Sirenesque is the 8th studio album from The Bathers. Chris Thomson (Friends Again) and The Bathers released a series of much-loved albums including the “Marina Trilogy”:
Lagoon Blues (1993)
Sunpowder (1995)
Kelvingrove Baby (1997)
Sirenesque feels like a continuation of the rich tapestry of the Marina Records trilogy.
Opening with the solo piano of Chris Thomson on the short instrumental piece, Culzean, which is adorned by birdsong, the title track swiftly sweeps into view with a full band performance. The strings are quite underplayed on the track Sirenesque, with multiple melodic guitar lines taking centre-stage.
Hazel Morrison and Evie Fernad Thomson supplement Chris Thomson’s rich vocals. I always remember a wonderful description by Teddy Jamieson in an interview in Scottish newspaper The Herald, describing Thomson’s vocals as being “…one that sounded like it had been weathered in a cask of alcohol on a Scottish island for 50 years.” I agree!
“Where the sea is blue Where the sea is green It captured me with you”
Sirenesque is the longest track on the album, heading towards the 8 minute mark. There are a few songs that only weigh in at a minute or so, and these shorter pieces break the album up and give you time to take in the whole album listening experience, savouring the lyrics and the masterful and sympathetic performances. Sort of like a short film before the main feature.
Late Night Conversations is one such piece, just vocals, piano and a muted orchestral undercurrent, as you head into one of the albums key tracks, the first “single”, Garlands.
Garlands is so evocative. It has a delicious pace delivered by Hazel Morrison on drums and Andrew Cruickshank on double bass.
“I kiss you once I kiss you twice”
The choral vocals add a real emotional pull to one of The Bathers finest songs, that is surely on a par with If Love Could Last Forever from Kelvingrove Baby as a career highlight.
A Map of Venice is another short palate cleanser, as Locomotion is Easy arrives, with a mournful, earthy guitar performance from Sam Loup and overhanging deep strings and a nagging double bass underpinning the contrasting vocals from Thomson and Hazel Morrison, with her finest vocal contribution to the album.
On the Road to the Isles hits hard, and is an example of the romance and longing conjoured up by evocative sounding locations. The song is short but one of the most moving pieces on Sirenesque.
Photograph by VJ Van Velp
The Camellia House is timeless. “Just a heartbreak away…” The players on this track provide a lovely, gentle rhythm, as found sounds add to the overall mood. The Bathers always know when to reign in their arrangements, and they seem to view space as having equal importance to individual musicians performances.
Lost Bravado offers up one of my favourite lyrics on Sirenesque, and along with Garlands, is a song that I think Bathers fans will surely take to their hearts.
“Exiled in heartache and so alone Dancing with a reckless joy Stranded in her cologne Stranded in heartache Yet so far from home”
The pace is slow but gives the song time to breathe as the arrangement eventually reveals its charms, and oh lord, that chorus! By the time the string solos kick in towards the end, I guarantee even the most stone cold of hearts will have warmed up by a few degrees.
Feathers, Books and Lace features the wonderful Prague Philharmonic Orchestra, who add (along with the Scottish Session Orchestra on other tracks) a richness to the arrangements that gives the album a sound and identity apart from other Bathers albums.
“And as the rain fell I kissed your face”
As we head to the album’s conclusion, Welcome to Bellevue offers a new flavour, with a wide-screen, technicolor taste of Americana. You can almost taste the dust in your mouth as you devour Welcome to Bellevue. Long-time collaborator Callum McNair joins Thomson on guitar, and although there are plenty of twists and turns, the performance matches the mood of the song perfectly. The Bathers do not showboat – every note is perfectly placed.
She Rose Through the Isles closes Sirenesque. Some of the motifs from earlier songs return for the album closer, such as a continuation of the addictive double bass from A Map Of Venice.
The orchestral performances weave in and out of the song, giving the impression of hearing the performance in an intimate concert venue. The soundstage is strong throughout Sirenesque, and although I have pre-ordered a vinyl copy, I am looking forward to hearing this album in hi-resolution on the hi-res streaming service Qobuz. Plus hopefully hearing some of the songs performed live if and when The Bathers are ever able to venture south to London.
Sirenesque is a wonderful album, one of the finest of 2023 and a worthy addition to the band’s rich catalogue.
Sirenesque is released by Last Night From Glasgow on October 14th 2023.
Produced and arranged by Chris Thomson. Recorded and mixed by Sam Loup. Mastered by Paul McGeechan. All songs written by Chris Thomson.
Tracklisting
Culzean Sirenesque Late Night Conversations Garlands A Map of Venice Locomotion is Easy On the Road to the Isles The Camellia House Lost Bravado Feathers, Books and Lace Welcome to Bellevue She Rose Through the Isles
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The Albums 1978-1979 is a 38 track 2CD digipack featuring all of the recordings made by TRB for EMI Records between 1977-79.
