Musik Music Musique 1979 is the fourth volume in the series from Cherry Red and is sub-titled The Roots of Synth-pop.
The 3 CD set is released on 16 January 2026. Featuring a colossal 60 tracks, the collection is made up of well-loved classics from 1979 alongside lesser-known gems. Musik Music Musique 1979 features The Buggles, Tubeway Army, The Human League, OMD, John Foxx, Visage, Yello and more. The compilation has track by track information along with sleevenotes by Electronic Sound magazine’s Mat Smith.
Video Killed The Radio Star
Disc one opens with Technopop from The Buggles Clean, Clean single (recorded in 1979 but released in 1980) and is also available on their debut album The Age of Plastic. I’m glad that the compilers avoided the obvious Video Killed The Radio Star, that is ubiquitous on compilations covering this era, plus they made the decision to include the pre-Buggles version from Bruce Wooley & The Camera Club, a more new wave tinged take on this 80s classic. Technopop is a slice of nostalgic pop, driven by Trevor Horn’s bass and vocals, and Geoff Downes multi-layered synths.
M offer Made in Munich, a track cut from the same cloth as their massive hit, Pop Muzik. Robin Scott is joined by members of Level 42 on this addictive track, that name checks John Travolta at one point. The Korgis Cold Tea saw James Warren and Andy Davis move away from their progressive rock past with Stockbridge, to this more angular electronic, 10cc on acid sound.
The first little-known highlight on this compilation comes from Dutch musician Floris Kolvenbach and his Metal Voices project, with the haunting At The Banks Of The River, an adventurous song with a mournful chorus.
Armband by Karel Fialka is a catchy piece of electronica from 1979. Fialka is also known for his singles The Eyes Have It and Hey Matthew (a top 10 hit in 1987). Life In Tokyo (Pt 1) from Japan is a collaboration with Giorgio Moroder, and is one of the bands finest singles.
Tubeway Army’s Are Friends Electric? was released on Beggars Banquet in May 1979 and soon made its way to no1 in the UK singles chart. There will be more from Gary Numan later in this compilation. Pop duo Dollar’s Star Control (B- Side Mix) was the b-side of the more tame Who Were You With In The Moonlight single in May 1979, and is a charming vocoder driven space themed oddity.
The Lone Ranger (1979 Remix) from Rupert Hine’s Quantum Jump was a top 5 hit the second time around, thanks to championing from DJ / television personality Kenny Everett.
If you know, you know. Rupert Hine was an important figure in 80s pop (and beyond), producing and working with Rush, Tina Turner, Howard Jones, the Fixx, Bob Geldof, Thompson Twins, Stevie Nicks, Suzanne Vega as well as releasing a series of influential solo albums, including my favourite, 1982’s Waving Not Drowning.
Birmingham’s Fashiøn deliver the single Technofascist, one of the bands early tracks before line-up changes and a huge pivot in sound that led to the magnificent Fabrique album in 1982. The Technofascist line-up had a sharp post-punk sound, and I remember seeing this line-up supporting The Stranglers at The Rainbow in 1980.
The Cars sprightly Night Spots is an album track from Candy-O, the US bands second album. Bruce Woolley & The Camera Club’s early version of Video Killed The Radio Star features a line-up that included the influential musician Thomas Dolby, and is a spikier more new wave take on what went on to be an 80s classic.
Mirror Of Infinity from the US synth trio Moebius is another gem that passed me by on its original release, with progressive vocals on top of an icy synth soundtrack. The only mis-step for me appears with an awful cover of The Stranglers Hanging Around by Final Program, a cover where the musicians are playing as if they have never heard the original, far superior version. An instant skip from me!
One Rule For You
Disc two opens with an absolute banger in Gary Numan’s no 1 single Cars, that sounds as great today, as it did on its original release in 1979. Nuff said.
Donna Summer producer Giorgio Moroder offers the title track from his album E=MC², a synth pop, disco masterclass. Daft Punk fans will likely enjoy this track.
Nice Mover from Gina X Performance was produced by German producer Zeus B. Held (Fashion / John Foxx), who has his own track titled Held It on this disc. The Gina X Performance had an underground hit with No G.D.M., and were surely an influence on the mighty Propaganda in the later part of the 80s.
Orchestral Manoeuvres In The Dark’s Almost slipped by me when I bought their Electricity 7″ single, why didn’t I play the b-side? Almost is a delicate, forlorn piece of electronica that stands up well. The Men (an early incarnation of The Human League) appear with a funky bass line driven I Don’t Depend On You.
One Rule For You from After The Fire should have been a massive hit, with Rupert Hine, Muff Winwood, Rhett Davies and John Leckie on production duties on their second album Laser Love. Thrash was the debut single from Cowboys International, a short lived pop band, who mixed new wave with synth pop.
Factory Records act Minny Pops early single Dolphin’s Spurt has an inventive guitar line running through the sparse electronics.
Producer extraordinaire Zeus B. Held bridges Krautrock and the late 70s electronic explosion with Held It from his second solo album, that will appeal to fans of John Foxx’s The Garden album. The Swedish band Secret Service round off disc two with the saccharin pop of Oh Susie. Once you hear this song, you will struggle to get it out of your brain for days.
Living By Numbers
The third and final disc opens with a track from The Human Leagues Reproduction album, the insanely catchy Blind Youth. Back To Nature from Fad Gadget (Francis John Tovey) was a dark electronic single released by Mute Records.
Landscape (featuring future acclaimed producer Richard James Burgess) contribute the 12″ version of the playful instrumental Japan, a precursor to the bands hits with Einstein A Go-Go and Norman Bates. Japan sounds like a theme tune to an 80s cop show that sadly never existed. What a bass-line too.
Frequency 7 by Visage was the b-side to their debut single, Tar, and is a sparse, dark piece of Ballard influenced electronica. Living By Numbers New Musik was an early single from the band that featured producer Tony Mansfield.
“They don’t want your name, just your number”
Suicide’s Dream Baby Dream, produced by The Cars’ Ric Ocasek, has found a new audience due to the songs use on television and in film, including Alex Garland’s disturbing Civil War.
John Foxx appears with Young Love (the 1979 version that was first released as part of a Metamatic album reissue). Forever Tonight by Hammer (featuring Jan Hammer, Miami Vice theme composer and future Styx vocalist Glen Burtnick) is a disco infused synth pop song.
Computer was included on Toyah’s debut album Sheep Farming In Barnet and has aged particularly well. Thomas Leer and Robert Rental’s Attack Decay is an album track that offers an industrial, warped peep into the future.
Don’t Dither Do It (7″ Version) from Steve Hillage (former member of Gong and future founder of System 7) is an enjoyable new wave, disco crossover. Rheinita (7″ Version) from La Düsseldorf is an instrumental shiny electronic pop piece.
Musik Music Musique 1979 disc three closes with the barely recognisable lo-fi cover of The Beatles All You Need Is Love by Instant Automatons.
Musik Music Musique 1979 is a wonderful time capsule that showcases the futuristic experimentation of the electronic / post-punk tinged sound that grew out of punk before mutating into the heady electronic pop that dominated the first half of the 80s.
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TRACK LISTING DISC ONE The Buggles – Technopop M – Made In Munich The Korgis – Cold Tea Metal Voices – At The Banks Of The River Yello – I. T. Splash Dalek I – The Kiss Karel Fialka – Armband Japan – Life In Tokyo (Pt 1) Black Rod – Going To The Country Tubeway Army – Are Friends Electric? Dollar – Star Control (B- Side Mix) Quantum Jump – The Lone Ranger (1979 Remix) Fashiøn – Technofascist The Cars – Night Spots Devo – Strange Pursuit Bruce Woolley & The Camera Club – Video Killed The Radio Star Moebius- Mirror Of Infinity Tanya Hyde – Herr Wunderbar Final Program – Hanging Around Metrophase – New Age
DISC TWO Gary Numan – Cars Giorgio Moroder – E=MC² Gina X Performance – Nice Mover Blah Blah Blah – In The Army Gerry And The Holograms – Gerry And The Holograms (Alternate Drumbox Version) Orchestral Manoeuvres In The Dark – Almost The Men – I Don’t Depend On You Telex – Rock Around The Clock They Must Be Russians – Nagasaki’s Children Silicon Teens – Memphis Tennessee Henry Badowski – Making Love With My Wife After The Fire – One Rule For You Cowboys International – Thrash Jude – Mirror Mirror Minny Pops – Dolphin’s Spurt Mi-Sex – Computer Games Passage – 16 Hours Zeus B. Held – Held It The Family Fodder – Sunday Girl #1 Secret Service – Oh Susie
DISC THREE The Human League – Blind Youth Fad Gadget – Back To Nature Landscape – Japan (12″ Version) Calvin Twilight – Harmony Cuddly Toys – Madman (Original 1979 Japanese Mix) R.L. Crutchfield’s Dark Day – Hands In The Dark Visage – Frequency 7 New Musik – Living By Numbers Suicide – Dream Baby Dream John Foxx – Young Love (1979 version) The Dodgems – Science Fiction (Baby You’re So) Genocide – Pre Set Future Hammer – Forever Tonight Toyah – Computer Thomas Leer and Robert Rental – Attack Decay Plain Characters – Man In The Railings Steve Hillage – Don’t Dither Do It (7″ Version) La Düsseldorf – Rheinita (7″ Version) Tim Blake and Jean Phillipe Rykiel – New Jerusalem (Extract) Instant Automatons – All You Need Is Love
Steven Wilson’s eighth Studio album The Overview is released by Fiction Records (The Cure / Death from Above 1979 / St. Vincent) on 14 March 2025.
The forty-two-minute album consists of two tracks: Objects Outlive Us and The Overview, each inspired by the “overview effect” experienced by astronauts looking back at the Earth from space.
Wilson describes the album as being “a 42-minute long journey based on the reported “overview effect”, whereby astronauts seeing the Earth from space undergo a transformative cognitive shift, most often experiencing an overwhelming appreciation and perception of beauty, and an increased sense of connection to other people and the Earth as a whole. However, not all experiences are positive; some see the Earth truly for what it is, insignificant and lost in the vastness of space, and the human race as a troubled species. As a reflection of that, the album presents images and stories of life on Earth, both good and bad.”
Alongside Steven, The Overview album features studio appearances from regular collaborators Craig Blundell (drums), Adam Holzman (keyboards), Randy McStine (guitars) and Rotem Wilson (spoken word), and features a set of lyrics from Andy Partridge (XTC) on one of the pieces (Objects: Meanwhile) that is part of the first track, Objects Outlive Us.
The Overview is available on a variety of formats, including CD / LP (including coloured vinyl) / Blu-ray / limited edition boxset and digital platforms.
Objects Outlive Us
The Overview is unique for a modern album, in that there are just two tracks, but each track has distinct parts that make up the whole. These individual parts flow together well, but are all very different pieces, musically and lyrically, with just the occasional revisiting and recycling of musical themes.
To contrast against a recent instance when SW has done something similar, with Tim Bowness on no-man’s Love You To Bits album, on Love You To Bits the music evolves and mutates from the same basic musical template, with only a few instances of separate standalone melodies. The Overview, though it is linked by a central theme, is mostly made up of very distinct parts with less crossover, so it feels more like a complete musical suite, with plenty of twists, turns and surprises for the listener.
Did You Forget I Exist?
The first section, No Monkey’s Paw, from Objects Outlive Us opens with disembodied vocals from SW giving a feeling of floating in space, as instruments and extra harmonies arrive on the scene. The music is beat-less at this point, driven by strings and synth pulses. A very direct, raw and emotional beginning.
