No Static At All (A Journey into AOR 1976-1986) compilation review

12 09 2026

No Static At All (A Journey into AOR 1976-1986) is a new 3 CD compilation from Cherry Red that takes a deep dive, beyond some of the more obvious FM radio staples of the time into some less well-known deeper tracks from Boston, Chicago, Foreigner, Pat Benatar, Rainbow, Yes and more. It comes with wonderful cover-art and an informative booklet, with key information about all the acts featured on the compilation.

From the classic songs blaring out of FM radios and car stereos the world over to hidden jewels, this is the story of 10 years of Adult Orientated Rock from 1976 to 1986. Pump your hair full of hairspray and put on your flared denim jeans, lets rock!

Boston’s Something About You opens disc one, from the bands self-titled album that sold over 17 million copies, a typically well-crafted multi-layered dual guitar piece. Washington DC band Angel deliver rich harmonies and punchy guitars on 1977’s Don’t Leave Me Lonely, one of the early gems on this compilation.

Styx contribute Fooling Yourself (The Angry Young Man), a progressive song that’s a world away from their soft-rock hit Babe that landed a few short years later. Another band with a classic prog underbelly are Aviary with their keyboard heavy Feel The Heart.

New England add a touch of new wave / power pop sheen to Don’t Ever Wanna Lose Ya, with the band setting their phaser pedal to stun! The guitar riff that drives 707’s I Could Be Good For You makes this an AOR anthem worthy of rediscovery.

Heading back to 1978 for the 7” version of their massive hit Hold The Line, Toto were later to dominate the AOR / classic rock scene with Africa and Roseanna. Straight Lines contribute the jazzy, summer sound of I’m Talking To You, one of the highlights of this compilation. Asylum Records solo artist Terence Boylan appears with the Fleetwood Mac at their most offbeat like Where Are You Hiding?, another piece that deserves more than its status of “radio hit”.

A rare appearance from a non US artist features the UK band Rainbow with their timeless hit single Since You Been Gone. Make sure you join in with a hearty “huh” at the appropriate point to celebrate Graham Bonnet’s timeless vocal performance. Nils Lofgren, who went on to become a key member of the E Street Band, appears with probably his most well-known solo song, Shine Silently from 1979. I saw Nils on the bill of The Who’s August 1979 Wembley Stadium show, alongside AC/DC and The Stranglers. I remember a trampoline being part of Nils performance. Starz close disc one with their catchy as hell but dated lyrically.

Eye in the sky

Journey open the second disc in this collection with 1981’s Stone In Love, showcasing the delightfully raspy vocals of Steve Perry that you will recognise from their classic Don’t Stop Believin. The power-pop influenced Caught Up In You from .38 Special is a hidden gem that is itching for rediscovery. The guitar work is particularly imaginative and varied in style. The band feel like a US version of the UK band City Boy, a favourite of mine from the late 70s.

The mighty Blue Oyster Cult are represented by the 7″ version of Burnin’ For You from 1981, another new wave / power pop influenced piece, from the band who always delivered great arrangements. Pat Benatar and the power ballad Shadows Of The Night was a single in 1982. Benatar is a great rock vocalist, and her album from the previous year, Precious Time, is a great album, with Fire & Ice a standout track that refuses to age.

Alien from Atlanta Rhythm Section changes the mood, with a Rhodes driven piece of Christopher Cross-like yacht rock, topped by delicious harmonies, giving the song its place as one of my favourites from this three CD set.

REO Speedwagon were never one of my favourites from the early 80s but Keep On Loving You does act as a portal to 1980, and will remind you of the hits blasting out from your FM radio. I am particularly partial to a lot of The Alan Parsons Project albums, and Eye In The Sky is one of my favourite tracks. A light, delicate piece with harmonies that are gold-plated on this single, here in its 7″ format.

A world away from their Prog heyday, a reinvigorated Yes serve up Owner Of A Lonely Heart, a Trevor Horn produced colossus driven by the revolutionary Fairlight CMI digital workstation and a tasty and instantly recognisable guitar riff. Asia and Only Time Will Tell is a powerful pop rock piece, featuring the vocals of the late John Wetton.

Another unknown by me act is Balance with their strutting In For The Count from 1982. Quarterflash and 1980s Find Another Fool also leans into new wave stylings, and has an interesting, slightly post-punk drum performance. Pages mutated into the massive act Mr. Mister, but in this incarnation are a Michael McDonald influenced pop-rock / jazz-fusion band, with Sesatia from 1981, a track I enjoyed a lot, even though it was new to me.

The hugely successful Chicago appear here with Chains, that is ushered in with a dated keyboard sound, but soon improves with an addictive guitar and bass heavy verse. Rick Springfield’s Don’t Talk To Strangers is a more substantial piece than the song he is remembered for, Jessies Girl, which is lighter but still a piece of early 80s classic pop.

Kenny Loggins & Steve Perry duet on the catchy Don’t Fight It, that features Neil Giraldo from Pat Benatar’s band on guitar. Don’t Fight It reached a respectable #17 on the Billboard chart when released as a single in 1982.

That was yesterday

The third and final disc opens with Night Ranger’s Don’t Tell Me You Love Me, another power pop influenced rock piece from one of the finest years in pop, 1982. The chorus is pure FM rock, and all the better for it. The band FM contribute a rare UK entry to this compilation, and it hits all the right tropes on That Girl – Simmonds drum roll and all!

The Outfield and All The Love In The World features Andy Summers-like guitar lines and a glorious guitar solo. Its easy to forget how massive Foreigner were during the period covered by the compilation. That Was Yesterday was taken from the Agent Provocateur album from 1984.