Disc one features TRB’s debut album, Power In The Darkness, that was originally released in 1978. I still regularly play my original vinyl, that came with a famous stencil (which you can download from Tom’s site), so obviously I am a fan. Up Against The Wall is a powerful opener, and one of the best singles of 1978, whilst the gentler Rhodes driven Too Good To Be True sounds as good today as it did back in ’78.
My two favourite, and most played tracks from the album, sit together in the track list. The searing Long Hot Summer and the anthemic The Winter of ’79 send me back in time to those heady late 70s days. Tom’s powerful lyrics and the late Danny Kustow’s finest guitar performance shines so bright on this classic album track.
“Yes a few of us fought And a few of us died In the winter of ’79”
The Man You Never Saw passed me by at the time, but in recent years, now resonates with such power. The extra tracks on the first disc are as strong as the main album. 2-4-6-8 Motorway was a top 5 single in 1977, and was an ever-present on the radio for most of that year. 1978’s live Rising Free EP is included here in it’s entirety, the highlights of which are the Wilko Johnson like frenzied guitar driven Don’t Take No For An Answer and the hugely influential, and as powerful now as it was back in 1978, (Sing If You’re) Glad To Be Gay. It is hard to imagine now, but this was such a brave song to release by Tom and the band, and the album notes have a lovely quote from Tom:
“Middle aged people still come up to me and say, ‘I’m so glad you did that song. It made a real difference to my life.’ That’s a fantastic feeling – having risked sticking my neck out – to find out how much it meant to people at the time.”
The album closes with three live songs not included on the original live EP – Winter Of ’79, I’m All Right Jack and Waiting For My Man.
Disc two is the band’s second and final studio album, TRB TWO from 1979. TRB Two is an underrated rock/pop album, with a sympathetic production from Todd Rundgren. All Right All Night has some sharp classic-rock guitar lines, added to the new wave energy. Let My People Be features warm keyboards from Ian Parker and a powerful performance from former Kate Bush drummer Preston Heyman.
Bully For You (a co-write with Peter Gabriel) is the album’s stand-out track, with a raw and impassioned vocal from Tom. The final track of the original album, Hold Out, points at some of the future directions his music would take.
Highlights of the extra tracks included on the second disc include Our People, that harks back to the first album in its arrangement, the B-side Getting Tighter, with its Steely Dan-esque arrangement and the two versions (7″ and 12″) of the Philly soul single Never Gonna Fall In Love… (Again), that was written with Elton John. I first heard the song on the 1981 Tom Robinson Band compilation, though I’ve long since lost my vinyl copy. Elton released his own version of Never Gonna Fall In Love… (Again) in 1980 on his 21 at 33 album.
This 2 CD collection is the perfect way to collect the music of the Tom Robinson Band, and a great way to escape back to the late 70s, preferably by car with 2-4-6-8 Motorway blasting out of the FM radio.
“2-4-6-8, ain’t never too late Me and my radio truckin’ on through the night”
DISC ONE POWER IN THE DARKNESS Up Against The Wall Grey Cortina Too Good To Be True Ain’t Gonna Take It Long Hot Summer The Winter Of ’79 Man You Never Saw Better Decide Which Side You’re On You Gotta Survive Power In The Darkness BONUS TRACKS 2-4-6-8 Motorway I Shall Be Released I’m All Right Jack Don’t Take No For An Answer (live) (Sing If You’re) Glad To Be Gay (live) Martin (live) Right On Sister (live) Winter Of ’79 (live) I’m All Right Jack (live) Waiting For My Man (live)
DISC TWO TRB TWO All Right All Night Why Should I Mind Black Angel Let My People Be Blue Murder Bully For You Crossing Over The Road Sorry Mr. Harris Law And Order Days Of Rage Hold Out BONUS TRACKS Our People Bully For You (Rough Mix) Suits Me Suits You (LP Demo) Never Gonna Fall In Love… (Again) (7” version) Getting Tighter Never Gonna Fall In Love… (Again) (12” version) 2-4-6-8 Motorway (Original demo)
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Cherry Red have released Tracie: Souls On Fire – The Recordings 1983-1986, a 4 CD / 1 DVD set from Tracie Young.
I was a huge fan of Tracie’s first album Far from the Hurting Kind, that was released on Paul Weller’s Respond record label in 1984. The first album is included in its entirety here, and takes up the majority of the first CD, with highlights such as the Elvis Costello composed (I Love You) When You Sleep, the Weller / Tracie Young co-written Souls On Fire, plusthe wonderful I Can’t Hold On Till Summer and Spring, Summer, Autumn. The album holds up particularly well, some 39 years after its original release. Where did the time go?
The single version of The House That Jack Built, one of 1983’s finest pop singles, still sounds like the sound of a glorious summer, as does the follow-up single Give It Some Emotion. The Boy Hairdresser is another Young / Weller co-write and the rest of the first disc collects tracks from the 1983/84 period.
