Musik Music Musique 1979 – The Roots of Synth-pop compilation review

1 12 2025

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.

“Taumatawhakatangihangakoayauo-
Tamateaturipukakapikimaungahoro-
Nukypokaiwhenuakitanatahu”

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

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Burn It Up – The Rise Of British Dance Music 1986-1991 4 CD review

11 10 2025

Burn It Up – The Rise Of British Dance Music 1986-1991 is a new 4 CD collection from Cherry Red, covering the explosion in dance music in the late 1980s and early 90s. The collection is released on 21 November 2025, and includes The KLF, S-Express, Coldcut, Bomb The Bass, 808 State, Adamski, Electribe 101 and many more.

The eras heady mix of electro, house and techno was built on the burgeoning sampling technology that brought recording out of the expensive studios and into the bedrooms and the minds of a younger generation, keen to make their mark on the charts.

This compilation reawakened my love of the late 80s acid / house, sample driven era. I bought many a sample CD to use with my Emax sampling keyboard and later on my Akai S950 12 bit sampler, and the music on this compilation transported me back to those heady days.

The early years

Coldcut feat. Floormaster Squeeze and Beats + Pieces (Mo Bass Remix) is a perfect introduction to the era, with breakbeats, drops and samples, including some deliciously lo-fi guitar licks, thrown into the mix. Listen to the music of the wonderful Australian band Confidence Man and you can see how breakbeat propelled bands such as Coldcut are an influence on current artists.

The Stock Aitken Waterman produced Mel & Kim make an appearance, with the mostly instrumental System (House Mix). House Arrest (The Beat Is The Law) by Krush was one of the early UK House hits in 1987, with featured vocals from Ruth Joy and its still a delight to listen to, with its endearing simplicity and clarity.

Hearing Bass (how low can you go) from Simon Harris with its Public Enemy and ubiquitous Funky Drummer sample sends me hurling back in time to 1988. The love song to the North of England, Us and their track Born In The North closes the first disc.

The big hitters

Disc 2 contains many of the big-hitters from the era, opening with Beat Dis (Extended Dis) from Bomb The Bass. My favourite Bomb The Bass song is the heavenly Winter In July, that is sadly not a part of this compilation, but Beat Dis was such an influential track, having the bravado to sneak in a cheeky Prince vocal sample along with snatches from Dragnet & Thunderbirds.

Bomb The Bass - Beat Dis cover (from compilation booklet)

What Time Is Love? (Pure Trance 1) from The KLF is still an absolute monster of a track. If this banger doesn’t get you up on your feet and waving your hands in the air (like you just don’t care), then you are probably dead.

The bass heavy Stakker Humanoid laid the foundations for the soon to arrive Future Sound of London. Theme from S-Express is an absolute titan from the era, and still sounds amazing today, with it samples from Rose Royce’s Is It Love You’re After and The Stepford Wives, along with an amazing widescreen, technicolour production from Mark Moore & Pascal Gabriel.

“Oh that’s bad,
no, that’s good”

Doctorin’ The House from Coldcut, their second track on this collection, this time introduces us to Yazz & The Plastic Population (soon to be known for the no1 single The Only Way Is Up). D-Mob feat. Gary Haisman deliver a bit of a novelty song with We Call It Acieeed – get on one matey indeed, whatever could they mean!

Samantha Fox and Love House (The Black Pyramid Mix) is one of many examples of a great use of the Roland TB-303 acid house synth, with an intelligent and well-crafted arrangement from techno legend Kevin Saunderson (Inner City). Paul Rutherford (former Frankie Goes To Hollywood co-vocalist) and his Get Real (Happy House Mix) is also driven by a delicious TB-303 acid synth line, with production from Martin Fry and Mark White from pop titans ABC.

Disc three opens with the still intoxicating Talking With Myself from Electribe 101, featuring vocalist Billie Ray Martin. Tired of Getting Pushed Around by Two Men, a Drum Machine and a Trumpet (Andy Cox
and David Steele from Fine Young Cannibals) is a piece of high tempo, but minimal in its arrangement, house music.