A repeated piano riff and cymbals usher in the next part of the track as the tension builds, but there is still a lot of space in the arrangement. The next part, which is a much fuller and more traditional Wilson rock / pop arrangement, places the vocals very much front and centre. Its difficult to tell with just two digital files provided for review, but I think this is Objects: Meanwhile, which has lyrics by XTC’s Andy Partridge.
This section is one of my personal highlights. I love the myriad of guitar and synth lines intertwining and soaring, with a feeling of sweetly psychedelic pop. This is the only instance on the album where I could see a section existing outside of the album as a standalone “single” track, whereas the rest of the pieces feel like they are very much connected as part of the overall body of work.
I often quote strong lyrical lines in my reviews, and there are some very interesting and emotional lyrics on the album, but I won’t spoil the surprise for you, as so little has been revealed in advance.
Just before the 8 minutes mark of Objects Outlive Us the mood turns on a dime to a post-rock, distorted bass and screeching guitar workout that signals chaos and disorder, as the heaviest point on the album crashes back down to earth with a return of the previous sections lyrics and music.
The song suite continues with a guitar and piano driven vocal piece, with the vocals pushed back ever so slightly in the mix. I think this will sound stunning in surround sound, as Craig Blundell’s drums propel this song into the stratosphere, with the guitar treatment giving me Insurgentes vibes.
Frenetic, multi-layered guitars then propel us down into a spacey, almost Porcupine Tree echoing instrumental section, before opening a door back into the opening mood of the next instalment, that reveals itself as No Ghost On The Moor.
Wilson’s vocals are beautiful, languid but also emotionally hitting so deep. Whilst the music touches on the feel of early Porcupine Tree (the delay on the snare ♥), Wilson’s vocals are definitely of the now. A slow paced but absolutely heart-melting distorted guitar solo drives us home (see what I did there!) as Objects Outlive Us takes its leave.
The Overview
The second suite is the slightly shorter The Overview, commencing with a glitchy electronic piece, featuring Rotem Wilson listing aspects of the endless expanse of the universe. A delicious string motif signals a change is on it’s way, as a familiar refrain dials back into a more acoustic arrangement and introduces SW on vocals for A Beautiful Infinity I and II.
The pieces utilise a tried and trusted SW vocal delay effect, alongside a Solina synth line topped by Rhodes piano leading to some simply wonderful clear guitar solo lines and riffs. The trippy end section on the first Beautiful Infinity piece works so well, with rich harmonies weaved throughout the song. The second piece takes the section to new heights, with propulsive drums and further electrifying solos. The section is then reborn as the final part of the Infinity trilogy, with delightfully percussive electric and acoustic guitar and synths.
The mix of electronics and rock based performances make this such an exciting part of the album. If you are lucky enough to capture one of the forthcoming live shows, The Overview is likely to blow your mind.
The vocal-less Permanence takes up the final 3 minutes 30 seconds of The Overview track. The tempo drops to the floor as suspended synth and Rhodes lines deliver a late-night feeling that symbolises the wide expanse of space, along with a palpable mood of calm and relaxation following the quite frenetic feel of the earlier sections.
At this point, I think that it is worth pointing out that my review experience is not the best way to hear The Overview, as some parts are missing. Firstly, when the physical package arrives (and this album is built to be experienced in the physical format, streaming will not be a complete experience), studying the lyrics will be a required part of the first few plays. Some tracks have the vocals sitting slightly back in the mix, so studying the lyrics will help with comprehension, and will be part of appreciating the album as a complete musical experience.
I also think that the artwork will build a sense of the meaning behind the individual parts of the two tracks. And finally, whilst the stereo mix is, as always, excellent, I am expecting the album to offer a truly immersive experience in surround sound, in both 5.1 and Dolby Atmos versions. I am personally desperate to experience the album on my (admittedly quite light) 5.1.2 speaker Dolby Atmos setup. Lights off, volume up.
The press release talks of The Overview being a “return to expansive, progressive music” and I agree, but this is not the love letter to traditional progressive rock that SW displayed on his third solo album The Raven That Refused to Sing, so don’t expect that.
It is progressive in the true sense of the word, as music that expands on the boundaries of traditional genres. It is also progressive in the way that Mike Oldfield’s 1979 masterpiece Platinum tied together different genres, tempos and separate pieces that define the whole.
My comparison is not a musical one with my favourite Oldfield album, but I think they both share a bravery in the way the artists have chosen to move in and out of themes and styles to make an album that is built to be consumed in one sitting, whilst keeping your attention for the whole length of the album. It is such a fascinating, satisfying musical journey.
Wilson’s Universe
One of the personal takes I get from The Overview is how the album has one clear inspiration and influence, and that’s Wilson’s music and all that has gone before in his own career, rather than influences sparked by other artists. There are fleeting nods to his own back catalogue throughout the album, from solo releases as well as Porcupine Tree and collaborations.
I noticed subtle musical tips of the hat towards The Sky Moves Sideways as well as Hand. Cannot. Erase. I did not find myself thinking that any track or its sounds might be inspired by other artists, and so for me this album exists in its own musical universe, giving it a unique place in Wilson’s vast catalogue.
I am excited to hear fans opinions of The Overview from release day onwards, as unlike previous recent albums, so little of the music has been teased in advance. Listeners will get to experience the album on their first listen in the way it is meant to be heard, in one complete sitting, fresh and unknown.
I hope you love the album as much as I do, and please feel free to leave comments on my review.
Buckle up and enjoy the trip!
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Buy The Overview (boxset / CD / vinyl / bluray) from Burning Shed
OBJECTS OUTLIVE US (23.17) No Monkey’s Paw The Buddha Of The Modern Age Objects: Meanwhile (lyrics by Andy Partridge) The Cicerones Ark Cosmic Sons Of Toil No Ghost On The Moor Heat Death Of The Universe
THE OVERVIEW (18.27) Perspective A Beautiful Infinity I Borrowed Atoms A Beautiful Infinity II Infinity Measured In Moments Permanence
Cherry Red are releasing a 5CD deluxe edition of Climie Fisher’s 1988 album Everything, including the original album alongside a staggering 51 bonus tracks featuring singles, B-sides, remixes, edits, alternate versions, demos and previously unreleased recordings.
This new version of the album has been remastered by Oli Hemingway at The Wax Works using the original master tapes. The package includes a 28-page booklet featuring lyrics, a full-colour illustrated discography, rare photos, and comprehensive credits.
The album was produced in two halves with five tracks produced by Stephen Hague (Pet Shop Boys) and five produced by Steve Lillywhite (U2). An additional track, Rise To The Occasion (Hip Hop Mix), was produced by Stephen Hague with additional production and remix by Phil Harding.
The list of musicians that appear on Everything includes bassists Nathan East and Pino Palladino, guitarist Neil Taylor, plus David Palmer, Mel Gaynor and Steve Ferrone on drums, Luis Jardim on percussion and Kirsty McColl provides backing vocals on This Is Me.
Everything – the main album
The original album sounded great in the late 80s, but this new, sympathetic remaster is a definite improvement. Drums have more power and the vocals sit better in the mix, with a real added bite to the bass and a fresh shine evident on the guitars.
Everything is one of my favourite pop albums from the late 80s. Love Changes (Everything) has stood the test of time, and both versions of Rise To The Occasion remain great pop songs. I was introduced to the bands work by heavy radio play of Rise To The Occasion (Hip Hop Mix), in fact I still own the 12″ vinyl of the extended mix.
I Won’t Bleed For You sums up the sound of the late 80s, with its heady mix of acoustic and electronic stylings. The playful Room To Move sounds wonderful with this new remaster, and This Is Me has remained one of my album highlights. The rhythmic guitar from Neil Taylor works so well with the always joyful Luis Jardim percussion.
Never Let A Chance Go By features a fine Pino Palladino bassline and a great vocal from Simon Climie. Its a shame that Climie and the late Rob Rob Fisher only released two albums together.
Bite The Hand That Feeds is a single that never was and the album ends with the slower-paced Break The Silence and the lively arrangement of Keeping The Mystery Alive, featuring powerful backing vocals from The Soultanas and some imaginative guitar work (lead and rhythm) from Neil Taylor, who went on to work with Tears For Fears and Robbie Williams.
The rest of Everything
The remaining 4 discs in the collection contain a mixture of remixes, extended versions, demos and b-sides. Highlights include the alternate 7″ mix of Rise To The Occasion, with added percussion and a slightly different bassline, and a flurry of extended mixes including a wonderful 9 minutes take on the extended version of This Is Me and the “Extended Bleed Mix” of I Won’t Bleed For You, with Rob Fisher adding layer upon layer of synth riffs.
The highlight of the self-produced non-album tracks for me is Nothing But A Feeling, with its jazzy guitar and stuttering beat. The demos you will probably only play once or twice, as the songs are already pretty well formed. If you are a fan of the Hip Hop mix of Rise To The Occasion, the sample heavy 8 minutes plus remix is on disc four. This disc consists of a plethora of extended cuts, including an 8 minutes + version of I Won’t Bleed For You.
The only mis-fire is the Everything Megamix that closes disc 5, as the production / concept has not aged well, and is a track that I find myself skipping.
Cherry Red have wisely kept the original album on disc one, as this is the disc you will return to the most, with the other discs there for you to dip in and out of, particularly when you are in an Eighties mood. This new deluxe edition is the definitive version of the duos first and finest album.
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DISC ONE ORIGINAL ALBUM Love Changes (Everything) Rise To The Occasion I Won’t Bleed For You Room To Move Precious Moments Rise To The Occasion (Hip Hop Mix) This Is Me Never Let A Chance Go By Bite The Hand That Feeds Break The Silence Keeping The Mystery Aliv
DISC TWO BONUS TRACKS – SINGLES Love Changes (Everything) (Remix) Rise To The Occasion (7″ Version) BONUS TRACKS – B-SIDES Far Across The Water Mental Block Nothing But A Feeling Never Close The Show Climbing Up The Ladder BONUS TRACKS – DEMOS & PREVIOUSLY UNRELEASED RECORDINGS Love Changes (Everything) (Demo) † Rise To The Occasion (Demo) † Precious Moments (Demo) † Lifeline † Fighting Talk † Money Makes The Man (Go Crazy) † Love Transmission † Emotional Waves † Unfinished Business †
DISC THREE BONUS TRACKS – SINGLES: REMIXES, EDITS & ALTERNATE VERSIONS Keeping The Mystery Alive (7″ Remix) † Rise To The Occasion (7″ Edit) Love Changes (Everything) (US Single Edit) Rise To The Occasion (7″ Mix) * I Won’t Bleed For You (Radio Edit) † Rise To The Occasion (Alternate 7″ Remix) † BONUS TRACKS – EXTENDED VERSIONS & REMIXES This Is Me (Extended Version) Keeping The Mystery Alive (Extended Mix) Rise To The Occasion (Extended Mix) Love Changes (Everything) (Love Mix) I Won’t Bleed For You (Extended Bleed Mix) Keeping The Mystery Alive (12″ Mix) Mental Block (Full Length Version) *
DISC FOUR BONUS TRACKS – MORE EXTENDED VERSIONS & REMIXES This Is Me (12″ Version) Keeping The Mystery Alive (Bruce Forrest 12″ Mix) † Rise To The Occasion (Hip Hop Remix) Love Changes (Everything) (House Mix) I Won’t Bleed For You (High Velocity Mix) * This Is Me (‘This Is It’ Mix) Keeping The Mystery Alive (John Gallen 12″ Mix) † Rise To The Occasion (Extended Mix Edit) Love Changes (Everything) (Pop Mix) * I Won’t Bleed For You (12″ Mix) † Keeping The Mystery Alive (Dealer Mix) †
DISC FIVE BONUS TRACKS – EVEN MORE EXTENDED VERSIONS & REMIXES Love Changes (Everything) (Extended Mix Edit) I Won’t Bleed For You (Nick Gatfield Mix) † Keeping The Mystery Alive (Extended Version) † This Is Me (Dub) † Rise To The Occasion (Hip Hop Dub) † Love Changes (Everything) (Dub) † This Is Me (Dub + Claps) † I Won’t Bleed For You (Dub) † This Is Me (Dub + Vocal) † I Won’t Bleed For You (Bonus Beats) † Everything Megamix * * PREVIOUSLY UNAVAILABLE ON CD † PREVIOUSLY UNRELEASED
Complete Danny Wilson is a 5CD boxset, released by Cherry Red on 28/02/2025, bringing together the group’s two albums as well as their b-sides, mixes and a complete live show (some of which has never been heard before).