Dakota and Runaway suffers slightly from the dated electronic drums, but it has a hint of 80s electronica, with the synth bass line and a chorus current band The Midnight would kill for. Songwriter extraordinaire Russ Ballard, formerly of Argent, appears here as an artist with Voices, that appeared on an episode of Miami Vice. You can only listen to this song if you promise to roll up the sleeves of your pastel coloured suit jacket. The synths are particularly interesting on Voices.

Black/White is a lesser known single from Mr. Mister, who had massive hits with Broken Wings and Kyrie. Robert Palmer’s cover of Cherelle’s I Didn’t Mean To Turn You On is a bit on an outlier here, more pop / funk in its roots than AOR, but Palmer is always a welcome addition to any compilation from the 70s or 80s, so no complaints from me.

Billy Idol’s Eyes Without A Face is one of his finest 80s singles, a top 5 Billboard hit. i-TEN’s I Don’t Want To Lose You was produced by Keith Olsen and Steve Lukather, and has some wonderful Rhodes piano sections to give it a slightly different flavour to other songs on this collection.

Robert Tepper’s No Easy Way Out appeared in Stallone’s Rocky IV. The compilation ends with two giants – John Parr’s massive single St. Elmo’s Fire (Man In Motion) – which is as much yacht rock as AOR and Boston’s final top 40 US hit, Can’tcha Say (You Believe In Me) / Still In Love, a mini epic that shifts tempo mid-way through, throwing in some lovely guitar harmonics and unconventional bass lines.

Some of the production sounds on No Static At All (A Journey into AOR 1976-1986) may have not stood the test of time, but the song writing is strong throughout this compilation. Tight harmonies were a crucial ingredient for a musical genre that time forgot, with this compilation hopefully awakening some musical memories for you to enjoy.

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TRACK LISTING

DISC ONE

Boston – Something About You
Angel – Don’t Leave Me Lonely
Styx – Fooling Yourself (The Angry Young Man)
Aviary – Feel The Heart
New England – Don’t Ever Wanna Lose Ya (7″ Edit)
707 – I Could Be Good For You
Toto – Hold The Line (7″ Version)
Eddie Money – Shakin’
Donnie Iris – Ah! Leah!
Straight Lines – I’m Talking To You
Terence Boylan – Where Are You Hiding?
The Gregg Allman Band – Come And Go Blues
Red Rider – Lunatic Fringe
Aldo Nova – Fantasy (7″ Version)
Gamma – I’m Alive
Barry Goudreau – Dreams
Rainbow – Since You Been Gone (7″ Version)
Zon – Put On The Show
Nils Lofgren – Shine Silently
Starz – Cherry Baby

DISC TWO

Journey – Stone In Love
.38 Special – Caught Up In You
Blue Oyster Cult – Burnin’ For You (7″ Version)
Pat Benatar – Shadows Of The Night (7″ Edit)
Atlanta Rhythm Section – Alien
Little River Band – The Night Owls (7″ Version)
REO Speedwagon – Keep On Loving You
The Alan Parsons Project – Eye In The Sky (7″ Version)
Yes – Owner Of A Lonely Heart (7″ Version)
Asia – Only Time Will Tell (7″ Version)
Loverboy – Gangs In The Street
LeRoux – Turning Point
Balance – In For The Count
Quarterflash – Find Another Fool
Pages – Sesatia
Chicago – Chains
Rick Springfield – Don’t Talk To Strangers (7″ Version)
Peter Cetera – Livin’ In The Limelight
Kenny Loggins & Steve Perry – Don’t Fight It

DISC THREE

Night Ranger – Don’t Tell Me You Love Me (7″ Edit)
FM – That Girl
Kansas – Fight Fire With Fire
The Outfield – All The Love In The World (7″ Version)
Joe Lynn Turner – Endlessly (7″ Version)
Foreigner – That Was Yesterday
Giuffria – Call To The Heart
Dakota – Runaway (Promo Single Edit)
Billy Satellite – Satisfy Me
Russ Ballard – Voices (7″ Version)
Mr Mister – Black/White
Robert Palmer – I Didn’t Mean To Turn You On
Streets – Crimes In Mind
Billy Idol – Eyes Without A Face (7″ Version)
Icon – Shot At My Heart
Eric Martin Band – Sucker For A Pretty Face
i-TEN – I Don’t Want To Lose You
Robert Tepper – No Easy Way Out
John Parr – St. Elmo’s Fire (Man In Motion) (7″ Version)
Boston – Can’tcha Say (You Believe In Me) / Still In Love

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Digging Your Scene – New Pop And All That Jazz 1982-1987 review

28 05 2026

Digging Your Scene – New Pop And All That Jazz 1982-1987 is a 4CD sequel to Heaven Sent The Rise Of New Pop 1979-1983, with this compilation documenting the influence of jazz and 50s/60s music on modern pop in the UK between 1982 and 1987.

Digging Your Scene… celebrates an era when jazz inspired many pop acts, from bossa nova beats to mainstream covers of the classics; from Latin-fuelled club favourites to torch ballads and acid jazz grooves. Oh how I yearn for the days of the 12″ extended jazz versions of newly released singles, and so this compilation scratches that itch in a few instances.

Digging Your Scene.. features 80s titans such as Everything But The Girl, Robert Wyatt, Working Week, Joe Jackson, Blue Rondo A La Turk, Matt Bianco, Carmel, Fine Young Cannibals, The Blow Monkeys, The Style Council and Swing Out Sister alongside lesser known acts from this fine period.

Everything But The Girl open disc one, with their sparse cover of Cole Porters Night And Day from March of 1982. EBTG are at this point a world away from the widescreen dance orientated act that gave the world the stunning Missing in the 90s, so this is a fascinating reminder of the duo’s early work.

It’s just a rumour that was spread around town

Shipbuilding, from Soft Machine vocalist Robert Wyatt, was written by Elvis Costello and Clive Langer, and was inspired by the Falklands War. Described by Costello as a “warning sign, not a protest song”, Shipbuilding is a poignant reminder of the huge cost to individuals and communities by touched by war. War, what is it good for, absolutely nothing as Edwin Starr told us (in the 70s), with Bruce Springsteen and Frankie Goes To Hollywood also spreading this message (in the 80s).