Disc two features songs that were recorded for Tracie’s (unreleased at the time) second album, that shone a light on the more soulful direction she was heading in. Italian Girl is a strong opener, as is I Think You’re Lucky, with the use of real horns and strings on the recordings highlighting a departure from the synth instrumentation that supplemented the vocals, piano, guitars and drums on the first album.
I Can’t Leave You Alone was first released as a single in 1985. Me And Jimmy Stone is a highlight of the No Smoke Without Fire tracks. A slow-burning piece, built on sparse percussion (from The Style Council’s Steve White) and an emotional, reflective chorus from Tracie.
The Country Code is a stripped back harp and vocals piece, that sounds like it is a live in the studio performance. (When You) Call Me is a more organic version of The Style Council song, and No Smoke Without Fire hints at a pop / soul sound that could easily have developed over subsequent albums.
The album notes hint at the tension between Tracie and Weller in the way that the songs were eventually presented, and it is clear that Tracie was able to exert more control over her career post-Respond for her final recordings. The album notes are not in any way bitter and they show a real pride from Tracie for her sadly all-too short recording career. The remainder of disc two is made up of single mixes and alt-takes.
Disc 3 is titled rarities and features the wonderful 12″ mix of The House That Jack Built and a more energetic early take of Far From The Hurting Kind.
There are a smattering of demos and alt-takes on disc 3, including Good For You (Demo), another song that oozes summer sun, the jazz-tinged The Waking Hours (Demo) and The House That Jack Built (1st Mix).
The 4th disc is a collection of mostly live recordings, including a fuller live version of the Tony Bell / Phil Hurtt Philadelphia soul song (also recorded by Sister Sledge in the early 70s) Mama Never Told Me and a live in Japan version of one of the first albums key tracks, I Can’t Hold On Till Summer.
Another highlight on this disc is the live radio session performance of Nothing Happens Here But You, just percussion, guitars and Tracie’s lead vocal. The disc is rounded off with my most played track on this collection, a Jeremy Wakefield, more beat-heavy 12″ mix of We Should Be Together (Jezamix) from 1986, that gives off real SOS Band vibes to me. Which is always a good thing!
The 5th disc is a DVD (not supplied for review) pulling together promo videos, Top of the Pops appearances for The House That Jack Built & Give It Some Emotion, along with slots on Wogan, Cheggars Plays Pop and performances recorded live in Japan.
If you don’t have the 2010 / 2014 Cherry Red reissues of the two studio albums, this is a great opportunity to rediscover some life-affirming pop / soul from the 80s.
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Disc: 1 (I Love You) When You Sleep Souls on Fire Nothing Happens Here But You I Can’t Hold on ‘Till Summer Dr. Love Thank You Moving Together Spring, Summer, Autumn What Did I Hear You Say Far from the Hurting Kind The House That Jack Built (Single Version) Give It Some Emotion (Single Version) The Boy Hairdresser You Must Be Kidding Same Feelings (Without the Emotion) Mama Never Told Me Dr. Love (B-Side Version) Give It Some Emotion (Extended Version) Souls on Fire (Long Version) The Country Code
Disc: 2 Italian Girl I Think You’re Lucky Fingers Crossed Love Without Jealousy I Can’t Leave You Alone Invitation Me and Jimmy Stone The Country Code (When You) Call Me No Smoke Without Fire (When You) Call Me (7″ Version) I Can’t Leave You Alone (7″ Version) Invitation (RSVP Mix – 7″ Version) We Should Be Together (7″ Version) Fingers Crossed (Heartbeat Demo) I Think You’re Lucky (Alternative Take) I Can’t Leave You Alone (Pick ‘N’ Mix) Find It in Your Nature
Disc: 3 The House That Jack Built (12″ Version) Far from the Hurting Kind (Early Track 1) Moving Together (Club Mix) Good for You (Demo) The Waking Hours (Demo) Baby Come Back (7″ Version) I Can’t Hold on ‘Till Summer (Without Strings) The House That Jack Built (1st Mix) No Smoke Without Fire (Remix) Souls on Fire (7″ Version) Far from the Hurting Kind (Early Track 2) Invitation (RSVP Mix) Baby Come Back (12″ Version) The House That Jack Built (12″ Instrumental) Give It Some Emotion (12″ B-Side) Invitation (Demo) Tracie Talks
Disc: 4 Mama Never Told Me (Live in Japan) Give It Some Emotion (Live in Japan) The House That Jack Built (Live in Japan) Moving Together (Live in Japan) I Can’t Hold on ‘Till Summer (Live in Japan) I Can’t Leave You Alone (Live in Rome) Dr. Love (In Concert – Live at the Paris Theatre, London) The House That Jack Built (In Concert) Mama Never Told Me (In Concert) Nothing Ever Happens Here But You (Radio Session) Give It Some Emotion (Radio Session) 19 (The Wickham Mix) We Should Be Together (Jezamix) Tracie Raps
Disc: 5 (DVD) Give It Some Emotion (Promo) Souls on Fire (Promo) I Can’t Leave You Alone (Promo) The House That Jack Built (1983 Totp Appearance) Give It Some Emotion (1983 Totp Appearance) I Can’t Leave You Alone (1985 Appearance on Wogan) The House That Jack Built (1983 Cheggars Plays Pop) Me and Jimmy Stone (Promo) Mama Never Told Me (Live in Japan) (I Love You) When You Sleep (Live in Japan) The House That Jack Built (Live in Japan) Moving Together (Live in Japan) Dr. Love (Live in Japan) I Can’t Hold on ‘Till Summer (Live in Japan) Souls on Fire (Live in Japan)
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Solstein is a project that melds the groovier side of fusion with elements of prog and funk. The band features drummer Keith Carlock (Steely Dan, Toto, John Legend, Sting) and multi-instrumentalist Jacob Holm-Lupo (White Willow, The Opium Cartel, Donner) as well as up-and-coming guitarist Stian Larsen and keyboardists Brynjar Dambo (White Willow) and Bill Bressler.