The new 5 cd set was mastered by Andy Pearce. The band were involved in all aspects of the release and have been interviewed extensively for the booklet, that features revealing and often humorous band member comments on the studio tracks along with background to the live recordings.
The band’s debut Meet Danny Wilson is on disc 1 of the 5 disc set. Davy is the story of a journey to the bright (or maybe quite faded) lights of London. The song really sticks in your head after hearing it again.
“But remember, money is nothing alone Remember, if you want to come home I won’t throw the first stone, Davy”
Davy is a delightful opener and an early indication of the improvement with the mastering. Comparing to my Sweet Danny Wilson CD version from the early 90s, the songs are louder (but not brick-walled) with so much more clarity and punch. All of the tracks sound improved, not just the two studio albums.
Aberdeen fully utilises the studio equipment of the era, including the Fairlight. The sleeve-notes explain that the band went “a wee bit mental” throwing everything at the track, and the more stripped down version on disc 4 is my favourite take, using less electronics to populate the arrangement.
Mary’s Prayer is simply one of my favourite songs of all time. This punchy, crisp mix makes it feel like you are discovering the song for the very first time, and that’s a wonderful feeling.
“So when you find somebody you keep Think of me and celebrate I made such a big mistake When I was Mary’s prayer”
The performances, arrangement and heart-wrenching lyrics make this a timeless classic, that still hits hard on every single listen.
Lorraine Parade showcases the band at their best, with space and restraint in the performance, and features one of Gary Clark’s finest vocals. Broken China has a fairly sparse arrangement, using an addictive marimba line to push the song along at a relaxed pace, before a jagged middle section turns the mood darker. An album highlight for me.
Steamtrains To The Milky Way features a mesmerising bassline and wonderful trumpet from Roddy Lorimer, the star of many 80s recordings, that adds a Burt Bacharach touch to the mix. Ruby’s Golden Wedding is a brass and accordion driven piece, unlike any other track on the album. Musical surprises pop up throughout the duration of the track, which sounds stunning on this 2024 master.
A Girl I Used to Know has always been a favourite of mine. I bought this as a CD single at the time of release, from Our Price, UK readers might remember this shop. A rare up-tempo piece, with excellent percussion underpinning sections of the song. Five Friendly Aliens also utilises marimba, and is so well produced that it does not feel like it has dated. Shades of Mr Bacharach also haunt I Won’t Be Here When You Get Home, a wide-screen production that delivers a fitting end to the album, with its delicious chorus.
1989’s Bebop Moptop is the subject of the second disc. Imaginary Girl always reminds me of Francis Ford Coppola’s One From The Heart, with its colourful, imaginative soundscape. I love how the lead guitar feels like it is about to scream, but is rained back in and never moves to centre stage, which would have been an obvious move to make. Danny Wilson did not do obvious.
The Second Summer Of Love was the bands second and final top 30 hit in the UK, and unlike the “musical movement” of the second summer of love, this track has not dated. “Acid on the radio…”
If You Really Love Me (Let Me, Go) dials down the pace quite a few notches. The space in this song lets it really breathe, and the soulful backing vocals add to the unique flavour served up. Loneliness has a haunted vibe to add to the very dark lyrics, as disembodied voices and snatches of broadcasts swim in and out of earshot, with the song ending on vinyl static. Turn the record over!
Charlie Boy is stamped throughout with an 80s sound, including lovely, warm guitar lines that wash over a tale of addiction. The percussion on this song is a star, its a roll call of iconic drum machines. Why has no-one picked up on Never Gonna Be The Same for the myriad of Christmas compilations? Those bell synth lines and sleigh-bells need to be heard in December, although it is obviously not a Christmas song.
It was lovely seeing the Alesis HR16 sequencer (I owned a second hand HR16 in the late 80s) getting a mention in the sleeve-notes for Desert Hearts. Gotta love Alesis. The song showcases some interesting production techniques and a rare Danny Wilson guitar solo.
N.Y.C. Shanty is a Kit Clark lead vocal, and has a bold swagger that conjours up the ramshackle older New York City vibe.
Goodbye Shanty Town is a return to the sound of the bands debut album. I love the guitar production and the way that the song really springs into life for the chorus. A real hidden gem…
Bebop Moptop comes to its conclusion with The Ballad of Me and Shirley Maclaine, a short, sharp and sweet ending.
“I guess because It was December in May We had to sleep on the hay And as we counted the stars”
I hope the band let the kidnapped Burt Bacharach out of the studio after recording this song, as he had certainly left his mark. Don’t believe the band if they deny the kidnapping, just because it’s not on Wikipedia doesn’t mean it didn’t happen. Sadly Bebop Moptop was the end of Danny Wilson as a recording band.
The 3rd CD contains B-Sides / Edits / Mixes. Highlights from this disc include I Won’t Forget (what a chorus) and the slow-burning Pleasure To Pleasure that stretches far beyond their usual 3 minutes, and is one of the bands finest songs, one that I first loved many moons ago as it appeared on the A Girl I Used to Know CD single. It remains as powerful and raw as when I first heard the song.
“I will change my key from minor to major”
Mary’s Prairie is a tasteful country-tinged take on, well you know what song! Kooks is an affectionate cover of the David Bowie classic from Hunky Dory. Growing Emotional is a rare occurrence, Danny Wilson being influenced by current artists, in this case, with the drum sounds, guitar, synth stabs and vocal styling of Prince. This shouldn’t work, but it highlights that even when the band went well off-piste, they were still able to deliver zingers.
I’ll Be Waiting is a highlight of this b-sides disc, with its Thin Lizzy / Queen dual guitar riff coming out of nowhere to deliver a shock.
A Girl I Used To Know (Single Mix) is my favourite take on this song (it’s that damn 80s CD single I keep mentioning). I never tire of hearing this track, I just wish I could find my CD single. Where did I put it?
CD 4 is mainly edits and mixes, including the wonderful Paul Staveley O’Duffy remix of Mary’s Prayer and the reverb heavy New York Mix of If You Really Love Me (Let Me, Go).
The 4th disc ends with a series of demos and portastudio recordings. The demos are high quality, and show Danny Wilson as they start to crystalise into the band we knew.
Steamtrains To The Milky Way (Original Demo) is a wonderful 8 track demo, utilising the Ensoniq Mirage (a mid-80s synth / sampler).
St. Jude (Portastudio) offers a less sumptuous sound from the band, but gives a tantalising glimpse of what was just around the corner. The disc closes with The Second Summer Of Love (The Dundee Demo), which is a shorter take on the eventually released version.
The 5th and final disc is a live concert from the London Town & Country Club, recorded in October 1990. This is an excellent quality recording and the highlights for me include Broken China and an absolutely spell-binding cover of Abba’s Knowing Me Knowing You (aha!). The song is performed with passion and obvious love. Plus a well-received by the very vocal audience (and slightly pacier than normal) performance of Mary’s Prayer.
The final disc ends with a raucous The Second Summer Of Love live from Caird Hall, Dundee, from September 1989 and Don’t Know Who I Am (which musically reminds me a little of the decadence and pomp of Bertolt Brecht / Kurt Weill’s Alabama Song) recorded live in Studio 5, Tyne Tees Television.
Complete Danny Wilson has been put together with love and affection from the former band members and project designers / Matt Phillips (sleeve-notes) and Andy Pearce with the audio mastering. Well done Cherry Red, this is how to curate a back catalogue.
The box-set is a must-have for anyone who appreciates well-crafted pop music from the late 80s, and the collection offers so many more highlights than just the two well-known hit singles.
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Meet Danny Wilson Davy Aberdeen Mary’s Prayer Lorraine Parade Nothing Ever Goes to Plan Broken China Steamtrains to the Milky Way Spencer Tracey You Remain an Angel Ruby’s Golden Wedding A Girl I Used to Know Five Friendly Aliens I Won’t Be Here When You Get Home
DISC TWO
Bebop Moptop Imaginary Girl The Second Summer of Love I Can’t Wait If You Really Love Me (Let Me, Go) If Everything You Said Was True Loneliness I Was Wrong Charlie Boy Never Gonna Be the Same Desert Hearts N.Y.C. Shanty Goodbye Shanty Town The Ballad of Me and Shirley Maclaine
DISC THREE
B-Sides / Edits / Mixes
I Won’t Forget Pleasure To Pleasure Monkey’s Shiny Day Mary’s Prairie Kathleen (House Mix) Living To Learn Kooks Get Happy Growing Emotional I’ll Be Waiting The Lonesome Road A Girl I Used to Know – Single Mix If Everything You Said Was True – Radio Edit
DISC FOUR
B-Sides / Edits / Mixes A Girl I Used to Know – US Remix with Guitar Solo Mary’s Prayer – Paul Staveley O’Duffy Remix Nothing Ever Goes to Plan – Blix Mix ’86 Aberdeen (The way it should have been – The Strepzil Logic EP) I Can’t Wait – Remix If You Really Love Me (Let Me, Go) – New York Mix From A Boy to A Man – Sweet Danny Wilson Comp Monkey’s Shiny Day – Original Demo Version Steam Trains to The Milky Way – Original Demo Broken China – Original Demo A Fragile World – Portastudio St. Jude – Portastudio The Second Summer of Love – The Dundee Demo
DISC FIVE
Live at the London Town & Country Club, 1 October 1990 Never Gonna Be the Same Broken China Davy I Was Wrong Lorraine Parade Steamtrains To the Milky Way Charlie Boy Knowing Me Knowing You Imaginary Girl – Everything You Said Aberdeen I Can’t Wait Mary’s Prayer Loneliness
BONUS TRACKS The Second Summer of Love – Caird Hall, Dundee, 16th September 1989 Don’t Know Who I Am – live, Studio 5, Tyne Tees Television
Parts Of The Process is a new 11CD Box Set that celebrates Kevin Godley and Lol Creme’s recordings between 1977 and 1988. The set includes all of the Godley & Creme studio albums released during this period, with an additional two discs containing single edits, alternative mixes/versions and non-album tracks.
Running to an impressive 105 tracks, the set features the albums Consequences (1977 – split over 3 discs), L (1978), Freeze Frame (1979), Ismism (1981), Birds Of Prey (1983), History Mix Vol.1 (1985) and Goodbye Blue Sky (1988), along with a disc of non-album tracks & 7” versions plus a disc containing extended versions.
Parts Of The Process also includes a 10,000 word essay by biographer Liam Newton, plus an intro from Kevin Godley.
The first three discs in the collection contain 1977’s Consequences album. The album came together after Godkey & Creme left 10cc, and featured their invention, the Gizmo, an effects device for the electric guitar and bass guitar. The album features a narrative, performed by English comedian / actor Peter Cook, and features often experimental music, some instrumental, some with vocals.