Special & Golden (Parts I and II) is a surprise but welcome inclusion from S-Express. Street Tuff (Longsy D’Mix) from Double Trouble & Rebel MC is a playful breakbeat driven reggae /house mashup.

“Jam the nightclub, rock the disco”

The Sun Rising from the much-missed The Beloved is the perfect comedown tune, and along with the afore-mentioned Winter In July (Bomb The Bass), is one of the most beautiful songs from the late 80s / early 90s.

Beloved - Sun Rising cover - from Compilation booklet

The sun setting… on the era

The 4th and final CD opens with the anthemic Pacific-202 from 808 State, a wonderful warm production with clipped percussion and smooth synth sequences, topped by “that” sax riff. N-R-G is the debut single from Adamski, with an infectious house piano motif, whilst Orbital are represented with Chime (Edit).

If You Love Somebody (12” Mix) by Professor Supercool – aka The Blow Monkeys’ Dr. Robert, sneaks in from the mainstream, and is a close cousin to the bands late 80s singles such as Choice? and Wait.

Sheffield’s Cabaret Voltaire are represented with the addictive Easy Life, whilst The Cure’s Lullaby (Extended Remix) is a bit of a mis-step on this compilation. Its a great song and an interesting mix but is only really linked to the scene by some of the keyboard treatments, so feels a little out of place.

Whilst some of the tracks on Burn It Up – The Rise Of British Dance Music 1986-1991 sound very much of their time, this is an excellent trip back in time to an exciting, colourful and inventive time in music. The 4 CD set also comes with informative sleeve notes by Bill Brewster (Last Night A DJ Saved My Life).

“Enjoy this trip
And it is a trip”


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DISC ONE
Coldcut feat. Floormaster Squeeze – Beats + Pieces (Mo Bass Remix)
Mel & Kim – System (House Mix)
Midnight Sunrise With Nellie “Mixmaster” Rush feat. Jackie Rawes – On The House (Chicago Mix)
John Rocca – I Want It To Be Real (Farley’s Hot House Piano Mix)
Rick & Lisa – When You Gonna (Home Boy Mix)
Krush – House Arrest (The Beat Is The Law)
T-Coy – Cariño
The Cookie Crew – Females (Get On Up) (Pile Up)
Judge Dread – Jerk Your Body (Edit)
Simon Harris – Bass (How Low Can You Go) (Bomb The House Mix)
M.E.S.H. (Jack The Tab) – Meet Every Situation Head On
The Beatmasters feat. The Cookie Crew – Rok Da House
Us – Born In The North

DISC TWO
Bomb The Bass – Beat Dis (Extended Dis)
The KLF – What Time Is Love? (Pure Trance 1)
Humanoid – Stakker Humanoid
S-Express – Theme From S-Express
Coldcut feat. Yazz & The Plastic Population – Doctorin’ The House
Baby Ford – Oochy Koochy (F.U. Baby Yeh Yeh)
D-Mob feat. Gary Haisman – We Call It Acieeed (The Radio Edit)
The Wee Papa Girl Rappers feat. 2 Men And A Drum Machine – Heat It Up (Acid House Mix)
The Beatmasters feat. P P Arnold – Burn It Up (7″ Version)
The Moody Boys – Acid Rappin
Samantha Fox – Love House (The Black Pyramid Mix)
Paul Rutherford – Get Real (Happy House Mix)

DISC THREE
Electribe 101 – Talking With Myself
Anne Clarke – Our Darkness (Remix)
2 Men, A Drum Machine & A Trumpet – Tired Of Getting Pushed Around (The Mayhem Rhythm Mix)
Julian Jonah – Jealousy And Lies
Chapter And The Verse – All This And Heaven Too (Club Mix)
Shades Of Rhythm – Just Feel It
S-Express – Special & Golden (Parts I and II)
Monie Love – Grandpa’s Party (Love II Love Remix)
Double Trouble & Rebel MC – Street Tuff (Longsy D’Mix)
Richie Rich – Salsa House
The Beloved – The Sun Rising
Dina Carroll – Me Sienta Sola (We Are One) (Funky Z-Bar Mix)