Scritti Politti deliver the jazz tinged, still slightly post-punk flavoured Rock-A-Boy Blue, with an amazing double bass line, whilst Pick Up The Rhythm by the short-lived Scottish band The French Impressionists is one of the songs I did not hear at the time of release, and remains very much of its time.

Joe Jackson, one of the most musically adept artists rising out of the UK New Wave scene, was at this point moving away from his earlier stylings, with the perfect piano driven, late night pop of Steppin’ Out from October 1982. It still sounds delicious in 2026. Blue Rondo A La Turk were all over the early 80s music press but were on the radio less. The Method features interesting percussion and a nagging baseline, with a sound perfect for dark, smoky nightclubs. The band fractured into two separate outfits after their debut, losing “A La Turk” for one half, and the rest becoming Matt Bianco. More of them later in this compilation.

Weekend were another band who featured heavily in the music press during this golden era for pop music. Featuring singer / bassist Alison Stratton (ex Young Marble Giants) and guitarists Simon Booth and Spike, Weekend Stroll is a sax and guitar led instrumental. Former Josef K vocalist Paul Haig (who in the 90s worked with The Associates Billy Mackenzie) offers a crooning cover of The Song Is You.

The mood switches to funk with The Higsons single Run Me Down from 1983. I love the arrangement, especially the clipped guitar and percussion, and this is my favourite “hidden gem” on this collection. Furniture contribute the 1983 album track Why Are We In Love, three years before their breakthrough hit Brilliant Mind. Why Are We In Love has aged particularly well, with a lovely melancholic clarinet line, and a mature arrangement that includes some stunning piano, organ and guitar interplay. I feel the need to investigate the bands catalogue after hearing this excellent track, and surely that is one of the main reasons for putting together era based compilations such as this\/

Former Sex Pistol’s manager Malcolm McLaren is included here with Merengue from the Duck Rock album, released in 1983. As well as McLaren on vocals, the track features Trevor Horn as producer and co-writer, engineer Gary Langan, plus on keyboards / synth Anne Dudley & J.J. Jeczalik, who formed Art Of Noise shortly after working on Duck Rock.

The Latin flavoured The Republic, featuring Sarah Jane Morris, deliver My Spies, with a rich arrangement, including a rare accordion appearance in this era. As with many tracks from this time, the sax and trumpets are prominent. A live performance of Why Don’t You Do Right? from JoBoxers is followed by a live in the studio cut of Bad Day from Carmel, which gave the Manchester band a UK top 20 hit single.

Snake Charmer by Jah Wobble / U2’s The Edge & Can’s Holger Czukay is a Linn drum driven collaboration from October 1983, produced by Francois Kevorkian (known for his remixes of Yazoo & Sharon Redd and production on Thomas Dolby’s influential Dolby’s Cube).

Manchester’s Kalima contribute a cover of Sarah Vaughan’s The Smiling Hour, followed by the tongue in cheek Glamourpuss, the b-side to the third Mari Wilson single, Beat The Beat. Mari’s firth single was her big hit, Just What I Always Wanted.

Nostalgia burns in the hearts of the strongest

The second disc opens with Matt’s Mood (Extended Version) from Matt Bianco, who emerged from the split of Blue Rondo A La Turk. May 1984 saw the release of Sneaking Out The Back Door, the bands second single that featured this fine extended instrumental on the 12″ b-side. Hearing this for the first time since the 1980s sends me spinning back in time. If only I could sneak back my youth, hair and 28 inch waistline in the time machine. Nowadays I’m lucky if I can get out of my lazy bed in the morning.

The Pale Fountains are one of the greatest bands to emerge from Liverpool in the early 80s, and Southbound Excursion is a highlight from their first album Pacific Street from 1984. A fairly recent Cherry Red reissue of their Virgin recordings is still available and I heartily recommend investigating The Pale Fountains if you love music from this era.

L’Esqualita is from Soft Cell’s third studio album This Last Night in Sodom, and is a world away from the synth led dance-floor orientated twisted pop of their first album. The darkness remains, as does the lyrical storytelling that epitomises their best work.

“We could go out to dinner, but we’re always on drugs”

Each And Every One is the second track on this compilation from Everything But The Girl, with a Robin Millar production and a cutting lyric from Tracey Thorn that gives this timeless bossa nova pop song added bite. Venceremos – We Will Win (Jazz Dance Special 12” Version) is from Working Week, who arose out of the band Weekend, and features guest vocalists Tracey Thorn, Robert Wyatt and Claudia Figueroa on this politically charged song that has stood the test of time.

The Ink In The Well from David Sylvian’s Brilliant Trees (one of my favourite and most played albums of all time) and features a stellar cast joining Sylvian – Danny Thompson on double bass, guitarist Phil Palmer, Kenny Wheeler adding flugelhorn and Steve Jansen on drums. It is unusual to hear the track outside of the confines of the host album, but it fits in well as part of this collection.

(I Love You) When You Sleep, an Elvis Costello song, is a Rhodes adorned ballad and the opening track to Tracie’s excellent debut album Far From The Hurting Kind, that shows a different side to Tracie’s joyous debut single The House That Jack Built.

Thank You For Being An Angel from Friends Again is a perfect encapsulation of the sound of 1984, and is a lyrically strong new wave / pop hybrid. James Grant went on to form Love and Money and has had a successful solo career. My Father’s Coat from Grant’s 2009 album Strange Flowers is a moving tale of losing a parent and the overwhelming power of grief and letting go. Vocalist Chris Thomson formed The Bathers, who are still touring and releasing wonderful albums, including their delicious Marina Records trilogy and in 2023, their most recent studio album Sirenesque. You cannot go wrong with The Bathers.