Consequences was built to be played as a whole piece, and whilst it is a challenging listen, you will either love it or loathe it. It contains the seeds of what was to come from the duo, and is a wonderful album to experience on headphones.
It was out of time and out of favour on release in 1977, as the full force of the musical revolution that was punk hit the world, but it deserves a re-evaluation and I personally think the album is built for now, with the emergence of Dolby Atmos as a viable new listening medium. Let’s hope someone has access to the original multi-track tapes and the phone number for Steven Wilson (who I know is a fan of the album), as this would make a wonderful Bluray disc in Dolby Atmos.
Whilst I have pointed out that it works best as a whole listening experience, there are a handful of stand-out tracks that I still return to regularly. The 10 minute plus The Flood is like an audio movie, propelled by stunningly treated vocals, and once you are through the flood sequence, the water adds the rhythm to a wonderful passage of music that sees the song to its watery end. Don’t listen to this track if you are desperate for the loo.
Five O’Clock In the Morning remains one of my favourite Godley & Creme songs. Sounds of the outside world sneak into the piano and massed choral voices gem of a song about the early hours before the new day is born.
“And when the one you’re holding Runs her fingers through your hair You’re on”
Lost Weekend still holds up particularly well, and features a stunning vocal performance from Sarah Vaughan. It’s Cool, Cool, Cool In The Morning takes me back to the vocal arrangements of early 10cc.
Sailor is one of the more laid-back, traditional arrangements on the album. Phased guitar, and aching vocals, underpinned by waves of backing vocals make this a timeless sea-shanty.
Disc four in this collection provides us with the duo’s second studio album, L from 1978. A much tighter and more focused affair than the triple disc Consequences, but it is still a wildly experimental collection. Whilst L was produced by Kevin Godley & Lol Creme, with Kevin and Lol providing the majority of the performances, the duo did have some help with engineering by Chris Gray & Nigel Gray, plus musical guests Andy Mackay (Roxy Music) and Jonathan Handelsman (saxophone) along with a spoken appearance from DJ / broadcaster Paul Gambaccini.
The Sporting Life has a feel of the 50s with the vocal arrangements, and some warm Rhodes piano, as discordant bass and acoustic piano creeps into the rapidly mutating arrangement – keeping the edgy feel to the song as it turns into an almost post-punk end section.
Sandwiches of You has such an interesting soundscape – a nagging beat and fuzzy guitars, undercut by frantic marimbas and kick drum to keep you perpetually surprised. Art School Canteen dials back the weirdness and features one of the duos finest lyrical journeys to date, that sits perfectly with the classic mid-70s feel of the track.
“Does getting into Zappa Mean getting out of Zen Sex has reared its ugly head at last But it didn’t look ugly then”
I feel that musically, with L, Godley & Creme were out of time again. This album feels like it was from the early to mid-80s, so was in fact ahead of its time. Punchbag is a case in point, it would not have sounded out of place a couple of years later. Shifting from messed up piano led edgy pop, to an new wave infused conclusion. As confusing as that sounds written down, the arrangement works beautifully. L closes with a scathing takedown of the music industry with Hit Factory / Business Is Business.
“Keep it simple Keep it neat Aim your hook At the man in the street”
The song sweeps in and out of genres, with an almost dream-like soundtrack, whilst the duo fire sharpened lyrical arrows at those who churn out formulaic nonsense from their (s)hit factories.
“Only the numb survive…”
1979’s Freeze Frame is my favourite Godley & Creme album. It features the duo at their experimental peak, taking chances that many others at this time would have been afraid to take. It is a very brave album. Freeze Frame saw a continuation of their relationship with Nigel Gray, as it was recorded at his Surrey Sound Studios in Leatherhead.
Straight out of the blocks, with An Englishman In New York, their intentions were clear. Godley & Crème deliver intelligent pop created with cutting edge technology, in the pre-Sampler era.
“Strange apparatus, even stranger theme”
The doubled lyric lines are slightly out of time with the main lead vocal, using the Eventide Harmoniser, an early multi-effects processor, used by David Bowie and Frank Zappa that “Fucks with the Fabric of Time”. Its an effective treatment that adds value to the song. Random Brainwave alternates between the hazy verse and a straight up disco section that appears just the once, apropos of nothing.
I Pity Inanimate Objects is an absolute delight. Also using the Harmoniser, the lyrics have never been more prescient. The lead lines screech in and out of the verses, and for a track dealing with the lifeless, the song hits hard.
“The frustrations of being inanimate Maybe its better that way The fewer the moving parts The less there is to go wrong I wonder about these things”
The title track should have been released as a single, though I suppose the Manchester Utd line put paid to that as a possibility. Clues is so beautifully produced. The chorused guitar lines mixed with the lead lines and the (ahead of its time) tribal drums make this one of the strongest songs on the album.
Mugshots is so catchy it melts my brain. Blending classic Brill Building songwriting techniques on top of quirky production experiments, leading to a wonderful song that feels the closest to classic 10cc that Godley & Creme dared venture.
Freeze Frame closes with the delicious Get Well Soon, an ode to ill-health and the late night soundtrack that can accompany insomnia.
“I’ve never liked the taste of Lucozade Another sip of hospital champagne Charge your glasses Radio Luxembourg”
It must have been very tempting to play this “straight”, but thankfully they didn’t, and Godley & Creme’s imagination runs riot, both lyrically and musically, on Get Well Soon, one of the highlights in their impressive catalogue.
Paul McCartney adds backing vocals to Get Well Soon, whilst other guests on the album include Roxy Music’s Phil Manzanera on guitar on 4 tracks and Rico Rodriguez (ska and reggae musician) on trumpet and tuba on An Englishman in New York.
Ismism was released in October 1981, and was titled Snack Attack in the USA. Ismism peaked at No. 29 on the UK Albums Chart and was Godley & Creme’s best-selling studio album. Two of the album’s three singles were top 10 hits in the UK – Under Your Thumb hit no3 in the singles charts & Wedding Bells peaked at no7.
Ismism was very much a duo affair, with the only guest performer being Bimbo Acock on saxophone. To me, Ismism was perfectly in tune with the times. Album opener Snack Attack sums up the sound of the era – funky, with sharp guitars, twisted percussion and a trebly funk bassline. Under Your Thumb is one of Godley & Creme’s best singles. The story of a train journey, a mysterious haunting and hints of domestic abuse has a minimal musical backing, and a quite straight-forward (for Godley & Creme!) arrangement making this a classic 80s song. Although sleigh bells adorn the end section, the subject matter meant that this was never going to be considered as a Christmas staple.
The pitch-shifting vocals of The Problem continue G & C’s playful experimentation, continuing the tune into the next track, Ready For Ralph. The room was eventually ready for Ralph. And Roy, and Rose and Rob.
Wedding Bells no doubt became a staple of 80s wedding parties, hopefully the bride & groom didn’t pay attention to the lyrics. Sale Of The Century, like the preceding track, drew from the past, laying on the nostalgia heavy and thick.
The closing track The Party builds on the Snack Attack bassline (what a bassline!) and is a story of a party in full swing and is build around the snatches of disjointed conversations heard as the high-class and decadent event progresses. By the end of the track, Godley & Creme are throwing Tom Tom Club and Heaven 17 shades in every direction with the funky musical backing.
1983’s Birds Of Prey was the least successful Godley & Creme album, which was surprising after the success of Ismism. I think the absence of hit singles from the album was the main contributing factor. I was a huge fan, buying all albums up to Ismism but I wasn’t aware of the last few Godley & Creme albums until long after their release. Had I known about Birds Of Prey, I would have bought it at the time.
My Body The Car is a mostly acapella performance and Worm and the Rattlesnake introduces the styling for the rest of the album, with a virtually fully electronic album. Worm and the Rattlesnake shows that Godley & Creme’s knack for delivering addictive songs with clever lyrics was still very much intact at this point, while they continued to draw inspiration from the past (the vocal styling of Viva Las Vegas in this case).
Samson is a reggae-infused single, and is extremely catchy, so I am surprised that it didn’t get more airplay on release. Madame Guillotine wears its influences on its sleeve, with a seemingly Ball of Confusion inspired bassline during the verse and top and tailing the track with an earworm of a chorus. Godley & Creme were always good at drawing on music from the 50s / 60s and adding their own, unique sonic flavouring to give the recipe a unique taste.
I wonder whether Rupert Hine’s Waving Not Drowning from the previous year was an influence on Birds Of Prey as there do seem to be some similarities in some of the percussion and synth treatments.
Woodwork has a rare appearance of guitars (heavily processed in this case) but the electronics are pushed very much to the foreground. Out In The Cold closes the album. Vocoder heavy lead vocals sit atop an icy backing, that is temporarily lifted by saxophones. I get real The Shining vibes from this song.
“And now you’re gone I’m like a broken piano That no one wants to play”
1985 saw the release of History Mix Vol.1 (there was no Vol.2). History Mix Vol.1 was a remix of songs featuring the music of Godley & Creme as well as dipping into 10cc and Hotlegs material. Interviewed in 1985, Lol Creme said that the album contained demos and master recordings thrown into the Fairlight sampler, with J. J. Jeczalik (Art of Noise) and Trevor Horn assisting with production work in the album.
Wet Rubber Soup is very Art of Noise influenced, with snatches of Rubber Bullets, Life Is a Minestrone, I’m Not in Love and snippets from the Consequences album. It must be said that History Mix Vol.1 is very much of its time, but if you love your 80s mash-ups, this may appeal to you.
Cry is by far my favourite from History Mix Vol.1. Cry was a top 20 hit in the UK and the duos only chart hit in the USA. Produced by Godley, Creme and Trevor Horn, this six minute plus version still sounds amazing. The raw simplicity of the lyrics (a rarity for Godley & Creme) makes this song work so well.
Expanding The Business is another Fairlight mashup, with an effect like tuning in and out of radio stations on an old FM radio, featuring Business Is Business, How Dare You, Neanderthal Man, This Sporting Life, One Night in Paris, The Dean and I, Sand in My Face and Umbopo.
As the 80s headed to an end, it seemed that the quality of music in the last year or two of the decade sometimes dropped, as Godley & Creme released Goodbye Blue Sky, their seventh and final studio album.
The quirk on 1988’s Goodbye Blue Sky is the extensive use of harmonicas, including performances from Nine Below Zero’s Mark Feltham and a shift away from the electronic sounds offered up on Birds of Prey. The album also features vocals from Jimmy Chambers, George Chandler and Jimmy Helms (Paul Young / Londonbeat).
Goodbye Blue Sky is an outlier in the Godley & Creme catalogue. The sounds and arrangements are more traditional than on previous albums, with virtually no sign of the experimentation (lyrically or musically) that was displayed in abundance on previous releases, which really dulls the quality of the release for me.
My personal highlights from the album includes the single 10,000 Angels, one of the few pacier tracks on the album, and Sweet Memory, a song that revisits the feel of Wedding Bells. Overall, I’m sad that Godley & Creme’s catalogue ended with their weakest release.
Disc 10 of the set features non-album tracks & 7” versions, and serves up a reminder of some of Godley & Creme’s highlights. Wide Boy is a joyful piece of new wave / powerpop, that was released as a single with Submarine in 1980. Submarine is a dub influenced instrumental, with a superb dragging bassline and Hank Marvin-like guitar. A perfect example of how Godley & Creme could turn their gaze towards virtually any style of music and make it their own.
Power Behind The Throne (the b-side to Under Your Thumb) recycles the music from Submarine, with vocals added. Babies (the b-side to Wedding Bells) is a disturbing piece of twisted synth-pop.