The album was mixed and given pristine analog mastering at Holm-Lupo’s Dude Ranch Studio.
The Solstein album demands your full attention, and is an instrumental album that does not work as background music. Opener Intersection features an addictive bassline from Holm-Lupo and the sort of attention to detail, mood enhancing synth and electric piano work that paints the canvas on the many wonderful White Willow / The Opium Cartel releases. A top flight drum performance from Keith Carlock and wildly experimental guitar lines from Oslo based Stian Larsen set the scene for the songs that follow.
American jazz saxophonist Wayne Shorter’s Oriental Folk Song throws down some grooves and performances that will get the Steely Dan fans heads bobbing. Strong solo synth lines from Bill Bressler bring this song, born in the 60s, into the here and now. I can’t wait to hear this album on vinyl, the music is made for that medium, and will highlight one of Holm-Lupo’s finest mixes to date.
Southwester is the only track on the album to not feature Stian Larsen, so the synths take centre stage. It is also the albums longest track, so there is plenty of time for the musicians to stretch their wings.
Brynjar Dambo joins Jacob with a variety of string and solo synth lines feeding off the melody, that rides along with Carlock’s laid-back groove. Mr White Willow is of course no slouch on six-strings, so this is not a guitar-free zone by any means, but the keyboards lead the charge.
The Night Owl is not a Gerry Rafferty cover, before you start googling! Its one of two tracks not featuring live drums, and like February 9th that crops up a couple of songs later, it features a stripped back line-up of Stian Larsen and Jacob Holm-Lupo. The space and the occasionally desolate arrangement adds a unique dimension to The Night Owl, which quickly became my favourite piece on the album. The simplicity and direct emotion pours out of the speakers.
Siriusly is the only track to feature live vocals, with wordless backing vox supplied by Ina Aurelia, mixed in with synth lines. A short, warm reggae section drops surprisingly in the middle of the song, before giving way to more inventive guitar and synth interplay. There is real value for money in this track – with a jazz-funk section, then moving to a fusion section after taking a reggae detour. Its some journey, with the main melody staying with you long after the song ends.
February 9th cuts the arrangement back to the bare minimum, with Larsen’s mournful, echoing guitar lines atop Holm-Lupo’s deep electric piano and atmospherics.
The Creeper gives off strong Herbie Hancock vibes, with Stian Larsen’s jazz chops in full, majestic flow. This song has a post-midnight, inner-city feel that sends chills when heard loud and through headphones. Featuring classy Rhodes from Holm-Lupo, the album heads to its climax as The Creeper ushers in Hamada, with rhythmic guitars and bell-tree percussion, and one of the most progressive performances on the album.
Hamada is a fitting end to a wonderful album, that reveals surprising new layers after each play, which is always a sign of longevity in music.
Tracklist Intersection (Holm-Lupo/Larsen/Carlock) Oriental Folk Song (Wayne Shorter) Southwester (Holm-Lupo/Carlock/Dambo) The Night Owl (Holm-Lupo/Larsen) Siriusly (Holm-Lupo/Larsen/Carlock/Dambo) February 9th (Holm-Lupo/Larsen) The Creeper (Holm-Lupo/Larsen/Carlock) Hamada (Holm-Lupo/Larsen/Carlock/Bressler)
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As a recent covert to the Qobuz hi-resolution streaming service, I thought it would be a good idea to make some playlists of some of the songs that highlight the wow factor of lossless streaming.
What does the hi-resolution experience sound like? Hi-res audio offers greater detail and texture, bringing listeners closer to the original recorded studio or live performance. Bass hits deeper and harder, vocals are clearer, percussion is crisper and the songs sound fuller, more expansive and richer. Parts of the recording that you may not have noticed in a lossy format become more visible, and at times its like hearing the music through new upgraded ears!