Pleasure Ground were a short-lived trio that included ex The Associates multi-instrumentalist Alan Rankine, and Life Of Jade is a light pop song that is a world away from Club Country. Seven Days is a mid-paced song from one of my favourite Level 42 albums, 1984’s True Colours, and finds Mark King sharing vocals with bandmate Mark Lindup.

It Ain’t Necessarily So is a Bronski Beat cover of the Porgy and Bess song, and features Richard Coles on saxophone, with whom vocalist Jimmy Sommerville would later collaborate as The Communards. A Certain Ratio contribute There’s Only This from 1984. Hints of post-punk filter through this discordant jazz piece, with some excellent delayed guitar and fluid bass. The band are still active, with their 2023 album 1982 a particular favourite of mine.

County Durham’s The Kane Gang are represented by Giving Up, the b-side to their 3rd single Gun Law, a torch-song that differs from their usual smooth pop sound, and features a lovely guitar line. The Kane Gang have just released a new studio album on the Last Night From Glasgow label. Castles In The Air (a mostly instrumental version) from the sadly missed Terry Hall’s The Colourfield closes disc two, with castanets a go-go!

A little bit of politics

The third Digging Your Scene... disc is ushered in by former Subway Sect vocalist Vic Godard, with Holiday Hymn. Godard hosted Club Left, a jazz club at the Whiskey-A-Go-Go (later The Wag) in Soho rom 1981 to 1982. Holiday Hymn is a JoBoxers like pop / swing song. That Ole Devil Called Love from Alison Moyet is a lush cover of a song first recorded by Billie Holiday, and was a massive hit for Moyet in 1985, and offered us an early opportunity to hear Alison’s vocals outside of an electronic setting.

Black Man Ray by Liverpool’s China Crisis was from their Walter Becker (Steely Dan) produced Flaunt The Imperfection album from 1985. China Crisis wrote and recorded so many classic songs, and I always find myself returning to the album prior to this, Working with Fire and Steel – Possible Pop Songs Volume Two, my favourite album from the band.

Swedish singer-songwriter Virna Lindt was an artist that was new to me on first listening to this compilation. Whistle Wind starts off as a slow-paced Ultravox meets the yet to be conceived Twin Peaks sounding song, before the drum machine ups the tempo by about 30 BPM and a saxophone and breathy vocal driven electronic pop song emerges. Whistle Wind is a charming and totally unexpected treat.

Sting, now free from the new-wave shackles of The Police, contributes the Interview With The Vampire inspired Moon Over Bourbon Street from his debut solo album The Dream Of The Blue Turtles, featuring a haunting performance from Branford Marsalis, and a tasteful use of late night evoking strings. Former Wham! and at time of release, The Style Council member Dee C. Lee adds her self-penned top 3 hit See The Day, a beautiful and timeless ballad that still soars, 41 years after its first release.

A cover of James Brown’s It’s A Man’s Man’s Man’s World (The Trans Global Mix) by Brilliant, a post Killing Joke project from Youth with future KLF founder Jimmy Cauty, is rooted in the mid-80s Stock, Aitken and Waterman production sound, recorded at the beginning of the SAW Hit factory era of huge chart success. The tightly sequenced electronic production is a delight on this extended version.

The political Blue from Fine Young Cannibals is sequenced next to the equally critical of Thatcher track Breadline Britain from The Communards.

“My hometown is falling down, I’m mad about that”

Another new to me track is The Style Council influenced extended version of Window Shopping by Scarborough’s The Friday Club, a 2 Tone release that deserved to be heard by a wider audience. The Specials drummer John Bradbury’s J.B.’s Allstars were a Northern Soul inspired project, with their edgy and experimental instrumental Al. Arm from 1986 included here. The inspiration for this compilations title is included here in the form of the US mix of Digging Your Scene. The song has aged particularly well, with Dr. Roberts powerful, unique vocal and compassionate lyrics looking at the cruel devastation caused by HIV / Aids still hitting hard. The Blow Monkeys would continue to mix politics, pop and eventually house music as the 80s morphed into the 90s.

“I just got your message baby
So sad to see you fade away”

Have You Ever Had It Blue? (Uncut Version) is a Gil Evans arranged jazz pop titan that was included on the Absolute Beginners soundtrack, and remains my favourite Style Council song in this extended version. The early to mid 80s were a wonderful period for percussion on pop songs, and this is one of the finest examples. The build-up to the songs explosive ending remains an absolute joy.

“Have you ever woke to find the morning didn’t come
Undelivered with the paper stolen by someone
Found the new moon bound and gagged and the shackles ’round the sun
And the holder of the keys turns out to be the one
The girl you had your heart set on”

Debonair lullabies in melodies revealed

The 4th and final Digging Your Scene… disc opens with Swing Out Sister’s Breakout, here as an extended “A New Rockin’ Version”. The bands It’s Better To Travel was one of the first albums I bought on the new fangled CD format, with Twilight World remaining a highlight of the era. The Foolish Thing To Do from Heaven 17 featuring Jimmy Ruffin was a non-album single from 1986, and so is a bit of a rarity. The CD version on the album Teddy Bear, Duke & Psycho features Glenn Gregory on lead vocals. The other guest musicians joining H17 on the A & B side of the single are some of the eras finest players, including Camelle Hinds on bass, drummer Preston Heyman and Nick Plytas on piano. This version is more BEF than H17, and is perfectly sequenced on this compilation.

Mondo Kané and their extended version of New York Afternoon is an early Stock Aitken Waterman bossa nova flavoured production, featuring guest vocalist Georgie Fame. New York Afternoon is a bright, breezy summer song. Like Nobody Do from the French musician Louis Philippe perfectly encapsulates the sound of 1986. The RAH Band had a massive hit in 1977 with the electronic The Crunch, and Take Some Thyme is a 1987 go-go beat driven more organic song from the 12″ RCA single of Across The Bay.