Welcome To Breakfast Television (the b-side to Save A Mountain For Me) is a withering look at the new phenomenon on 80s breakfast tv, TV-am and its ilk.
“We’ll send you on your way to work In a happy frame of mind Seein’ all of breakfast telly Between half past eight and nine”
There are two versions of the non-album single Golden Boy, a 7″ edit from 1984 and the 1985 remix. The b-side Light Me Up is a welcome addition, and has some interesting twists and turns. Love Bombs (the Cry b-side) is a heavily percussive studio experiment, with vocal samples and sparse lyrics.
Up next are some Goodbye Blue Sky era b-sides, that follow the same template as the album, so not really offering anything different.
An interesting 7″ edit of Sandwiches Of You brings us back to the Godley & Creme that I love. Silent Running (the b-side of An Englishman In New York) in other hands would be a standard blues song, but at this point, Godley & Creme were able to put a fresh slant on whatever genre they touched.
Cry [Single Edit] is the most familiar take on this wonderful slice of perfectly baked pop. The final two tracks on this disc are ones I skip – a dated (very much of its time) acid house sprayed Snack Attack [1987 7” Remix] and the rather ordinary A Little Piece Of Heaven [7” Single Version], which is somewhat redeemed by the mighty Mark Feltham’s playing on the end section of the song.
The final disc contains a series of extended versions. Snack Attack [Extended Version] is actually shorter than the album version, work that one out! A slightly less frantic take, the lyrics never fail to raise a smile.
“Cold turkey’s what I’m going through Cold turkey’s what I need But they hung a sign on my appetite Saying “Danger Do Not Feed” I can’t eat no more I got to use a straw”
Samson [Dance Mix] places the drums in a more prominent position, and adds elements of dub to the mix. Golden Boy [Long Version 1984] is my favourite version of the song, with a lovely distortion on the main keyboard line and a Righteous Brothers production feel to the vocals in the verse.
Jack Attack Dub is very much of its time, and has sadly dated. I’d rather not jack, if you don’t mind…
Cry [Extended Remix] is a welcome inclusion here, and thankfully not a “jack” remix! The final two tracks are ones that I find myself skipping – Snack Attack [1987 Extended Remix], yep, its a damned “jack” remix, along with A Little Piece Of Heaven [Extended Mix], a slightly remixed take on the song from Godley & Creme’s final album.
So in summary, this is the most comprehensive, best sounding collection of Godley & Creme’s music by far. Its only let down a little by a few out-dated remixes and their sadly quite ordinary final album, but that’s just my personal taste. You might disagree.
The music up until 1986 is pretty much flawless, and deserves to be in everyone’s musical library.
Parts Of The Process – The Complete Godley & Creme was mastered by Phil Kinrade at Alchemy Mastering at AIR, and the music has never sounded so good.
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I was having a sort out of old paperwork recently and stumbled across some stuff I had kept from the late 1970’s. Along with flyers, cassette tapes and loads of other material gathering dust, I found a list of the gigs I attended from April 1979 to February 1983. I was scratching my head as to why the list ended in 1983, and then I realised why I stopped cataloguing my trips to concerts. I was a year into my student psychiatric nurse training in 1983, and clearly around this time I discovered women!
Looking at the list, it contained many bands who probably never made it past the support slots at my local venue, The Tramshed in Woolwich, South-East London. So this will probably be the only mention online for some of these bands. If you have memories of your own early gigs, or of gigs you attended for artists mentioned in this post, please add them to the comments.
My list starts in April 1979. It does not count my actual first gigs, that I went to with my parents – such as Val Doonican and other family forays into the cultural wasteland that is light entertainment, but my list started with the gigs I chose to attend.
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1979
APRIL 1979
So first off – what a debut, with Kate Bush at The London Palladium. Like a lot of these early gigs, I went to this concert on my own. I knew a lot of the songs, but didn’t actually own any Kate Bush albums at this point, as I was still at school and was living off the fumes of my pocket money and Saturday job. I could barely afford to pay for concert tickets, and remember, this was all pre-internet, so if you wanted tickets, you would have to queue outside venues when the tickets went on sale, in the cold, early hours.
This was the perfect way to start my history of live performances – with a mixture of dance, theatre, complex choreography and story-telling. There is no video footage (that I am aware of) from the tour, so I am left with my memories of a breath-taking show. This is the setlist from the day I “think” I went to the show (there were 5 dates at the London Palladium, and sadly, I cannot find my original ticket to confirm). I remember travelling from my parents house in Woolwich to the venue, probably by bus to save on costs, and eagerly discussing my experience the next day back in school.
Luckily I still have the ticket for my second gig, which was Thin Lizzy (supported by the Belfast band XDreamists) at the Hammersmith Odeon on Sunday 22 April 1979. This is the setlist. The tour was promoting the Black Rose album, with the line-up of Philip Lynott, Brian Downey, Scott Gorham and Gary Moore.
Looking online it says that the support for the tour was The Vipers but my notes from the time say XDreamists, so who knows? This will not be the first time my handwritten notes are contradicted.
The Lizzy gig was loud and entertaining. It included one of my favourite Thin Lizzy songs, Waiting for an Alibi, and live staples such as The Rocker, Don’t Believe a Word, Jailbreak, The Boys Are Back in Town and Bob Seger’s Rosalie. I had great seats for this show, and for once I wasn’t alone, going with (I think) my friends Gary and Ian. I remember us trying to piece together the set-list afterwards and disagreeing on some of the songs performed. We did not have setlistFM to help us in those days.
MAY 1979
I don’t remember much about Status Quo at Wembley Arena, in their If You Can’t Stand the Heat tour. I remember it was loud and people were standing on their seats, and there was a sea of denim all around us.
Looking at the setlists for the time, Quo played classics such as Caroline, Roll Over Lay Down, Backwater, Rockin’ All Over the World and Dirty Water.
JUNE 1979
The first smaller gig I attended was London Zoo (supported by Traveller) at the Woolwich Tramshed, my local venue. I remember really enjoying this gig and listening out for them for a couple of years. I heard a Radio 1 session, I think in 1980, with the songs Receiving End (I still have the 7″ single) and Who’s Driving This Car? but I was unaware of what happened to the band for many years. I wish more music had been released, as the band had a real pop sensibility.
London Zoo included Robert Sandall and David Sinclair, and they formed out of the ashes of a previous band, Blunt Instrument. Robert Sandall remained in the music industry and was a well-known music journalist and radio presenter, and sadly died aged 54 of prostate cancer.
I emailed Robert Sandall in the early 2000’s, telling him how much I enjoyed the bands music back in 1979, and I offered to build a small web-presence for the band, maybe sharing a few unreleased songs, as I could find so little information online about London Zoo. Robert replied that he had passed on my crazy idea to the former bandmate that he was still in touch with, but then the communication stopped as I presume his health issues understandably became his priority.
David Sinclair joined TV Smith’s Explorers and wrote for The Times, and currently performs and records as the David Sinclair Four.
Jackie Lynton’s H.D. Band (supported by Japanese Toy / Rebel) was next in my gig calendar at the Woolwich Tramshed (my notes say June or July 1979).
AUGUST 1979
The Who, with special guests Nils Lofgren, AC/DC and The Stranglers played at Wembley Stadium (then called The Empire Stadium) on 18th August 1979. The Stranglers were my favourite band, and this was the first time I was able to see them live (my parents made sure I didn’t see them in 1977 or 1978). I was under a parental banning order with regards to the Meninblack and all their offshoots.
I remember seeing the gig mentioned on Nicky Horne’s slot on a weekly TV music news show he presented, I think on ITV. I liked The Who as well so this was an exciting gig to attend, and it was also my first Stadium show. I was seated on the side of the stadium, quite high up and I think the “seating” was uncomfortable concrete benches, miles away from the more corporate Wembley Stadium experience of today.
Nils Lofgren opened the evening, and I knew none of his material at the time, but he kept us entertained by occasionally jumping on a trampoline whilst playing guitar. AC/DC were next. This was the original Bon Scott line-up, and the 9 song set included Highway to Hell, Whole Lotta Rosie and If You Want Blood (You’ve Got It). The set was marred a little by PA problems (which did not stop the band performing) but it was a good, loud rock set.
The Stranglers setlist shows that the band avoided the hits for this guest spot, and showcased their forthcoming album The Raven. Opening with the live debut of Nuclear Device (The Wizard of Aus), the set included some of their more acidic, progressive songs such as Genetix and Down in the Sewer. The then recently released single Duchess went down well and The Stranglers closed their thirteen song set with Toiler on the Sea accompanied by an impressive fireworks display, that revealed The Raven logo.
A similar fireworks display (filmed at an earlier gig, I think at the Loch Lomond Festival) was featured on Tomorrow’s World.
My mind was blown by my first Stranglers live experience, and it wouldn’t take me long to see them again, in fact it was my next gig!
The Who were on good form at this gig. Mixing songs from the previous years Who Are You album (the final Who album to feature drummer Keith Moon, and my favourite from the band) with classics such as the timeless Baba O’Riley, Behind Blue Eyes, My Generation and Won’t Get Fooled Again.
The Who’s audience was mostly rockers at this gig, with their following soon to mutate somewhat with the release of Quadrophenia the same week as this gig, and the burgeoning UK Mod revival. Getting home from Wembley to South-East London was hair-raising, as the Tube station was shut and we had to jump the barriers due to over-crowding.
NOVEMBER 1979
My first full headline gig from The Stranglers was on 1 November at The Rainbow, with the band supported by Curves. Here is the setlist.
I recall the Hugh Cornwell & Robert Williams White Room single being played on the PA pre-gig, a rare chance to hear the recently released single, as it received so little airplay.
The Stranglers set leaned heavily into songs from their current album The Raven, along with gems such as 1978’s brutal 5 Minutes single. As I mentioned earlier, I never got to see the band in 1977 or 1978, so 1979 to 1981 gave me some of my most memorable gigs from the band.
DECEMBER 1979
My final gig of 1979 was another historic one, with The Police and their special guests Squeeze at Lewisham Odeon on 22 December 1979. It was a Capital Radio Help A London Child gig, with the bands introduced by Capital Radio’s Roger Scott, if my memory services me correctly.
Squeeze were on first and this line-up included Jools Holland, who left the band the following August. A rare local gig during their first taste of success, the band played songs from their debut album and Cool for Cats. I have seen the band four more times since, and they now have such a vast catalogue to draw from, that their shows are even more enjoyable now.
Looking for setlists online, some people mentioned Joe Jackson appeared at the end of the Police set. I was far back in the balcony, so must have missed this, as I have no recollection of him appearing. Also, apparently Debbie Harry was in the audience. I can confirm that she wasn’t sitting in the balcony with me and my friends.
This was the first of two Police gigs I attended, as I also saw them at Wembley Arena after the release of Synchronicity. The 1979 gig was a few months after the release of their second album, Reggatta de Blanc, and featured songs from their first two albums. They may also have played their debut single Fall Out, but sadly no setlists seem to be online to confirm this.
1980
April 3 1980
The Stranglers and Friends, supported by The Monochrome Set, Hazel O’Connor, Fashion and Blood Donor was my next live gig (setlist). This was one of two shows from The Stranglers celebrating The Rainbow Theatres 50th anniversary. Unfortunately, Hugh Cornwell was unavailable due to a spell in Pentonville following a drugs possession conviction, so he was “replaced” by a cast of musicians from the era, including:
Robert Fripp
John Ellis
Toyah Willcox
Peter Hammill
Hazel O’Connor
Robert Smith
Matthieu Hartley
Phil Daniels
Basil Gabbidon
Wilko Johnson
Nicky Tesco
Nik Turner
Richard Jobson
John Turnbull
Davey Payne
Ian Dury
Larry Wallis
Jake Burns
Steve Hillage
The performances were ramshackle at times but it was an enjoyable gig, with artists from across musical genres chipping in to support Hugh and the band.