I’m a couple of weeks in, and this playlist is made up of some of the tracks that jumped out straight away as being a huge upgrade on the audio quality of songs that I have known and loved for years.
Qobuz uses the tagline “Rediscover Music” and that is what I have been doing over the past few weeks. For those new to hi-res music, you need extra equipment to hear beyond CD quality – so a DAC (digital-to-analogue converter) is needed. Streaming from mobiles / tablets works without a DAC up to CD quality, so better than the MP3 quality of Spotify (that I will be ditching!) but if you add a portable DAC such as the DAC I use – AudioQuest DragonFly DAC (and for Apple / iPhone users a Apple Lightning to USB Camera Adapter is needed), you can listen to hi-res from your phone or tablet.
If you are planning to listen through your hi-fi setup, through your amp and speakers, you will need a DAC streamer such as the Cambridge Audio MXN10.
There are other services, such as Tidal and Apple Music, but I have settled on Qobuz due to the added features such as the editorial options that are provided, along with a great online community and the easy way to get track / recording details for songs and albums.
The catalogue is not perfect – there are some hi-res gaps that I hope will be filled over the next year. The main catalogue is comparable in volume to Spotify, with music available in CD quality but not all of it is in hi-resolution / lossless at the moment. Notable hi-res omissions (although they do have lots of these in CD quality) for me include The Police, The Stranglers, some Steely Day (what, no Aja, once of the best sounding albums of all time?), Porcupine Tree’s Deadwing (another sonically amazing album), Thomas Dolby and some Prince releases.
I’ve spent the past week browsing the hi-resolution catalogue and have added lots of favourites to go back to savour, so Qobuz have already succeeded on the re-discovery front. If you are a Qobuz subscriber, please have a listen to my playlist and let me know what you think. I hope you find some music you like, that you may not have been aware of before.
Hi-res Revelations (part 1) tracks
Peter Gabriel – The Rhythm Of The Heat
The Rhythm Of The Heat had to be the song to open my playlist. Taken from Peter Gabriel 4: Security from 1982, the song sounds stunning in this lossless format. Gabriel’s vocals are clear, and the arrangement builds slowly, with a stark, restrained backing until the percussion explodes on the 3/4 mark.
The Who – Who Are You
Who Are You, the title track from The Who’s 8th studio album, was released in 1978 and was the last album to feature Keith Moon. The synths really bubble in this hi-res version, and Entwistle’s bass has a more prominent role, showing how the bassline really fed into the groove on the final chorus. Townshend’s guitar work in the stripped back middle section is one of my favourite Who moments.
Issac Hayes – Theme From Shaft
Theme From Shaft is one of my favourite songs. Whenever I hear this track, I am instantly transported back to the early 70s. I treasure my original double vinyl version of the Shaft soundtrack, but this hi-res stream is by far the best sounding version I have heard of this iconic and influential single. The hi-hat and wah-wah guitar interplay sounds like you are in the studio as the track was being recorded. I have heard this song hundreds of times and I never tire of it. Can you dig it?
Paul McCartney Goodnight Tonight (single version)
This 1979 single is included on the Pure McCartney compilation on Qobuz, a quick and easy way to dive into Macca’s post-Beatles catalogue.
Featuring one of McCartney’s finest basslines, the backing vocals and Rhodes piano on Goodnight Tonight is timeless.
The Carpenters Rainy Days And Mondays
Considering how well-known Rainy Days And Mondays has become, its surprising to note that it wasn’t a big hit in the UK, though it did reach number 2 on the Billboard Hot 100 chart. A lot of the songs that blew me away during my first few weeks of using Qobuz were often beat driven, with complicated arrangements, but that was not the case here. The simplicity of the arrangement is pure pop perfection.
Karen Carpenters lead vocal before the strings kick in, is a performance of real beauty. Tommy Morgan’s plaintive harmonica lines just add to the magic.
Mike Oldfield – Five Miles Out
Mike Oldfield has a fair collection of lossless albums on Qobuz, but at the time of writing is missing hi-res versions of Platinum (my favourite Oldfield release), Incantations, Ommadawn, Hergest Ridge and criminally, Tubular Bells. I am hoping they get these early albums in hi-resolution soon. Qobuz do have a hi-res version of one of my favourite Oldfield albums from the early 80s, and I have included the title track from Five Miles Out in this playlist.
Five Miles Out featured Maggie Reilly and a heavily vocoder’d Mike Oldfield on vocals. I have always loved Oldfield’s guitar work, especially his sharp solos, and he is joined by Rick Fenn (10cc) on additional guitar here.
Five Miles Out has never sounded better, with a power and clarity that makes listening to this song an absolute joy.