Eighth Wonder contribute the extended mix of Having It All, a song that appeared, in shorter form, on the Absolute Beginners soundtrack album. This version is given the opportunity to breathe fully, with a slinky bassline and a full armoury of percussion lines. The delightfully light Whisper Not by The Florentines features Scottish vocalist Louise Rutkowski, who went on to feature prominently on the hugely influential This Mortal Coil’s Filigree & Shadow and Blood albums, and then appeared on another 4AD project The Hope Blister, before recording with Craig Armstrong and releasing several solo albums.

Freeze Thaw from Basia is from the 1987 Portrait Records album Time and Tide. Polish vocalist Basia Trzetrzelewska and keyboardist Danny White left Matt Bianco after their first album and launched Basia’s successful solo career. When Smokey Sings (The Detroit Mix) from ABC is a tribute to Smokey Robinson from 1987, included here in the form of an excellent Julian Mendelsohn extended remix.

The King Of Luxembourg and Something For Sophia Loren wins then title for the jazziest song title on this compilation. The James Taylor Quartet and the instrumental Alfie (the theme to the 1966 Michel Caine film) is a Hammond organ piece that brings us into the home straight for this compilation. Stock Aitken Waterman’s Roadblock has aged surprisingly well, unlike some of their SAW late 80s productions.

Martyn Bates (former Eyeless in Gaza member) contributes an interesting, unique cover of the Bacharach and David standard The Look Of Love. Digging Your Scene – New Pop And All That Jazz 1982-1987 ends with Night Trains Open Channel D, a white label 12″ release inspired by The Man From Uncle, the much-loved 1960s TV show.

The sleeve notes for the compilation give a fascinating historical background to the era covered by Digging Your Scene – New Pop And All That Jazz 1982-1987, with details of every track featured. Pop on your old zoot suit and head back in time to the era of The Wag and The Face magazine, with this 4 CD set acting as the perfect soundtrack to an energetic and inspiring era.

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DISC ONE

Everything But The Girl – Night And Day
Robert Wyatt – Shipbuilding
Scritti Politti – Rock-A-Boy Blue
The French Impressionists – Pick Up The Rhythm
Joe Jackson – Steppin’ Out
Blue Rondo A La Turk – The Method
Weekend – Weekend Stroll
Paul Haig – The Song Is You
The Higsons – Run Me Down
Furniture – Why Are We In Love
Jah Wobble – Sunshine
Malcolm McLaren – Merengue
The Republic – My Spies
JoBoxers – Why Don’t You Do Right? (Live At The Phoenix Theatre)
Carmel – Bad Day (Live In The Studio)
Swallow Tongue – Saari
Jah Wobble / The Edge / Holger Czukay – Snake Charmer
Kalima – The Smiling Hour
Mari Wilson – Glamourpuss

DISC TWO

Matt Bianco – Matt’s Mood (Extended Version)
The Pale Fountains – Southbound Excursion
Soft Cell – L’Esqualita
Everything But The Girl – Each And Every One
Working Week – Venceremos – We Will Win (Jazz Dance Special 12” Version)
Madness – One Better Day
The Special AKA – Housebound
David Sylvian – The Ink In The Well
Tracie – (I Love You) When You Sleep
Friends Again – Thank You For Being An Angel
Pleasure Ground – Life Of Jade
Level 42 – Seven Days
Bronski Beat – It Ain’t Necessarily So
A Certain Ratio – There’s Only This
In Embrace- Chocolates For Breakfast
The Kane Gang – Giving Up
The Colourfield – Castles In The Air (Instrumental Version)

DISC THREE

Vic Godard – Holiday Hymn
Alison Moyet – That Ole Devil Called Love
China Crisis – Black Man Ray
Virna Lindt – Whistle Wind
The Sound Barrier – Mornington Crescent NW1
Sting – Moon Over Bourbon Street
Pressure Point – Mellow Moods
Dexy’s Midnight Runners – Listen To This
Dislocation Dance – He’s The Man
Dee C. Lee – See The Day
Brilliant – It’s A Man’s Man’s Man’s World (The Trans Global Mix)
Fine Young Cannibals – Blue
The Communards – Breadline Britain
The Friday Club – Window Shopping (Extended Version)
J.B.’s Allstars – Al. Arm
The Blow Monkeys – Digging Your Scene (U.S. Mix)
Anthony Adverse – T-R-O-U-B-L-E
The Style Council – Have You Ever Had It Blue? (Uncut Version)
Makin’ Time – Walk A Thin Line

DISC FOUR

Swing Out Sister – Breakout (A New Rockin’ Version)
Heaven 17 Featuring Jimmy Ruffin – The Foolish Thing To Do (Version 1)
Mondo Kané and Guest Star Georgie Fame – New York Afternoon (Extended Version)
Louis Philippe – Like Nobody Do
Kid Montana – Spooky
Marden Hill – Curtain
RAH Band – Take Some Thyme
Eighth Wonder – Having It All (Extended Mix)
Stan Campbell – Crawfish (Extended Version)
The Florentines – Whisper Not
Basia – Freeze Thaw
ABC – When Smokey Sings (The Detroit Mix)
The King Of Luxembourg – Something For Sophia Loren
The James Taylor Quartet – Alfie
Stock Aitken Waterman – Roadblock
Martyn Bates – The Look Of Love
Biting Tongues – Compressor
Night Trains – Open Channel D

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Heaven 17 – SuperDeluxe Edition Dolby Atmos blu-rays of Penthouse And Pavement / The Luxury Gap

23 04 2026

I have been having a (nuclear) blast experiencing and re-evaluating these two Heaven 17 classics from the early Eighties. It is a joy finally hearing the new Dolby Atmos mixes from David Kosten, who has served up some of my spatial audio favourites over the past few years, delivered on Blu-ray exclusively from Paul Sinclair’s SuperDeluxeEdition.