Now this is where my notes let me down. I thought I went to the first gig on the 3rd as I still have the ticket for this date, and my notes say April 3rd with Blood Donor, Fashion and Hazel O’Connor as support. By the way, this was the Luke Sky led, post-punk line-up of Fashion, not the De Harriss / Fabrique version of the band that followed in late 1981 / early 1982.
I distinctly remember Do the European being performed on the night (a JJ Burnel solo song) and that appears to have been performed only on the second show on the 4th. And its an old memory, from pre-internet, so very little information exists online, and details of the support acts also varies across different posts about the gig. Which means I likely went to the 2nd night on the 4th and so I got to see one of the last Joy Division gigs (which I have a vague memory of).
So did I go to both gigs or are my notes and my ticket wrong? I lost my tour programme and replaced it via eBay many years later, so it is possible the ticket came with the programme, but my notes? It is also possible that I could have enjoyed the first night and returned for the second gig, which I don’t think was sold out. I will never know and no-one else in the world will care…
June 1980
I caught my first Nine Below Zero gig, with the band supported by Reptiles, at The Tramshed, Woolwich, on June 1st. This was a couple of weeks before the band recorded their classic debut album, Live at the Marquee, and was shortly before the release of their single Homework. I was aware of the band by reading about them in the music press, and I remember it was a packed and lively gig. The first of many I attended by the band, and I have also seen the reformed line-up many times in recent years.
The rest of the year
I saw three more Nine Below Zero gigs in 1980. Firstly a return to The Tramshed on 7 August 1980. I must have been knackered that day, as I did not make a note of the support band. Such poor behaviour. My excuse was that I had arrived back in the UK that afternoon after an overnight train journey from a school trip to Engelberg, Switzerland, and I headed straight to the gig on my return. To paraphrase Motörhead, no sleep ‘til Woolwich!
I also saw the band (supported by the Pick-Ups) at The Tramshed for the final time on October 2nd and at a larger venue, Thames Polytechnic (supported by The Rookies) at an un-recorded date later in October 1980.
Next up was a gig I have no memories of, The Vibrators supported by the Gerry Scales Band in September 1980 at The Tramshed. I also saw the Nicky Moore Band supported by The Fool, sometime in the summer of 1980, again, no memories of this, its just in my notes, not in my brain. The Tramshed was a short bus ride or 45 minute walk from where I lived, so I would often pop in to see bands I did not know.
I saw out the year with further gigs at The Tramshed in Woolwich. I saw Idiot Dancers supported by the very 70s named Cheap Perfume in June or July, Deaf-Aids supported by Pick-Ups and Lightning Raiders (November 1980) and finally Pick-Ups supported by Idiot Dancers and Always Calling on December 28th.
1981
1980 through to 1981 saw a gradual shift away from new wave being my main musical diet, with a transition to post-punk and new pop creeping into my musical palette, and this is referenced in the gigs I was attending from now on.
Clearly the Pick-Ups were a popular band with whoever booked gigs at Woolwich’s Tramshed venue, as 15 February saw me back at the venue to see Pick-Ups with A Bigger Splash and Strictly Business.
On 9 February 1981 I saw Nine Below Zero for the final time before they split, supporting The Who at Lewisham Odeon, with NBZ promoting their Don’t Point Your Finger album.
The Who setlist is here, and this was also my final time seeing The Who live. My main memory of The Who gig is that Daltrey and Townshend seemed to be a little tetchy on stage.
February to May
This was a busy period for gigs, clearly I was spending all of my Saturday job money on live music. My first of four Stranglers gigs this year was up next, with the band supported by Modern Eon at the Hammersmith Odeon on 15 February. The Stranglers setlist is here, with a healthy number of songs from The Gospel According to the Meninblack and The Raven albums.
Modern Eon were my favourite Stranglers support act. For at least one of the gigs, their drummer (Cliff Hewitt) had an arm injury and so the drums were on tape, instead of performed live.
I recommend their debut album, Fiction tales, its as good as many releases from the era by bands such as Teardrop Explodes, Siouxsie & The Banshees, The Comsat Angels, early Orchestral Manoeuvres in the Dark and Wah! Heat. It has a consistent sound, and contains one of my favourite songs of the early 80s, Child’s Play.
On 21 Feb 1981, myself and two friends (Andy and Laurie) decided to make a last minute trip to The Rainbow to see Toyah, supported by Wasted Youth and Huang Chung at The Rainbow. This was around the time of the band’s first major success with It’s A Mystery from the Four from Toyah EP, although we were already fans of the Sheep Farming in Barnetand The Blue Meaning albums. Huang Chung were a post-punk band who soon became Wang Chung and had major hits later in the 80s.
My second The Stranglers gig from 1981 was at The Rainbow on 7 March (setlist here), with support from Dirty Strangers and Modern Eon (my final time seeing the band, who split at the end of this year).
On 19 March I was back at The Tramshed for a further run of gigs, starting with Reluctant Stereotypes, supported by Pick-Ups (them again!) and Tranzista. Reluctant Stereotypes were a Coventry band who delivered arty new wave / ska influenced pop, with vocals from Paul King who later found success in the mid 80s with the band King before moving into presenting / producing on MTV / VH1.
On 7 April I saw Strictly Business, The Business and Everest The Hard Way at The Tramshed. I remember enjoying Everest The Hard Way, and listening to their only single on Spotify, I can see why I liked them, with Tightrope‘s early Simple Minds influenced bass-line.
April 3 saw me going to see Reluctant Stereotypes again, this time supported by Bumble & The Beez. Bumble & The Beez were as enjoyable as the headliners. I went on to buy Bumble & The Beez’s 1982 single The Room Above. The band featured Mykaell Riley, a founding member of Steel Pulse, who went on to form the influential Reggae Philharmonic Orchestra in the late 80s.
On April 28 I saw Carpettes, OK Jive and Airstrip One at The Tramshed. Airstrip One released the single Social Fools in 1982, and it was one of my favourite singles from that year, the 12″ still sounds amazing.
On May 14th I saw Tenpole Tudor, supported by The Business and Bad Actors at The Tramshed. Swords of a Thousand Men had reached the UK top 10 a few weeks before, so this was a packed gig, with the band dressed in full medieval outfits. As you do.
July to December
I saw Siouxsie & The Banshees supported by John Cooper Clarke at the Woolwich Odeon on 23 July. This gig was part of the JuJu tour, and the set-list is here.
I am so glad that I got to see my favourite Banshees line-up, that included the (sadly missed) John McGeoch on guitar and the mighty Budgie on drums and percussion, joining mainstays Steven Severin and the iconic Siouxsie Sioux.
Spellbound and Arabian Knights remain two of my favourite singles by the band, with album track Into The Light an ice-cold post-punk classic.
My final two gigs of 1981 were The Stranglers (supported by French band Taxi-Girl) at the Hammersmith Palais on 17 November (set-list), with the London City Ballet dancing to the opening Waltzinblack and at The Rainbow on 4 December (supported by Taxi Girl and Mr Spratt’s 20th Century Popular Motets) – the La Folie heavy set-list is here.
1982
1982 started as 1981 finished, with The Stranglers, this time at Hammersmith Odeon on 8 Feb (set-list), with support from Boys in Darkness and Mr Spratt’s 20th Century Popular Motets.
Gigs for the next few years were harder to get to, as I had started working in the NHS as a trainee psychiatric nurse, living on-site and training away from major public transport links in a Kent hospital. Shift work definitely got in the way of getting to London.
1 May saw myself and a couple of friends heading to the Hammersmith Odeon to catch The Cure (set-list) plus support from Irish band Zerra 1, a few days before the release of Pornography. This meant that we did not know a good chunk of the material, and so the concert was hard work, and it was brutally loud and so we did not stay for the encore. If I could travel back in time, I would stay to the very end (with ear-plugs in place) and I would enjoy the gig more.
May 24th saw a much lighter gig, Judie Tzuke supported by Bloomsbury Set at Hammersmith Odeon. I remember the concert opened with Heaven Can Wait, the opening track from her current album, my personal favourite from Judie Tzuke, Shoot the Moon.
On 27th July I saw Bumble & The Beez again, this time supported by Escorts. I also saw Escorts again on 21 October at The Tramshed, supporting Frankie & The Flames.
The remainder of my 1982 gigs were dedicated to Dennis Greave’s post Nine Below Zero band, The Truth. The first was at The Tramshed on 23 September, with Escorts (them again!), followed by gigs at Hammersmith Palais on 7 November (as support to George Thorogood & the Destroyers), 11 November back at The Tramshed and then ending the year at The Marquee on 20 November.
1983
My notes are sparse for this year, so unfortunately lots of gigs are missing. This is what I do have…
On 4 Feb I saw The Truth at The Marquee.
On 15 February I saw The Stranglers at Hammersmith Odeon, with the band promoting their recently released Feline album. The set-list is here. I got on the train to meet friends at Charing Cross for the second night at Hammersmith Odeon on the 16 Feb, but my friends never arrived, so I thought I had been abandoned. Woe is me.
On ringing one of my pals to find out what was happening, they told me it was on the (radio) news that the show had been cancelled due to some fans ripping up seats in the front row on the previous night. Stranglers fans in seat horror / shock! This was pre-internet, so news travelled slowly and I was forced to trudge home, gig less and alone. Woe is me once again.
My last listed gig is for The Truth + Escorts at the Tramshed on 24 Feb, my final time seeing the band.
I can add one more to the list, as I still have the concert programme. I saw The Police at Wembley Arena in late December 1983, towards the end of their Synchronicity tour. I don’t have the ticket anymore, so I cannot tell exactly which show I attended.
This was The Police at the height of their initial success, and it was a stadium rock show, a million miles away from when I saw them in 1979 at the much smaller and more intimate surroundings of Lewisham Odeon. Their final show (before their 2007–2008 reunion tour) took place in March of 1984, so I saw one of their final original UK shows.
I hope you enjoyed reading my early gig memories. My gigs didn’t stop in 1983, I’ve been to (and still continue to attend) many shows each year, its just that my list stopped here.
Not having physical tickets has also made it more difficult to catalogue gigs I have attended. Searching through thousands of emails to find e-tickets is not the same as looking at printed tickets, so a follow-up to this post (stop cheering) is unlikely.
If you want to add your own memories of early gigs, or have information about some of the more obscure bands I have mentioned, please add your thoughts in the comments section of this article. Thanks for reading…
Bill Nelson’s Quit Dreaming and Get on the Beam receives a lavish box-set treatment from Cherry Red in December 2024. The album was originally going to be a Red Noise record, and a follow-up to their Sound on Sound release, but EMI passed on the album and it was finally released by Mercury Records in May 1981.
This new 3CD / 1 blu-ray set features a newly remastered version of the original album mix plus new 2024 stereo & 5.1 Surround Sound mixes by Stephen W Tayler and includes all the surviving recording sessions from 1979, a previously unreleased radio session from March 1981, a BBC John Peel session from June 1981 and a collection of rare single tracks from the era. Also included is the rare promotional film of Do You Dream in Colour.
Disc one is a 2024 remaster. If you know and love the original album, this will bring back memories of Bill Nelson’s highest charting release.