Kate Bush – Breathing
It was difficult to pick just one song from one of my favourite artists, Kate Bush, who is well-represented in hi-res on Qobuz. It would be too obvious to pick Running Up That Hill (which admittedly does sound wonderful in hi-res) so I went with another personal favourite, the 1980’s post-apocalyptic Breathing. Mood killer!
The Rhodes sparkle and the bassline from the late John Giblin works so well with Kate’s intelligent and emotional multi-layered vocal arrangement.
Kate is not given enough credit for her production skills, which shine on the Never For Ever album. The subtle reverb on the snare, and the placement in the mix of all instruments give this track a rare power. Turn the lights off and turn up the volume if you are a Qobuz subscriber, and prepare to be moved.
Steven Wilson – Drive Home
The Raven That Refused to Sing (And Other Stories) sounds delicious in hi-resolution, and I could easily have chosen any of the album’s tracks to highlight the power of hi-res audio, but I went for the single Drive Home for my playlist.
You can hear the scrape of fingers on guitar, and the drums have real depth. The production is stellar on Drive Home, and the guitar solo from Guthrie Govan takes this song to another level, making this one of Wilson’s most exquisite songs to date.
This Mortal Coil – I Come And Stand At Every Door
Beauty can also be found in darkness. The trilogy of albums from This Mortal Coil can be found in hi-res on Qobuz, and I have chosen I Come And Stand At Every Door from the final This Mortal Coil album, Blood.
Musically a million miles away from The Byrds version of the song, that was based on a poem by Nazim Hikmet. The discordant drums cut through the vocals from Deirdre and Louise Rutkowski, who deliver a gothic choral performance that sends shivers down my spine.
Tim Bowness / Giancarlo Erra – Change Me Once Again
Tim Bowness / Giancarlo Erra remixed and re-released their Memories of Machines album on it’s 10 year anniversary in 2022, and I have included one of the albums key tracks here. Change Me Once Again (featuring Julianne Regan on backing vocals) has a real lightness of touch, with thick acoustic guitars, and a mid-paced tempo, that sounds delicious in hi-resolution.
“Forget the heartache, forget the past”
The Cocteau Twins – Frou-Frou Foxes In Midsummer Fires
The Cocteau Twins are also well-represented in hi-resolution on Qobuz, and I’ve included one of their most beautiful pieces, Frou-Frou Foxes In Midsummer Fires from the bands sixth studio album Heaven Or Las Vegas, from 1990.
The jittery percussion and heavily processed guitars are more noticeable in lossless form, and listening to this song in this quality almost feels like an out-of-body experience.
The Pretenders – Kid
This single from 1979 sounds so much more vibrant in hi-resolution. The production by Chris Thomas is warm and bright, with the drums and the multi-layered guitars (those harmonics 😍) topped by Chrissie Hynde’s unique vocals make this my favourite early Pretenders song.
Phil Collins – In The Air Tonight
I simply had to include this song from Face Value. The beauty of hi-resolution audio is the lack of compression – with room for the quieter parts to breathe, so when that iconic drum break smashes through your speakers, your whole soul shakes.
The Knack – My Sharona
It’s all about the drums, baby! My Sharona is another groove-led song. This American new wave classic was always one of the best produced songs of the genre, and the scratchy guitar solo screams out of the speakers in hi-res.
Squeeze – Slap & Tickle
Now we go over to one of the UK’s finest bands, and a 1979 single from Squeeze. The band have never sounded better, with percussive guitar and swirling Kraftwerk / Giorgio Moroder inspired synths.
Donna Summer – Now I Need You
And talking of Giorgio Moroder… Donna Summer has a few hi-resolution albums on Qobuz, including what I think is her greatest album, the double Once Upon A Time from late 1977.
Summers vocals switch from warm and sensual to detached and clinical, depending on the mood of each track. The songs were written by Summer, Moroder and Pete Bellotte, and Now I Need You, with its massed choir like backing and pulsing electronic beat, oozes an alluring synthetic warmth.
I may have to include I Feel Love in my next Qobuz playlist, as it sounds so good at volume on this hi-res streaming platform.
Prince – If I Was Your Girlfriend
One of the more experimental tracks from 1987’s Sign “O” The Times double album. If I Was Your Girlfriend makes good use of the Fairlight and Prince’s favoured (at the time) Linn drum machine.
The bass (both slap and deep note) really cut through in hi-res, and the complexity of the vocal arrangement shines like never before. A perfect headphone song.
Tears For Fears – Mothers Talk
Mothers Talk was the first single from Songs from the Big Chair, and is not a favourite of the band, so is rarely performed live.
The guitars and drums cut clean through the sample-heavy song, and like the aforementioned Shaft, Mothers Talk takes me back to the time of its original release, and I’m wearing white jeans and a Relax t-shirt. In my dreams.
Porcupine Tree – Russia On Ice
I could have chosen so many Porcupine Tree songs, as they are always an example of quality production, but I went with Lightbulb Sun‘s Russia On Ice due to the complexity of the arrangement, and the peaks and troughs that highlight the beauty of hi-resolution audio.