Uptown in the penthouse or downtown with the mob

Penthouse And Pavement was up first. Sadly (We Don’t Need This) Fascist Groove Thang is probably more relevant today than it was back in 1981. The bass and guitar of (whatever happened to) John Wilson shines bright on the Pavement side (my favourite part of the album), especially on the title track, with synths and percussion dashing in and out of the explosive spatial mix.

Soul Warfare is a revelation. David Kosten sounds like he had so much fun assembling this song from the original multi-track master tapes. I never fully appreciated the bass on Soul Warfare before hearing this new Atmos mix, now its the standout part of the song for me.

I love the way the bass escapes from the centre channel and goes widescreen for the stunning solo section. This is one of the best things about David Kosten (and also Steven Wilson’s) mixes, it shines a bright light on parts of the mix that maybe did not hit home initially, even after so many years of living with the music.

The Penthouse side dials in the electronic side of the band, dropping the guitar and live bass, with Heaven 17 doing a When Doves Cry on Geisha Boys And Temple Girls, by omitting a bass line. And they did it three years before Prince did.

Let’s All Make A Bomb has waspy synths buzzing from rear speakers, and David Kosten makes good use of Glenn Gregory’s powerful layered vocals.

The deep synth bass of The Height Of The Fighting takes me crashing back in time to 1981. He-la-hu!

Fun fact, We’re Going To Live For A Very Long Time, unlike the original groove-locked vinyl, does have an ending on all versions of the album on this disc.

The SDE blue-ray of Penthouse And Pavement also includes a Dolby Atmos instrumental mix, along with a 5.1 full and instrumental mix, plus David Kosten’s 2026 stereo and stereo instrumental mix along with a flat transfer of the original 1981 stereo mix (96KHZ/24BIT PCM Stereo or 192KHZ/24BIT PCM Stereo).

Once we were years ahead, but now those thoughts are dead

The Luxury Gap is a very different beast to Heaven 17’s debut, with lots of extra guests, including horns and a full orchestra. John Wilson also returns on guitar for 4 tracks.

The album screams ‘bigger budget’ and is definitely so much more luxurious (sorry) than its predecessor.

This is noticeable instantly, with a plethora of extra tracks available for opener, Crushed By The Wheels Of Industry. David Kosten explains in the booklet the many issues he encountered when piecing together the Dolby Atmos mixes. The man has patience and a clear love of the source material.

Let Me Go is my favourite Heaven 17 song, and the Dolby Atmos mix is a revelation. I love how Kosten has treated the vocals. They are crystal clear, well isolated and key lines spring out of the mix, with the rear speakers treated to the wonderful, rich harmonies that adorn the tail-end of the track.

“Found guilty of no crime,
They were the best years of our lives”

Key To The World sounds EXPENSIVE. I am talking dripping with gold expensive.

Temptation is surely carved into the (cupid &) psyche of everyone who lived through the 80s, but this new mix breathes fresh life into this pop behemoth. Karol Kenyon is the star of this movie.

Lady Ice And Mr Hex translates particularly well to Atmos, with the Nick Plytas jazz piano and powerful Simon Phillips live drums pushed to the fore.

The album ends on a high, with the atmospheric The Best Kept Secret, featuring Simon Phillips again and a full orchestra recorded at AIR studios. This is one of Glenn Gregory’s finest vocals, and it makes me yearn for the opportunity to hear Music of Quality and Distinction, Volume 1 (minus the ‘problematic’ track) given the Dolby Atmos treatment, if the master tapes still exist. Unlikely, but one can still dream.

The Luxury Gap SDE blue-ray also includes a Dolby Atmos instrumental mix, along with a 5.1 full and instrumental mix, plus David Kosten’s 2026 stereo and stereo instrumental mix and and a flat transfer of the original 1983 stereo mix (96KHZ/24BIT PCM Stereo or 192KHZ/24BIT PCM Stereo).

Both blu-rays contain detailed and fascinating album background notes from music writer Alexis Petridis and in-depth Dolby Atmos mixing notes from David Kosten, and this really adds to the immersive nature of the releases.

The SDE editions are available from https://superdeluxeedition.com/news/heaven-17-penthouse-and-pavement-the-luxury-gap-on-sde-exclusive-blu-ray/


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no-man – Scatter – Lost Not Lost Volume Two (1991-1997) album reviewed

20 01 2026

Scatter – Lost Not Lost Volume II is a remastered and expanded 2026 version of no-man’s official bootleg Lost Songs CDR from 1999 (a release that partly led to the creation of the Burning Shed label in 2001).

no-man Scatter. Four men outside, throwing a glider toy.

Containing material recorded between 1991 and 1997, Tim Bowness and Steven Wilson are joined by guest appearances from Robert Fripp, Mel Collins, Theo Travis and Colin Edwin.

I am pleased that this collection is getting a wider release, as there are plenty of songs here that could have easily been included on no-man albums. The 2025 remaster is a subtle one (the tracks sounded great in their original form) but this is the definitive version of these wonderful 90s no-man pieces.

One of the most pleasing aspects of Scatter for me is that this is mostly no-man with heavy beats, with plenty of trips to the darker, more twisted side of the band. This is particularly notable on the album opener, the mighty Gothgirl Killer (what a great title). With lyrics that drip with pure lust and a filthy, fuzzy bassline, this song *would not* appear in the soundtrack of a Richard Curtis rom-com.

“Rita Hayworth, love goddess,
slips into her favourite dress.
I look at you, you’re such a mess –
but that’s the way I like you.“

Gothgirl Killer is a jazz stained, funky pop piece, that captivates you with a wide-eyed stare and mascara running down its tearful face. I’ll love you till you love me again.