DISC FOUR
808 State – Pacific-202
Adamski – N-R-G
Nightmares On Wax – Let It Roll
NAD – Distant Drums
Orbital – Chime (Edit)
Professor Supercool – If You Love Somebody (12” Mix)
N-Joi – Techno Gangsters
Pop Will Eat Itself – Touched By The Hand Of Cicciolina (The 9 Renegade Soundwave Mix (Smoothneck))
Ubik – Techno Prisoners
Cabaret Voltaire – Easy Life
The Cure – Lullaby (Extended Remix)
Urban Hype – Teknologi (R.J. Flip Mix)
Circuit – Shelter Me (Helter Skelter Mix)

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White Willow – Terminal Twilight (2025 remaster) review

25 08 2025

White Willows sixth studio album Terminal Twilight (2011) is re-issued by Karisma Records on 19 September 2025, in remastered form on CD and for the first time on vinyl.
 
Meticulously remastered by the band’s head honcho Jacob Holm-Lupo, this is the last in a series of six White Willow re-releases on Karisma Records.

To paraphrase Chloe Kelly from the title winning England Women’s team, the first one was so nice, I had to review it twice.

For my initial review back in 2011, I was a relative newcomer to the world of Jacob Holm-Lupo, as I was only aware of his Opium Cartel albums, but Terminal Twilight quickly became my favourite of the Norwegian’s musician’s myriad of releases.

I am particularly excited to get my hands on a vinyl copy of the album, with a limited translucent orange vinyl release available in September 2025.

Like all of Jacob’s remasters, a huge amount of care and consideration has informed the process. Jacob does not just whack up the volume, so brick walled this album is not!

The bass synth on album opener Hawks Circle The Mountain is warm and deep, and the placement of individual instruments and performances feels much more natural and open than the original mix (which was still excellent by the way). So whilst the album sounds better than ever before, it’s a subtle but worthwhile upgrade.

One of the finest modern day progressive rock albums continues with the beautiful Snowswept, highlighting the clarity of vocalist Sylvia Erichsen’s vocals. The playful bass and drum interplay is an absolute joy to behold.

Kansas Regrets saw Jacob collaborating once again with no-man’s Tim Bowness, on the least progressive sounding track on the album. The production really shines on this new remaster, and Kansas Regrets is one of Tim’s most rewarding guest appearances to date.

Red Leaves gives off Jeff Wayne’s War Of The World vibes, and the gradual switch from vocals, piano & guitar to the full band performance is breathtaking.

And before you know it, we arrive on Floor 67, a song that over the years has become one of my favourite tracks. This dystopian epic became even more powerful for me after I saw Ben Wheatley’s 2015 film adaptation of J.G. Ballard’s High Rise. Floor 67 feels like a perfect musical companion piece to this shocking film.

The lyrics are so on point whilst the organs and guitar parts flit between the powerful drums and jagged guitar lines, along with snatches of lost radio transmission-like vocals and a performance that seems to conjure up apocalyptic weather systems that batter the residents high up on Floor 67.

As you gather your senses after the onslaught delivered by the previous track, Natasha of the Burning Woods delivers a mostly instrumental palette cleanser.

The album’s longest track is the 13 minute Searise, again pointing at the potential climate-change led demise for the unlucky occupants of Floor 67.

Searise is White Willow at their most musically brutal, and the epic song slowly fades away as White Willow ushers in the closing track, A Rumour Of Twilight, a calm after the (literal) storm instrumental that signifies either an abrupt end or hopefully the faint hope of a new beginning.