The fun really starts with discs 2 to 4 in this box-set. The second disc collects single tracks and a collection of sessions, all remastered. Ideal Homes, Instantly Yours and Atom Man Loves Radium Girl are from the 1980 Do You Dream in Colour EP and are a delightful throwback to the Red Noise sound.
Dada Guitare is a 1980 release. Nelson was so productive during this era that many gems like this exist outside of the main album track listing. Dada Guitare is a wonderful piece of sparse electronica, topped with trademark Nelson guitar lines.
Turn to Fiction, Hers Is A Lush Situation, and Mr. Magnetism Himself were released on the Banal 12″ single in 1981, with the extended mix of Banal also included on disc two. All rarely heard tracks, they are a welcome peek into the late 70s / early 80s music scene.
Youth of Nation on Fire is a catchy single and the other tracks from the 12” are also included here. Be My Dynamo is a fast paced experimental song and Rooms With Brittle Views is a twisted piece of new wave pop, recorded on 8 track. All My Wives Were Iron is a dystopian tale with an interesting arrangement, delicious chorused guitar and a shorter than short song length.
Birds of Tin and Love in the Abstract are from the Living in My Limousine 12″ single, and showcase the glitchy, more experimental side of Nelson’s work from this era.
The radio session tracks are interesting for historic purposes but sound like they were maybe sourced from cassette, so they stand out a little from the other tracks. Although there is a slight drop in quality, I’m still glad that the sessions have been included. The highlight of the sessions for me is the Red Noise Sound On Sound song, the mighty Stay Young. And keep in touch! Skids vocalist Richard Jobson guests on the final radio session track Jazz.
My favourite part of the collection is disc three, with new 2024 stereo remixes by Stephen W Tayler. All tracks were mixed from the original master tapes by Tayler at Chimera Arts, Real World, Box, Wiltshire between December 2023 and March 2024.
The new mixes are crystal clear and so much more powerful for it. Banal jumps out of the speakers, and the drums on Living in My Limousine cut through with more clarity.
The key track Do You Dream In Colour still holds its charm but again, packs more punch, especially the wonderful Bowie like end section, when the Solina synth arrives. It depends how you remember the album, but I am finding that I play these new Stephen W Tayler 2024 stereo mixes more than the original mix.
The sleevenotes state that Red Noise make a guest appearance on Disposable, in the form of Steve Peer (Drums), Rick ‘Pinky’ Ford (Fretless Bass) and Andy Clark (Keyboards). They also appear on a couple of the single tracks.
Youth of Nation on Fire and the albums title track (and what a gem of a track it is) particularly shine in these new 2024 stereo mixes. The bonus track The World And His Wife (released on an EP in 1983 along with the Red Noise sounding Dancing Music) is a welcome addition, and is a very commercial, memorable slice of alternative pop.
The 5.1 Blur-Ray was not provided for review, so I cannot comment on how the album transfers to surround sound, but I am looking forward to receiving my physical copy of the box-set to experience the album in this format.
The sleevenotes from Mark Powell offer a welcome insight into the albums creation, and the booklet includes press articles, shots of some of the single covers (which inspired me to rummage through my vinyl crates to find my Do You Dream in Colour 7″ to play), plus master tape photos and studio shots provided by producer John Leckie and album lyrics.
It was a pleasure revisiting and re-appraising this wonderful album from 1981. Quit dreaming and dive back in time to the early 80s, using this box-set as your soundtrack. You may never want to return.
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QUIT DREAMING & GET ON THE BEAM THE ORIGINAL STEREO MIX
Banal Living in My Limousine Vertical Games Disposable False Alarms Decline and Fall White Sound Life Runs Out Like Sand A Kind of Loving Do You Dream in Colour U.H.F. Youth of Nation on Fire Quit Dreaming and Get on the Beam
DISC TWO
SINGLES & RADIO SESSIONS 1980 – 1981
Ideal Homes (original single mix) Instantly Yours (original single mix) Atom Man Loves Radium Girl Dada Guitare Banal (extended mix) Turn to Fiction Hers is a Lush Situation Mr. Magnetism Himself Youth of Nation on Fire (extended mix) Be My Dynamo Rooms With Brittle Views All My Wives Were Iron Living in My Limousine (remix) Birds of Tin Love in the Abstract Konny Buys a Kodak (radio session 1981) After Life (radio session 1981) Boom Year Ahead (radio session 1981) Art of Vision (radio session 1981) Rooms With Brittle Views (radio session 1981) Stay Young (radio session 1981) Sleep Cycle (radio session 1981) Jazz (radio session 1981)
DISC THREE
QUIT DREAMING & GET ON THE BEAM SESSIONS – NEW STEREO MIXES BY STEPHEN W TAYLER
Banal Living in My Limousine Vertical Games Disposable False Alarms Decline and Fall White Sound Life Runs Out Like Sand A Kind of Loving Do You Dream in Colour U.H.F. Youth of Nation on Fire Quit Dreaming and Get on the Beam
Bonus tracks The World and His Wife Dancing Music
DISC FOUR
QUIT DREAMING & GET ON THE BEAM SESSIONS – HIGH RESOLUTION 5.1 SURROUND SOUND & NEW STEREO MIXES BY STEPHEN W TAYLER – BLU-RAY
Banal Living in My Limousine Vertical Games Disposable False Alarms Decline and Fall White Sound Life Runs Out Like Sand A Kind of Loving Do You Dream in Colour U.H.F. Youth of Nation on Fire Quit Dreaming and Get on the Beam
Cherry Red have released Bruce Woolley & The Camera Club – The Definitive Anthology 1977-1981, a 3-CD selection. The set stretches to 69 tracks from the period 1977 to 1981 and includes 41 previously unreleased tracks taken from the bands unreleased second album plus two live concerts, along with an expanded version of the English Garden album including the original versions of the Ivor Novello Award-nominated Video Killed The Radio Star and Clean Clean, both of which Bruce Woolley co-wrote with Trevor Horn and Geoff Downes and went on to become hit singles for The Buggles.
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The collection is packaged in a deluxe clamshell box with a fully illustrated 28-page booklet containing rare and previously unseen images and a brand new annotation featuring quotes from band members Bruce Woolley, Dave Birch and Thomas Dolby. The sleeve-notes are amongst the best I have seen on recent anthology releases – honest, informative and self-deprecating.
Bruce Woolley & The Camera Club were founded in 1979 with Bruce Woolley on vocals, Dave Birch on guitar, Thomas Dolby on keyboards, Matthew Seligman on bass and Rod Johnson on drums. They released their debut album English Garden in 1979 and supported its release by touring in England, USA and Canada. Unfortunately, they disbanded after two years largely spent on the road following on from CBS Records’ refusal to release their second album.
I have the original English Garden album on vinyl, but this 3 CD set offers a fuller glimpse into the bands intriguing story. Bruce Woolley will always have a special place in music history due to his contribution to Video Killed The Radio Star, but there is so much more to his story. Along with the obvious Buggles (Trevor Horn and Geoff Downes) links there is plenty for the Thomas Dolby fan to savour as well – with Thomas appearing as band member on many of the tracks, as well as contributing to some of the song writing plus the appearance of Matthew Seligman, who went on to become a key part of Dolby’s band for many years, and who backed (with Thomas) David Bowie at his legendary Live Aid performance at Wembley Stadium in 1985. Matthew also contributed bass on the late period Bowie classic Absolute Beginners. Sadly Matthew died in 2020.
The first disc – English Garden expanded
Disc one is an expanded version of the English Garden album. The album is a perfect example of late 70s new wave / pop. Drawing on influences from the highly lyrical pop of Deaf School, the angular new wave artiness of Bill Nelson’s Red Noise and the occasional tip of the musical hat to David Bowie, there is a real pop sensibility to the album. The title track is a pacey, energetic opener before the first appearance on this collection of Video Killed The Radio Star. I’m obviously (who isn’t?) very familiar with the timeless Buggles version, but Bruce Woolley & The Camera Club’s take has all of the signature lines in-situ and a beefier, less synth led arrangement. It works very well and should have got more attention at the time.
Johnny is a Trevor Horn co-written song, with the “Johnny” refrain seemingly sneaking into The Buggles Johnny on the Monorail later that year. You Got Class powers along at pace, with some fine Seligman bass runs.
WW9 is a short (under one minute) Bruce Woolley/Thomas Dolby written instrumental, that hints at the future sound Mr Dolby would produce for The Flat Earth. Clean Clean will be known to many because of the Buggles version from The Age of Plastic. This edgier new wave version works particularly well, especially with the addition of Bowie V-2 Schneider referencing drums in the outro.
Get Away William was written by Bruce Woolley, guitarist Dave Birch and Thomas Dolby, and is one of my favourite tracks on the album. It has that amazing 1979 sound, where new wave aesthetics are mixing with pure pop.
Goodbye To Yesterday adds Magazine to the influence list, with its opening rhythm heavily indebted to The Light Pours Out Of Me, as the song mutates into a jazzier, Rhodes driven pop piece. Goodbye To Yesterday (reprise) is a twisted take on the preceding song.
The album proper ends with You’re The Circus (I’m The Clown), and it’s killer of a chorus.
13 extra tracks complete disc one. Highlights include US versions of Clean Clean, Video Killed the Radio Star and Goodbye To Yesterday (shorn of its Magazine influence and sounding quite Buggles like).
You’re The Circus (I’m The Clown) (B-Side) features Geoff Downes on keys and Trevor Horn on bass.
Needletime was written by Bruce Woolley, Trevor Horn and Rod Thompson, and has hints of XTC meets 10cc and a bit of City Boy slipped in for good measure. Basically lots of band’s with C in their names.
The final track is Sugar Daddy (8 Track Demo), a song Bruce Woolley recorded a few times, but subsequent recordings apparently never bettered this 8 track demo. This feels like a good ending to the revisited album, as the new wave style is washed away.
Disc two – the unreleased second album and later material
Disc two is Polaroid – Snapshots Of Sound, material that would have made the second album alongside other unreleased material. I Set Fire To You was rescued from the original 24-track, 2” analogue tapes, so unlike a lot of extra material that finds its way onto expanded album releases, these studio tracks are high quality recordings.
Ghost Train was co-written with Thomas Dolby, and is my favourite track on disc two. Featuring the return of Matthew Seligman on bass and produced by the mighty Mike Howlett, for Dolby fans, this song will be like finding gold in them there hills. Its a delightful song.
Killer On The Dancefloor (Olympic Studios) features Dave Birch on guitar, Nigel Ross-Scott on bass, Nigel Glockler on drums, and Simon House (who appeared on David Bowie’s Stage & Lodger albums) on keyboards. Simon also appears on the later track Morning Shadows, another highlight of the later period Camera Club.
Only Babies Can Fly has a gentle but highly addictive arrangement and is one of the last Camera club recordings, featuring a final appearance from Thomas Dolby on keyboards. Blue Blue (Victoria) is another Mike Howlett production. House Of Wax is a surprisingly never before released song. This track would have been perfect as a single in 1979 or 1980.
The final song is Radio Pictures (Bye Bye Love), of which I know nothing of its origins, as its not mentioned in the PDF of the sleeve-notes provided with the digital review copy, so maybe a last-minute addition? Radio Pictures (Bye Bye Love) is a bittersweet piece, reminding me a little of The Korgis, mixed with the poppier side of The Teardrop Explodes. Luscious guitar and warm harmonies hint at a further switch away from the earlier band sound. A fine farewell to the studio music of Bruce Woolley & The Camera Club.
Disc three – on the road forever!
Disc three is comprised of live recordings from 1979 and 1980. The 1979 set was provided by Steve Warren, who was XTC’s sound engineer at the time. Although recorded onto cassette, this straight from the mixing desk, very early band gig recording stands up pretty well. The live line-up includes Richard Wernham on drums (aka Ricky Slaughter from The Motors).