All the Reasons dials down the intensity a little, with a measured groove and delicious guitar lines. The song contains a classic, uplifting no-man chorus that invokes some of the blistering summer heat that shines on Days In The Trees.

“In the end, there’s only us”

Samaritan Snare is film-noir no-man, with double bass and sax over scratched guitar and radio effect Bowness vocals on the verse, until the chorus goes spectacularly wide-screen. I’m baffled as to how this stunning track did not make in onto a “regular” no-man album.

The Night Sky is a variation on the Speak track Night Sky, Sweet Earth, with more pace and reworked lyrics and a re-worked arrangement. This is my favourite version of the song, and it features a standout Bowness vocal performance.

As someone who for a while worked in Catford (South-East London), the brooding Catford Gun Supply reminds me of the close proximity of a gun-shop near to the Eros House housing office I worked in. Town planning at its worst. This short wordless piece is a perfect palette cleanser for the pure-pop of the track that follows, Days Like These. I don’t think I have ever heard such a frothy, perfectly palatable pop song with such bitter and twisted lyrics. So very no-man!

“like visions of those bowie fakes
your evil parents love to hate.”

Days in the Trees – Bach proves that is impossible to have too many variations of this early no-man classic. Paradub takes elements of Painting Paradise and veers off in a more dub-like direction, whilst Hard Shoulder (a wonderful motorway pun of a title) is a Fripp filled exploration of Flowermouth‘s Soft Shoulders, and ends the trio of explorations of previously released material. The guitar lines weave effortlessly in and out of the bass and beats on Hard Shoulder.

Love Among the White Trash is a distant cousin of both Sweetheart Raw and Beautiful And Cruel, but works particularly well as part of the Scatter compilation. A successful adoption for this wayward child of a song!

Tim Bowness and Steven Wilson

Amateurwahwah gives off Talk Talk vibes to me, on one of the most sparse arrangements on the album. The track started out as one of the band’s self-imposed one-hour experiments, where Tim and Steven set themselves an hour to write, record and complete pieces, although Amateurwahwah was eventually subject to some post production. Drug Me sees the appearance of the distorted bass as a lead-instrument. Again, this would not seem out of place on a no-man album, and Tim’s lyrics are brutal.

Pale as Angels is a painfully short dreamlike piece that is kicked into touch as the beats return on Coming Through Slaughter, possibly inspired by the 1976 Michael Ondaatje novel set in New Orleans with the same title? That could be utter bollocks, but I love the juxtaposition of the breakbeats and the heavy, distorted guitar lines that give the song its unique character.

Scatter ends with Best Boy Electric (Sing To Me), a song that Tim Bowness fans will know from the later fully developed track on his Stupid Things That Mean The World album. This is a one minute piece that was created not long after Flowermouth, but not explored any further by the band. Just piano and vocals, the melody is perfectly intact and is unique to this collection, as it did not appear on the original Lost Songs CD-R back in 1999.

Scatter – Lost Not Lost Volume II works well as a “lost” standalone no-man album in its own right, and will be loved by fans of the band, especially those who lean towards their more beat-driven and experimental side.

No longer lost, but finally found.

Buy Scatter on CD from Burning Shed

Buy Scatter in digital format from no-man’s Bandcamp page

Scatter Tracklist

Gothgirl Killer (1997)
All the Reasons (1994)
Samaritan Snare (1997)
The Night Sky (1994)
Catford Gun Supply (1997)
Days Like These (1994)
Days in the Trees – Bach (1991)
Paradub (1993)
Hard Shoulder (1994)
Love Among the White Trash (1993)
Amateurwahwah (1996)
Drug Me (1996)
Pale as Angels (1994)
Coming Through Slaughter (1994)
Best Boy Electric (Sing To Me) (1994)


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Discover no-man’s 30th Anniversary of Loveblows & Lovecries

8 01 2026

no-man’s debut album Loveblows & Lovecries – A Confession is released as a double CD and single vinyl for its 30th anniversary.

no-manlLoveblows & lovecries (30th anniversary). A confession.

Unavailable as a standalone release since 1993, this edition includes Steven Wilson’s 2023 Housekeeping remaster on disc one and an assortment of extras, b-sides, radio sessions and unreleased edits on disc two.

The line-up of Tim Bowness, Steven Wilson and Ben Coleman are joined by Japan’s Jansen, Barbieri & Karn on the sweeping Sweetheart Raw, whilst Steve Jansen adds percussion on Beautiful And Cruel.

The album is also available from Burning Shed as a single vinyl, presented in a replica of the original cover with a poster.

Sometimes you listen to love cry

Loveblows & Lovecries – A Confession was no-man’s first full length studio album, and my entry point to the band (and also to the music of Tim Bowness & Steven Wilson that flourishes outside of the band). My interest was piqued whilst I was perusing the CD shelves of Chatham’s Our Price Records. Reading the Billy Baudelaire (a Bowness alias) notes on the cover were enough to make me take a chance before I had heard a single note of the music, and within weeks I was on a quest to buy as much no-man as my meagre wages allowed, including directly from the bands PO Box address.

The album remains one of my favourite releases of all time, even with the wonderful, very different music that was soon to follow. Remember kids, no-man is for life, not just for Christmas.

You can read my full review of the main Loveblows & Lovecries album in the Housekeeping review on this blog, and this is the same remaster, but I want to point out some of the highlights for those who have not heard the album before. Only Baby remains a wonderful piece of dance infused pop, and Housekeeping is one of no-man’s finest early songs, and is a breakbeat driven, melancholic late night masterpiece, built on raw lyrics and vocals from Tim and brutal guitar from Steven, sounding all the more powerful on this recent remaster.

Sweetheart Raw (resurrected live by Tim Bowness in recent years) is the track featuring the sadly missed Mick Karn on fretless bass, with drum programming from Steve Jansen and keyboards from Richard Barbieri (who later joined SW in Porcupine Tree). This would have been the track that drew a lot of early listeners into the band’s orbit, and it remains as powerful today as on its first release in 1993.