Terminal Twilight is a powerful, lovingly produced and executed modern day progressive classic, that deserves to be re-appraised in its 2025 remastered form, either on vinyl or CD.

I’ll see you up on Floor 67, don’t be late.


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CD TRACKLIST:                                     

Hawks Circle the Mountain
Snowswept
Kansas Regrets
Red Leaves
Floor 67
Natasha of the Burning Woods
Searise
A Rumour of Twilight    
                   

LP TRACKLIST:

Hawks Circle the Mountain
SSeariset
Kansas Regrets
Red Leaves
A Rumour of Twilight
Floor 67
Natasha of the Burning Woods
Searise
                     





The Pale Fountains – The Complete Virgin Years 4 CD box-set review

21 04 2025

The Pale Fountains were an English band formed in Liverpool in 1980, and composed of Mick Head, Chris McCaffery, Thomas Whelan, Andy Diagram, Ken Moss and John Head.

Inspired by 1960s music (Love, Burt Bacharach), the band released two much-loved studio albums on Virgin, Pacific Street (1984) and …From Across the Kitchen Table (1985).

This 4-CD box set brings together both albums as well as the B-Sides, mixes, and some previously unreleased material from the Virgin vaults all housed in a sturdy box with extensive sleeve notes by Classic Pop’s John Earls.

The music was mastered by Tony Dixon, with vinyl restoration (presumably for some of the singles) by Andy Pearce. The albums sounded pretty good with their previous CD incarnation, but this new master from Tony Dixon adds more punch and depth to the mixes.

I bought both albums on cassette in the early 80s and also treated my self to the CD reissues a few years ago, but this box-set blows those reissues out of the water. The original two albums have never sounded better and the two discs of single cuts and unreleased demos adds real value to this release.

Pacific Street and beyond

Pacific Street, the bands debut from 1984, is my favourite of the two Virgin studio albums, and is an album I still regularly play to this day. It has a consistent sound – often with bossa-nova rhythms topped by traditional pop / rock arrangements and a smattering of Andy Diagram’s trumpet.

Whilst no doubt influenced by the pure-pop of Burt Bacharach, Arthur Lee’s Love and with a bold 60s swagger, the guitar exhibits a sharp new-wave bite that cuts through, adding a darker side to the songs.

The album was produced by the band and Howard Gray (Orchestral Manoeuvres in the Dark / Public Image Limited / Simple Minds) and has intelligent and rich arrangements, with delicious harmonies and rapidly changing tempos.

My favourite track arrives early in the album sequence, with the atmospheric Unless. In another universe, this song would have been a top 10 hit. Deep synths take centre-stage, a rarity, and Head’s vocal is spell-binding. When the sequenced synth line kicks on the 3/4 mark, I’m transported to a musical nirvana.

(Don’t Let Your Love) Start A War is a key album track, with chiming guitar lines and a restrained verse that makes the chorus all the more powerful.

Beyond Friday’s Field is the most experimental track on the album, led by Diagram’s trumpet and a sparse 60s spy-thriller backing. The music coming out of Liverpool in the 80s was in such a rich vein of form, and The Pale Fountains were a key component of the wave of classic artists.

Abergele Next Time has a confident swagger, and sits in your mind long after the last note has faded away.

The bonus tracks from the era are solid gold. The “radio-hits” Thank You and Palm of my Hand are absolute classics . I didn’t realise until recently that multi-instrumentalist Alan Rankin, who had recently quit The Associates, produced the Pale Fountains 1983 non-album single Palm Of My Hand. I bought the single when it was released but either didn’t pick up on Rankine’s involvement at the time or simply just forgot, but listening to the song with this knowledge, his influence is clear.

The first disc ends with a couple of extended versions and the non-album track Love Situation, which suggests that Mick Head jumped into a time-machine and invented Primal Scream, bringing back this song on his return to the mid-80s.

