggae beat and touch of Hazel O’Connor in the sound.
Produced by Mark Miller Mundy (Steve Winwood) Reynolds was joined by Jo Mavety (guitar), Steve York (bass), Chris Stainton (Keys) and Terry Stannard (drums)
The B-side was also from the LP, a mid tempo bluesy rocker. It appeared in the film , “Cold Comfort.”
Produced with Elvis Costello and Roger Béchirian, a bit of a late Squeeze classic from 1981, a narrative song with some country touches. Glenn Tilbrook in playful lyrical form and cringy rhymes..
Really like the B-side, obviously inspired by the Disco Medley series of Stars On 45 by Starsound. Captain Sensible did something similar on the b-side of “Glad It’s All Over.” (“Damned on 45”) Eight Squeeze tracks squeezed into a track just under 4 minutes, produced by them as well!
From June 1979 and originally released as separate singles in 1978, Beggars Banquet wanted to cash in on recent success, as they would.
When I first heard “That’s Too Bad” I thought it was speeded up! Having got into Numan from the usual root – synths. This Punky sound was a bit of a shock but I come to love it, a stepping stone to the Numan and the bands developing sound.
“Bombers” see’s the introduction of the Moog synth and it does resemble Motorhead’s Bomber, although a lotslower. Still like it’s Punky chug. The rest are Glam Punk (“Blue Eyes”) O.D. Receiver (Post Punk with a guitar solo and a great bassline) More driven bass on the truer Punk sound of “Oh Didn’t I Say”
Valeriun was Numan (Vocals, Guitars), Scarlett was Paul Gardiner (Bass), and Rael was Bob Simmonds or Jess Lidyard (Drums). Very Spiders From Mars but who was the fourth band member on the photo’s ?
I think the 7″ has already been posted but here is the second offering from Gaby Delgado Lopez and Robert Görl. It starts off like League’s “Open Your Heart” but the chanting and life drums give it that D.A.F. signature sound. Released in 1982 it predates EBM by at least 4 years.
Rolling drums and plenty of tom action on the driving B-side.
Well if we are involving The Klinik today we might have a couple from The Godfathers of EDM. From 1981 and quite a complex arrangement on the A-side, synth horns and glockenspiel along with the sequencer. Produced by Conny Plank.
“El Que” is a little bit more hypnotic / tribal, sequencers and drums and female backing vocals / yelps (!) Just needed more variation but those sudden bass rumblings ?!