Ben Coleman shines brightest for me on Lovecry, and the remaster of Break Heaven, with its languid groove, hits the mark perfectly.

The album version of Painting Paradise is the definitive recording, and has more room to breathe than the shorter re-recording that features later on in this reissue. Heaven’s Break hints at the direction the band would start to explore on subsequent releases.

I love having Loveblows & Lovecries as a standalone release, as it makes for a better listening experience for me. Of course, I am a collector (someone should write a song about that!), and so I am hanging onto my original release versions, including the 90s OLI vinyl and CD singles as well as happily buying these new iterations on CD and vinyl.

This 30th Anniversary edition includes the lyrics for the main album and fascinating recollections from Tim about how the album was put together and tweaked prior to release, as well as the tracklisting for the August 1992 rejected by OLI version, of which apparently only two copies exist in the wild, and I don’t have one of them!

How to see the magic in the streetlamps and the cars

The second disc (on CD) features era singles, sessions and elements of the rejected original August 1992 sequence (including Walker and the full version of Tulip). It works so well as an album on its own, rather than just a mix of non-album tracks. The sleeve-notes (from Tim in 2025 and Steven in 2001) shines a light on the seeds of the recordings and how the album came together, with and without the record company’s help.

The previously unreleased version of Ocean Song improves on the Housekeeping box-set version, which was 3.13 in length. This unedited take runs for 4 and a half minutes, and heads off into unchartered territory from 3.30 with some chilling post-punk guitar from SW.

Back to the Burning Shed is a short, ambient instrumental that went on to inspire the name of one of the finest music retailers, where you can buy this very release.

Swirl shifts up the gears, and is one of my favourite no-man non-album cuts, with some intoxicating Wilson rhythm guitar and a powerful Bowness vocal, as the breakbeat wrestles with one of Ben Coleman’s most electrifying performances for the band. The end section to Swirl (from around the 5 minute mark) has always been a performance of extreme beauty from all of the band members, and this remaster will hopefully rekindle interest in this era from more recent converts to the music of no-man. If you are new to Swirl, prepare to have your mind blown.

“There’s too much love and understanding…”

Taking It Like a Man is a single that was released in the US in 1994. Whilst apparently not a band favourite, the track is a fine piece of dance-pop, and is worthy of its inclusion here.

Long Day Fall is from the Only Baby single, and is a slow-burning piece, that reminds me of the Speak era. The heavily chorused guitar and dripping with reverb vocals evoke the hazy summers of our youth. An inventive backing vocal leads to a period of delicious guitar and violin interplay, as the song, and the day, comes to its inevitable conclusion.

The extra version of Tulip (full length version – previously unissued) on disc two is different to the unedited master on the Housekeeping box-set, with a longer opening section, hitting 1.20 before the familiar arrangement punches through the mix, as it then follows the format of the unedited master, becoming one of the longer no-man tracks at 8 minutes in length. If you remember this track from the early 90s, this unreleased version will make you fall in love with it all over again.

Painting Paradise on disc two is the OLI requested re-recording, that along with Taking It Like A Man, is not a band favourite. Of course, I personally enjoy this version that zips along at pace and is an excellent early 90s single.

Walker was due to appear on the early version of the album, and is a breakbeat driven, quite minimal in arrangement dark performance, with explosions of power that knock you off balance when they burst out from the mix.

Bleed was originally released as part of the Sweetheart Raw single, and later appeared on the Heaven Taste compilation in 1995. The track has always been one of my favourite early no-man songs. The production (feeling a little bit influenced by Trevor Horn to me) and arrangement is stunning, with gritty percussion, dry bell chimes and a blood-curdling, deep Bowness howl as the visceral end section kicks in, to see the track to its finish.

The final two tracks on this reissue consist of two radio session performances of Loveblows & Lovecries tracks. Break Heaven (a Nicky Campbell BBC session), with an altered piano line and guitar solo, and finally (love and) ending with an acoustic take on Lovecry, from a GLR session, round off the album. The strength of the vocal melody of Lovecry shines bright in this stripped back environment.

If you missed Loveblows & Lovecries on its first release back in the early 90s, this is the perfect opportunity to discover an early gem in the no-man catalogue.

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Buy Loveblows & Lovecries (30th Anniversary) CD & Vinyl from Burning Shed

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2 CD version

CD1

Loveblow (1:24)
Only Baby (3:47)
Housekeeping (5:29)
Sweetheart Raw (6:04)
Lovecry (4:52)
Tulip (3:56)
Break Heaven (4:59)
Beautiful And Cruel (4:48)
Painting Paradise (7:32)
Heaven’s Break (4:01)

    CD2
    Ocean Song (full length version – previously unissued) 4.30
    Back to the Burning Shed 2.47
    Swirl 8.32
    Taking It Like a Man 7.41
    Long Day Fall 5.21
    Tulip (full length version – previously unissued) (8.00)
    Painting Paradise (re-recording) (3.55)
    Walker (3.30)
    Bleed (6.53)
    Break Heaven (Nicky Campbell BBC session) (5.00)
    Lovecry (GLR acoustic session) (4.00)

    Vinyl

    A

    Loveblow (1:24)
    Only Baby (3:47)
    Housekeeping (5:29)
    Sweetheart Raw (6:04)
    Lovecry (4:52)

      B
      Tulip (3:56)
      Break Heaven (4:59)
      Beautiful And Cruel (4:48)
      Painting Paradise (7:32)
      Heaven’s Break (4:01)


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      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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      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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      Buy The Overview (boxset / CD / vinyl / bluray) from Burning Shed

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      Buy The Overview Blu-ray from Amazon

      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.


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      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


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      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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      Buy Complete Danny Wilson 5 CD set from Amazon

      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


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      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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      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]


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