The second disc contains rough mixes and demos from around the time of the first album. Given the age of the recordings, the quality is surprisingly good. Highlights from this disc include the light mix of Fight Think Love / Love Situation – Rough Mix Take 1, a song that would not feel out of place as part of a Hollywood film soundtrack in Spanish Tragedy (Beyond Fridays Field) – Rough Instrumental Mix and the Motown infused twisted pop of Take A Little Shelter – Rough Mix Take 2.

A shout-out needs to be given for the second version of Sundrenched Girl (Crazier) – Rough Mix – with contains a full-band performance of this supremely catchy, steel-drum adorned slice of summer pop.

…From Across The Kitchen Table

The second album finds The Pale Fountains in a more strident, confident mood. The urgent Shelter opens the album, whilst a bluesy and more ragged Stole The Love paves the way for my favourite track from the album, the timeless Jean’s Not Happening, with a sublime guitar line from John Head.

Bruised Arcade has stood the test of time, and I enjoyed becoming reacquainted on reviewing the album. It’s Only Hard passed me by when I first bought the album, by this slow-paced Dylanesque piece hits more directly now.

The title track incorporates some ‘of the time’ synths in its intro before it develops into an enjoyable, intelligent piece of dark pop. The rockabilly swing of September Sting ends the album on a high.

The 4th and final disc collects mixes and unreleased tracks from this period. An extended mix of the title track works well as does a darker mix of Bicycle Thieves.

The b-side Just A Girl – Remix feels more like an a-side, from the Thank You era, featuring a strong chorus, with a hint of the pop-nous of Pete Wylie / Wah! from around this time. A lost Palies classic.

A warm, full remix of Thank You is a welcome inclusion. A series of well-preserved demos make up the rest of the final disc. Highlights include the drum-machine driven The Outsider, with its excellent bassline, the restraint turns to wild abandon of Summertime (It’s Hard) and the promise that was never fully realised of These Are the Things (Stay).

So even if, like me, you own both of The Pale Fountains first two albums, this expanded box-set is a must-own release from one of Liverpool’s best kept secrets.


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TRACK LISTING

DISC ONE

Pacific Street

Reach
Something On My Mind
Unless
Southbound Excursion
Natural
Faithful Pillow (Pt 1)
(Don’t Let Your Love) Start A War
Beyond Fridays Field

Abergele Next Time
Crazier
Faithful Pillow (Pt 2)

BONUS TRACKS

Thank You – Single
Meadow Of Love – Single B Side
(There’s Always) Something on My Mind – Remix
Palm Of My Hand – Single
Palm Of My Hand – Instrumental – Single B Side
Love’s A Beautiful Place – Single B Side
Unless – Extended Version 12″ Single
(Don’t Let Your Love) Start A War – Single
(Don’t Let Your Love) Start A War – Extended Version 12″ Single
Love Situation – Single B Side


DISC TWO

Mixes And Unreleased Tracks

Partner Picking Man – Rough Mix with Bass and Drums*
Fight Think Love / Love Situation – Rough Mix Take 1*
Jock’s A String Bean – Rough Mix*
Fight Think Love / Love Situation – Rough Mix Take 2*
Spanish Tragedy (Beyond Fridays Field) – Rough Instrumental Mix*
Take A Little Shelter – Rough Mix Take 2*
Partner Picking Man – Acoustic*
Sun Drenched Girl (Crazier) – Acoustic
Lavinia’s Dream – Rough Mix Take 1
(There’s Always) Something on My Mind – Rough Mix
Hey There Fred – Rough Mix
One By One – Rough Mix Take 2*
Norfolk Broads – Rough Mix Take 1
Untitled Jam / 7 and 7 Is*
Unless – Rough Mix
(There’s Always) Something on My Mind – Rough Mix
Sundrenched Girl (Crazier) – Rough Mix
Southbound Excursion – Rough Mix


DISC THREE

…From Across the Kitchen Table

Shelter
Stole The Love
Jean’s Not Happening
Bicycle Thieves
Limit
27 Ways to Get Back Home
Bruised Arcade
These Are the Things
Its Only Hard
…From Across the Kitchen Table
Hey
September Sting