Richard Barbieri contributes some of his strongest soundscapes, with synths, mellotrons and organ adding mood setting textures, whilst Steven Wilson delivers pitch-perfect harmonies and emotive guitar solos.
Lightbulb Sun is the last Porcupine Tree tree studio album to feature original drummer Chris Maitland, with Gavin Harrison taking over for In Absentia in 2002.
Electric Light Orchestra – Night In The City
Night In The City is from 1977’s massive selling Out of the Blue. The whole album sounds beautiful, but one of its lesser known tracks highlights the clarity afforded to it in hi-resolution.
Listen to the separation of the acoustic and electric guitars, alongside Rhodes keyboard and string riffs. Its a joy to hear, either loud on speakers or at night via headphones.
Harry Nilsson – Jump Into The Fire
One of the older songs on my playlist, Jump Into The Fire was given a second lease of life by being featured in a tense, paranoid scene in Martin Scorsese’s 1990 classic gangster film Goodfellas.
The track is taken from the album Nilsson Schmilsson, which features appearances from top session musicians Chris Spedding (guitar), Herbie Flowers (bass) and on the wild drum break that sounds top class here, Jim Gordon.
St. Vincent – The Nowhere Inn
The Nowhere Inn is from the soundtrack to the film of the same name. When compiling the playlist, it quickly became obvious that I was choosing lots of older music, so I added this song as an example of the improvement in audio quality from a more recent release. The twists and turns in The Nowhere Inn constantly surprise and delight.
Daddy’s Home is another recent St. Vincent album, with its stylistic nods to the early 70s, that sounds glorious in lossless format.
I hope you enjoy listening to my Qobuz playlist. Please follow me on Twitter if you want to be informed of part 2.
Following an ongoing long-term tenure as keyboardist/backing vocalist for Goldfrapp and Florence + The Machine, Hazel is releasing a new collection of songs, an EP titled The Embrace, in collaboration with producer / engineer TJ Allen (Portishead, Bat For Lashes).
This is the first new music released under Hazel’s name for a long while. Earlier releases such as 2007’s Butterfly EP, with the haunting Freestanders, 2010’s psychedelic White Rabbit and the short-lived post-punk Adding Machine (with shades of the John McGeoch era Siouxsie and The Banshees seeping through) are sadly no longer available on streaming services, so this feels like a palate cleansing and a new beginning.
Embrace opens with the first track released to digital services, Enclosure. Gone are the heavily processed vocals of some earlier material, with Mill’s powerful, warm vocals front and centre. The synth lines recall the later period Japan and I hear touches of Kate Bush at times in Hazel’s delivery and vocal arrangements, with engaging harmonies and distorted lines built low in the mix.
Enclosure is a powerful opener and like all quality electronic music, it reveals new aspects on repeated listens. So play it often!
Track two is The Embrace, a mixture of acoustic piano and electronica. The production from Hazel and long-time collaborator TJ Allen is remarkable. The drum processing and use of reverb at key points adds a powerful dynamic during this song. I love the mix of 80s electronics coupled with a real pop sensibility on this addictive piece.
I am a recent convert to lossless / hi-resolution streaming via Qobuz, and was pleased to see the songs released to date from Hazel’s EP are available in hi-resolution on Qobuz.
Hold The Water has traces of the DNA of some earlier Hazel Mill’s material, with glitchy and modern urban beats and deep synth lines underpinning an emotional vocal, with eerily processed deep backing vocals.
Hold The Water highlights some of the major changes in this new music, an increased confidence in Hazel’s vocals and a heightened use of moving and sophisticated vocal arrangements, that cut through the at times icy electronics, with human warmth.
The final track is the stripped down, gentle beauty of Fragile Creature, my favourite song on the EP, and to me the best song Hazel has released to date. The first half of the song feels like a long lost Hounds Of Love / The Ninth Wave suite track.
Sparse piano and multiple, ethereal vocal lines weave their way across the ice as the deep synths eventually kick in. Hazel’s vocal is simply magical. I hear hints of traditional Irish folk in the rich vocal stylings, whilst the music feels very modern and glacial.
“But even my breath would blow you down”
Fragile Creature feels unlike anything I have heard before from Hazel. It’s a marked departure from the past and bodes so well for a potential full album, with such a variety of styles and moods that hit you hard.
The Embrace EP is released on 19th May 2023 via Hazel’s Bandcamp and streaming services.
TRACK LIST Enclosure The Embrace Hold The Water Fragile Creature
CREDITS Written & co-produced by Hazel Mills Mixed & co-produced by TJ Allen Mastered by Guy Davie @ Electric Mastering Ltd Hazel Mills: Vocals, piano, synths, programming TJ Allen: Guitars, bass, additional synths & programming Alex Thomas: Live drums (Enclosure & The Embrace) Tim Bran: Additional synths (Enclosure) Will Gregory: Additional synths (Fragile Creature)
Recommended listen Hazel added vocals and piano, along with other guests including Chris Spedding, Paul Thompson, and Guy Pratt on Andy Mackay’s band The Metaphors album London! Paris! New York! Rome!