The 1980 set was broadcast on WLIR FM, from My Father’s Place in Roslyn, New York and is understandably a more polished recording, with a more seasoned performance from the band, who had been touring pretty much non-stop at this point. You’re The Circus (I’m The Clown) is an explosive opener, and Get Away William is another highlight. “Accept no substitute” welcomes in the final track on the disc, a live take on Video Killed The Radio Star.
Bruce Woolley & The Camera Club – The Definitive Anthology 1977-1981 is a rare beast – a collection full to the brim with alt-takes and unreleased music, but absolutely no fillers. Given the age of the material, it has remained in pretty good shape, with the risks of baking the master tapes aside!
If you are a fan of the English Garden album, you will love this collection, which also offers plenty to enjoy for fans of the era as well as Trevor Horn/ Buggles and Thomas Dolby fans.
English Garden Video Killed The Radio Star Dancing With The Sporting Boys Johnny No Surrender Flying Man You Got Class WW9 Clean Clean Get Away William Goodbye To Yesterday Goodbye To Yesterday (Reprise) You’re The Circus (I’m The Clown) News (Eden Studios)* The Killers – No Surrender The Killers – Killer On The Dancefloor Clean Clean (US Version) Video Killed the Radio Star (US Version) Goodbye to Yesterday (US Version) Bruce Woolley – Bobby Bad Bruce Woolley – You’re The Circus (I’m The Clown) (B-side) Bruce Woolley – You Got Class (Soundsuite Studios)* Bruce Woolley – Going To The City* Bruce Woolley – Needletime* Bruce Woolley – Sugar Daddy (8 Track Demo)*
* Previous Unreleased
DISC TWO Polaroid – Snapshots Of Sound
I Set Fire To You* Bruce Woolley – Ghost Train Killer On The Dancefloor (Olympic Studios)* Trouble Is Only Babies Can Fly All Real Americans* Morning Shadows* Ghost Train (Olympic Studios)* All At Once Warning Shadows* Bruce Woolley – Blue Blue Victoria Bruce Woolley – 1000 MPH Bruce Woolley – The Black Girls Understand* Bruce Woolley – Ghost Train (Club Mix) How Do You Say Goodbye?* Too Late For Tears (Demo Version)* Bruce Woolley – Blue Blue Victoria (Demo Version)* Bruce Woolley – You Got Class (Revox Demo)* News (Olympic Studios)* House Of Wax Radio Pictures (Bye Bye Love)*
* Previous Unreleased
DISC THREE In Concert – all recordings previously unreleased Live at High Wycombe Town Hall 6th May 1979
You’re The Circus (I’m The Clown) You Got Class Too Late For Tears Clean Clean The Problem Goodbye To Yesterday Johnny Video Killed The Radio Star No Surrender Dancing With The Sporting Boys News Flying Man
Live at My Father’s Place, Long Island, USA 25th March 1980
You’re The Circus (I’m The Clown) News You Got Class Trouble Is Johnny Get Away William Dancing With The Sporting Boys I Set Fire To You No Surrender English Garden Video Killed The Radio Star
Powder Dry is the eighth studio album from Tim Bowness. It signals a couple of firsts for the singer-songwriter. It’s his first album on Kscope and another first, it was entirely produced, performed and written by Bowness. A true solo album.
The 40 minute album features 16 pieces and was mixed (in stereo and surround sound) by Bowness’s partner in no-man (and The Album Years podcast), Steven Wilson, who also acted as Bowness’s sounding board during the mixing process.
Rock Hudson was the first track to be released from Powder Dry digitally, and is one of the more immediate songs, introducing one of the main tools used on the album – brevity. No tracks overstay their welcome, and perhaps as a result of current song-writing trends, intros and outros are very short – most songs have vocal lines arriving within seconds of the song beginning.
Rock Hudson has some wonderful tight synth sequences lurking behind the later verses, and a post-punk feel to the heavily percussive chorus.
Lost / Not Lost is a lighter piece, with the electronics propelling the song to a typically addictive Bowness chorus.
“Stomach twisting at the thought of you And you’re all I’m thinking of”
When Summer Comes was the second digital pre-release, and it’s easy to see why this song was chosen. It is such a good song and quite unique in Tim’s impressive catalogue. The memories of summers past drip from every sun-kissed pore of this delicious track. A lovely vocal, with hints of early 80s Ryuichi Sakamoto keyboard lines in the last section, When Summer Comes should be added to everyone’s summer playlists, from now and forever more. Sort it out now, dear listener!
Idiots at Large signals the return of the industrial power of Bleed (an early no-man track), with harsh brutality. The synths sparkle as the song takes a shocking sonic turn. Bowness never fails to surprise, and this song is no exception. Just like that…
A Stand-Up For The Dying aka the “long one” at 1 second short of 5 minutes, will be familiar if you have attended recent Bowness gigs. The electronics drop away to usher in real guitars for the first time on the album. A Stand-Up For The Dying has echoes of the spacier side of Pink Floyd, and a deeply personal and intensely moving lyric touching on the passing of a loved one. This song hit home even more on recent plays after a recent brush with cancer in my close family.
After the emotional trauma of A Stand-Up For The Dying, the songs ambient outro calms you and the following track, the incessant instrumental Old Crawler, acts as an effective palate cleanser for what follows.
Heartbreak Notes is a sparce but warm piece and offers a rare disappointment, my disappointment that the song ends too soon, just as it hits its stride. Bowser says always leave them wanting more!
Ghost Of A Kiss is another very short piece, beatless but with a no-man returning jesus like mood (I’m sure this was intentional) suggested by the bubbling, rhythmic keyboards in the background.
“The open goals you chose to miss”
Next up is the most surprising song on the album, by a country mile. Summer Turned is a Club Tropicana for the 21st Century. That’s a compliment by the way. Unlike anything Tim has released before, this song results in the seasonal feelings suggested in the earlier track When Summer Comes having the heat whacked up to 11, with Bowness coating the track with 80s nostalgia flavoured sunscreen.
The song screams “release me as a single Kscope, ya bastards”. I won’t say anymore than that as I don’t want to spoil the first listen for everyone.
From the sun-kissed 80s to a haunted 1920s ballroom with You Can Always Disappear. Like both ‘summer’ songs, You Can Always Disappear also covers new ground for Bowness. Due to the many layers and clever sound design, I cannot wait to hear this song in 5.1. Jack Torrance would surely be a fan of You Can Always Disappear.
The title track Powder Dry has a very unpredictable arrangement, with a dark underbelly that sneaks up on you. Another track built for 5.1. The song is as brutal lyrically as it is musically.
“You couldn’t keep your powder dry”
Films Of Our Youth is another well-placed instrumental palate cleanser and a very emotional piece. Resonant choral synth lines hang in the air, and the space communicates emotion as much as the actual performance. A simply beautiful piece of music.
This Way Now will fast become a favourite for fans. A piece of twisted, Pink Floyd / Memories of Machines referencing nostalgia, the arrangement is simple, uncluttered but so effective.
“Even in defeat, you’re sharpening knives again”
I Was There is the one track on Powder Dry that could have found its way onto one of Tim’s previous solo albums, and the song is given plenty of time to develop. I hope I Was There becomes a Bowness live staple, as it lends itself to a full band performance. The production on this track is first class, and the trance-like elements remind me a little of Flowermouth era no-man.
The Film Of Your Youth feels very un-filtered and natural, and might hark back “lyrically” to the main character in 2017’s Lost In The Ghost Light? The lightness of touch is in stark contrast to album closer Built To Last, which offers an uncompromising ending to Powder Dry.
Built To Last offers up a dark, windswept scene that lyrically seems to reference the world ignoring the clear and present danger of climate change and the desolation that will surely follow. Once again, the sound design on this track is well thought out and executed.
Powder Dry stands alone in Tim’s catalogue of work. At times playful, beautiful, moving and also stark and disturbing, Powder Dry feels like a new beginning, a reset of sorts and a unique artistic statement from one of my favourite artists.
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Rock Hudson Lost / Not Lost When Summer Comes Idiots At Large A Stand-Up For The Dying Old Crawler Heartbreak Notes Ghost Of A Kiss Summer Turned You Can Always Disappear Powder Dry Films Of Our Youth This Way Now I Was There The Film Of Your Youth Built To Last
Before The Future: 1984-1989 is a 4 CD box-set from Then Jerico, covering their London Records output, 1987’s First (The Sound of Music) and Big Area (Outside) from 1989, plus a selection of single/ extended cuts and eleven previously unreleased tracks, that includes seven demos recorded prior to the band’s debut album. The collection is released on 23 August 2024.
This collection is a great way to listen to the first two albums and their associated extra tracks. First (The Sound of Music) is the sound of a band finding its identity, which was a cross between rock/pop and funk elements, and contains one of their finest singles in The Motive, which has aged particularly well.
The Roxy Music Prairie Rose cover version is delivered with respect to the original, especially the extended 7″ version, which has a clearer mix to the album cut.
The second disc in this 4 CD collection contains further remixes but it is Disc 3 where my interest really kicks in, with the second Then Jerico studio album, The Big Area. The title track (my favourite Then Jerico song), plus What Does It Take? (featuring Belinda Carlisle) and the final single, Sugar Box still sound powerful all those years later.
The extended What Does It Take?, with its ambient, extended outro and Big Area (Lost Mix) make this an essential collection for fans of the band and 80s music in general.
Of the extra tracks, b-side The Happening has a refreshing pace and features soulful backing vocals from Richard Derbyshire (Living in a Box), giving out strong Michael McDonald vibes.
Disc four features further remixes as well as seven pre-debut album demos, which show that the arrangements were already fully formed prior to the first albums final recording sessions.
Let Her Fall Blessed Days Laughter Party Stable Boy The Motive Muscle Deep A Quiet Place (Apathy & Sympathy) Play Dead The Hitcher Prairie Rose
Bonus Tracks
Blessed Days (Tokyo Mix) Fault (Dub) The Big Sweep Fault (7” Version) * Muscle Deep (7” Version – Julian Mendelsohn Remix) Prairie Rose (Extended 7” Version) The Motive (7” Version)
Disc Two
Extended Mixes & B-Sides
The Big Sweep (Club Mix) The Rack * Fault (Club Mix) * Muscle Deep (Extended Version) * Clank (Countdown To Oblivion) Distant Homes Let Her Fall (The Absolute Version) * Searching Prairie Rose (12” Version) * Electric One Life The Motive (Extended Version) * The Word (Live) The Motive (Midnight Mix) The Motive (USA Mix) Let Her Fall (12” Remix) *
Disc Three
Big Area (Outside)
Big Area What Does It Take? You Ought To Know Song For The Brokenhearted Darkest Hour Reeling Where You Lie Sugar Box Helpless Under Fire
Bonus Tracks
Trampled Underfoot The Happening What Does It Take? (Extended) Jungle Big Area (Lost Mix) Sugar Box (Blue Instrumental)
Disc Four
From The Vaults
The Motive (Nightmare Mix) Prairie Rose (7” DJ Version) * What Does It Take? (Great Mix) * Let Her Fall (USA Mix) The Motive (Longer USA Mix) Let Her Fall (7” Version) * What Does It Take? (Single Version) Let Her Fall (7” Remix) * Blessed Days (12” Version) The Word (Demo) * Let Her Fall (Demo) * The Hitcher (Demo) * Quiet Place (Demo) * Play Dead (Demo) * Stable Boy (Demo) * The Motive (Demo) *
Mr Kinski's Music Shack 