DISC FOUR

Mixes And Unreleased Tracks

From Across the Kitchen Table – Extended Version 12″ Single
Bicycle Thieves – Remix Single B Side
Just A Girl – Remix Single B Side
Thank You – Remix Single B Side
Silver Bendix – Demo*
The Outsider – Demo*
Detrimentally (Stole the Love) – Demo
27 Ways to Get Back Home – Demo
Summertime (It’s Hard) -Demo
Shelter – Demo
Yeah Eah Eah – Demo*
These Are the Things (Stay) – Demo
Bruised Arcade – Demo
*Previously unreleased

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The Skids – The Singles – 2 CD compilation review

21 04 2025

The Singles is a new 2CD 34-track chronological round up of the A and B-sides issued by Scottish Punk / New Wave legends The Skids between 1978 and 1981 (though Cherry Red were unable to licence All The Young Dudes / Hymns From A Haunted Ballroom from the Working For The Yankee Dollar 2nd 7”). 

Highlights from this set includes the singles Sweet Suburbia (No.70), The Saints Are Coming (No.48), Into The Valley (No.10), Masquerade (No.14), Charade (No.31), Working For The Yankee Dollar (No.20), Animation (No.56), Circus Games (No.32), Goodbye Civilian (No.52) and Woman In Winter (No.49).

The Saints Are Coming was covered in 2006 by U2 / Green Day as a benefit single for victims of Hurricane Katrina.

The booklet contains in-depth notes on each track and was overseen by The Skids official website.

Mastering for this release was by James Bragg.

The first disc

Charles (from Feb 1978) opens the collection, with the single recording that was issued on the No Bad Records label. The other two tracks from the  original single (Reasons and Test-Tube Babies) were not included on any Skids studio albums, and are possibly vinyl rips (due to some audio drop-outs). 

Sweet Suburbia (September 1978) was my introduction to the band and both single tracks were not included on the original track listing of the bands debut album. Open Sound remains one of The Skids finest b-sides.

The Saints Are Coming for me is the start of the bands imperial phase, and contains one of Stuart Adamson’s most iconic guitar riffs, as the key track on the Wide Open EP. Night And Day is another standout b-side.

Into The Valley is probably the bands most well-known song, and a track I hear at every home game at The Valley,  the home of my beloved Charlton Athletic. The b-side T.V. Stars (Live) is still performed by the current incarnation of the band at its gigs – with a slight updating of some of the lyrics!

Masquerade is my favourite and most played Skids song, that I still own on 7“ vinyl. The production from John Leckie and Bill Nelson makes the song burst out of the speakers with such power. The release also included a key Skids track in Out Of Town, plus Another Emotion and Aftermath Dub (a Masquerade remix).

Charade features the debut of Rusty Egan (Rich Kids / Visage) on drums, and is an intensely addictive song. Non-album b-side Grey Parade is a welcome addition, and hints at the sound that was to come with the bands final album a few years down the line. Wonderful synth lines make this one of the bands most memorable b-sides. 

Disc two

Working For The Yankee Dollar opens the second disc, and what an opening. Originally another Bill Nelson production (which appears on one of the two mixes of the Days In Europa album), the single was remixed by Mick Glossop and was released in November 1979 (my favourite year for music).

Animation saw the band move into the 80s, and was a minor UK hit, though it deserved to do better. Adamson’s guitar is superb and adds real depth to one of Stuart and Richard’s finest co-writes. B-side Pros and Cons features catchy keyboard lines, and the single marked the end of bassist William Simpson and drummer Rusty Egans time in the band.

Circus Games (with one of Jobson’s finest vocal performances) was issued in edited form as a single and was backed by One Decree

Goodbye Civilian from The Absolute Game was also issued as a single in edited form, with the final single from the album and the last to feature Adamson as a full-time band member being released in November 1989, the anthem that was Woman In Winter.

1981 saw the band stripped down to a duo of Jobson and bassist Russell Webb, aided and abetted with guests such as Billy Mackenzie / Alan Rankin (Associates), Alan Darby (Fashion) and Mike Oldfield. A selection of mixes of Fields and Iona, plus the accompanying b-sides including the final Stuart Adamson appearance for The Skids on Brave Man, round off the album.

Fields still holds up well as a great Skids single, with its rousing chorus.

The Skids – The Singles is an enjoyable compilation that covers a rich period in music history as punk / new wave switched to post-punk and then mutated into the vibrant, colourful pop of the 1980s

Carry on, oh carry on
The effort and the struggle” 

The Skids, Fields


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Buy The Skids – The Singles 2 x CD from Amazon


DISC ONE

Charles
Reasons
Test-Tube Babies
Sweet Suburbia
Open Sound
The Saints Are Coming
Of One Skin
Night And Day
Contusion
Into The Valley
T.V. Stars (Live)
Masquerade
Out Of Town
Another Emotion
Aftermath Dub
Charade
Grey Parade

DISC TWO

Working For The Yankee Dollar
Vanguard’s Crusade
Animation
Pros And Cons
Circus Games
One Decree
Goodbye Civilian
Monkey McGuire Meets Specky Potter Behind Lochore Institute
Woman In Winter
Working For The Yankee Dollar (Live)
Fields (7’’ Version)
Brave Man (7’’ Version)
Fields (12’’ Version)
Brave Man (12’’ Version)
Iona (7’’ Version)
Blood And Soil (7’’ Version)
Iona (7’’ Version 2)


Buy The Skids – The Singles 2 x CD from Amazon





Steven Wilson’s ‘The Overview’ Album Review

19 02 2025

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.

Steven Wilson "The Overview" album art


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.

Steven Wilson "The Overview" vinyl

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.

Steven Wilson "The Overview" vinyl

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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Tracklisting

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

Visit Steven Wilson’s website for news and tour dates.





Climie Fisher’s Everything: 5CD Deluxe Edition Review

12 02 2025

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.

Climie Fisher - Everything

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.

Climie Fisher - single sleeves for the two versions of "Rise To The Occasion" and "Love Changes (Everything)"

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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Buy the Climie Fisher Everything 5 CD Deluxe Edition from Amazon

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

Buy the Climie Fisher Everything 5 CD Deluxe Edition from Amazon





Danny Wilson – The Complete Danny Wilson 5 CD box-set review

16 01 2025

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).

Complete Danny Wilson box-set coverart

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.

Meet Danny Wilson coverart

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.

Bebop Moptop album coverart

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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DISC ONE

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





Exploring Godley & Creme “Parts of the Process”: The 11-CD box-set

3 01 2025

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.

Parts Of The Process – The Complete Godley & Creme album art

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.

Consequences cover art

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.

L cover-art

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…”

Freeze Frame cover-art

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 cover-art

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.

Birds of Prey cover-art

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”

History Mix Vol 1 cover-art

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.

Goodbye Blue Sky cover-art

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.

non-album tracks / 7" versions cover-art

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.

Extended mixes cover-art

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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Buy Parts Of The Process – The Complete Godley & Creme from Burning Shed

Parts Of The Process – The Complete Godley & Creme covers and box

CD1: CONSEQUENCES Part One (1977)

  1. Seascape
  2. Wind
  3. Fireworks
  4. Stampede
  5. Burial Scene
  6. Sleeping Earth
  7. Honolulu Lulu
  8. The Flood

CD2: CONSEQUENCES Part Two

  1. Five O’Clock In the Morning
  2. Dialogue
  3. When Things Go Wrong
  4. Dialogue
  5. A Lost Weekend
  6. Dialogue (1)
  7. Rosie
  8. Dialogue (2)
  9. Office Chase
  10. Dialogue (3)
  11. It’s Cool, Cool, Cool In The Morning
  12. Dialogue (4)

CD3: CONSEQUENCES Part Three

  1. Cool, Cool, Cool [reprise]
  2. Dialogue (5)
  3. Sailor
  4. Dialogue (6)
  5. Mobilization
  6. Dialogue (7)
  7. Please, Please, Please
  8. Dialogue (8)
  9. Blint’s Tune (Movements 1 – 17)

CD4: L (1978)

  1. The Sporting Life
  2. Sandwiches Of You
  3. Art School Canteen
  4. Group Life
  5. Punchbag
  6. Foreign Accents
  7. Hit Factory / Business Is Business

CD5: FREEZE FRAME (1979)

  1. An Englishman In New York
  2. Random Brainwave
  3. I Pity Inanimate Objects
  4. Freeze Frame
  5. Clues
  6. Brazilia (Wish You Were Here)
  7. Mugshots
  8. Get Well Soon

CD6: ISMISM (1981)

  1. Snack Attack
  2. Under Your Thumb
  3. Joey’s Camel
  4. The Problem
  5. Ready For Ralph
  6. Wedding Bells
  7. Lonnie
  8. Sale Of The Century
  9. The Party

CD7: BIRDS OF PREY (1983)

  1. My Body The Car
  2. Worm And The Rattlesnake
  3. Cats Eyes
  4. Samson
  5. Save A Mountain For Me
  6. Madame Guillotine
  7. Woodwork
  8. Twisted Nerve
  9. Out In The Cold

CD8: THE HISTORY MIX VOL.1 (1985)

  1. Wet Rubber Soup
  2. Cry
  3. Expanding The Business / The ‘Dare You’ Man / Hum Drum Boys In Paris / Mountain Tension

CD9: GOODBYE BLUE SKY (1988)

  1. H.E.A.V.E.N. / A Little Piece Of Heaven
  2. Don’t Set Fire (To The One I Love)
  3. Golden Rings
  4. Crime & Punishment
  5. The Big Bang
  6. 10,000 Angels
  7. Sweet Memory
  8. Airforce One
  9. The Last Page Of History
  10. Desperate Times

CD10: NON-ALBUM TRACKS & 7” VERSIONS

  1. Wide Boy
  2. Submarine
  3. Marciano
  4. Power Behind The Throne
  5. Babies
  6. Welcome To Breakfast Television
  7. Golden Boy [7” 1984]
  8. Light Me Up
  9. Love Bombs
  10. Golden Boy [1985 Remix]
  11. Bits Of Blue Sky
  12. Rhino Rhino
  13. Hidden Heartbeat
  14. Can’t Sleep
  15. Sandwiches Of You [7” Edit]
  16. An Englishman In New York [Single Edit]
  17. Silent Running
  18. Cry [Single Edit]
  19. Wet Rubber Soup [Edit]
  20. Snack Attack [1987 7” Remix]
  21. A Little Piece Of Heaven [7” Single Version]

CD11: EXTENDED MIXES

  1. Snack Attack [Extended Version]
  2. Strange Apparatus (An Englishman In New York)[12” Version]
  3. Samson [Dance Mix]
  4. Golden Boy [Long Version 1984]
  5. Jack Attack Dub
  6. Cry [Extended Remix]
  7. Golden Boy [1985 Full Length 12” Mix]
  8. Snack Attack [1987 Extended Remix]
  9. A Little Piece Of Heaven [Extended Mix]





Rediscovering 1980s Music: Bill Nelson’s Quit Dreaming and Get on the Beam Box Set reviewed

7 11 2024

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.

Bill Nelson Quit Dreaming and Get on the Beam coverart

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.

Do You Dream In Colour 7" single sleeve

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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TRACK LISTING

DISC ONE

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

Bonus tracks
The World and His Wife
Dancing Music

Buy Bill Nelson’s Quit Dreaming and Get on the Beam boxset from Amazon