United Wire is the new album from North Atlantic Oscillation, and the first release since Grind Show in 2018. The album is available as a download or limited (and it really is limited!) CD direct from the band. A streaming release will follow.
The cover-art suits the album perfectly. The bright pinks, blues and purples of the artwork match the colourful and vibrant sound of the tracks on United Wire, an album thats built to be played in one sitting, with the tracks linked to each other with no gaps.
Clock is stuffed to the brim with found sounds, deep hit you in the gut bass and jittery percussion as the sequencers swirl up and around you as the beats and Eastern synths transport you on the first part of the United Wire journey.
“Everything is a clock A novella, a rock”
There are lots of little Easter Eggs lurking in the lyrics. Lines from previous songs sneak into other tracks almost un-noticed, and the dog from the first track (in audio-form) is referenced (but not heard) in the second track, Corridor. There is a contunuity to the sonic palette, the bright and colourful synth’s take us through the whole album, lifting and decaying to hit the listener emotionally.
I’ve always loved the drums and percussion on NAO songs, and United Wire offers us more of the same high quality rhythms, this time with the beats often mangled and distorted, but all the more powerful for it.
Rosewood adds a little classic rock flavour to the mix, I hear hints of 70s The Who in the urgency and power. Let me know if you think I’m deluded in the comments!
Glyph is one of the most immediate tracks. A laid-back vocal from Sam Healy, and a more minimal backing tick over until the song bursts into life, and as suddenly as it does, it breaks down again and mutates with a rare appearance of audible guitar on the album.
“And I’m all for breaking up monopolies If the fragments all contain the recipe”
Glyph’s are typographic marks, and the lyrics reference this, with talk of imagery and how things are presented. Glyph the song certainly leaves its mark, referencing the power of previous NAO songs in a welcoming way.
Matryoshka is one of United Wire‘s key songs, and one of my favourite NAO songs of all time. Automaton spewed lyrics ride on top of a delicious tribal beat, that builds and builds, and then bam, it drops off to the most natural and organic piece of music on the album. A jazzy, at times quite progressive Radiohead sounding interlude, with loping drums and beautiful guitar lines, rapidly distorts before you have time to really appreciate its brief and stark beauty, turning into an industrial, visceral end section.
Coil is a slow-paced piece. Aching strings and an occasionally slightly discordant piano, with a wonderful reverb tail on Sam’s vocals, make for an emotional performance.
“The wanting builds a cage So we crawl back, start again”
The percussion changes as the song comes to its conclusion, with an almost military precision that ushers in Torch, a dark and punishing song with the vocals laid low in the mix. On my first listen to Torch, I thought the song was a little “business as usual” but worry not, as at around one minute thirty the song drops off the edge of a cliff and ushers in a pulsating burst of electronica that almost coats an early 90s rave gloss over the song, before it sheds its skin by sleight of hand and becomes a rock song once more.
Cage dials in the electronics, with shifting time signatures, and as the longest track on the album, is given the time and space to develop at a natural pace. The mood and the arrangement shifts several times during Cage, with some parts of the song being just Sam’s voice underpinned by an electronic backing.
A feeling of familiarity coupled with nostalgia is delivered with the unfamiliar (for NAO) use of presumably sampled or VST brass instrumentation and some lyrics repeated from earlier on in the album.
The track then slips off down a swirling black and white time tunnel to greet us with Powder. The lyrics seem to reference past material, and are maybe a farewell of sorts, or possibly the signalling of a new beginning. The drum pattern reminds me a little of the iconic performance by Mick “Woody” Woodmansey on David Bowie’s Five Years, about an impending apocalyptic disaster that will fall upon Earth soon.
Whatever its meaning or inspiration, its a wonderful song, the last full track before the short, hidden piece Recoil, a mutated static filled outro to the album.
There are layers of mystery with United Wire. No performance credits are listed, so I don’t know if anyone other than Sam still remains in North Atlantic Oscillation? I presume this is the case, but NAO is still instantly recognisable in its current format, whilst touching on new horizons that bode well for future releases from an artist that has been away for far too long. Welcome back.
If you are new to the music of North Atlantic Oscillation, why not pick up a copy of the excellent compilation Lightning Strikes the Library, which is well-priced (whilst stocks last), along with other NAO releases, at Burning Shed.
In 1981 the Liverpool based band A Better Mousetrap was formed. The band performed in venues around the North West of England before disbanding in 1985 and they were never heard of again, until now. In 2020, three original members got together to work on the music they created in the 1980s. Calling themselves The Mousetrap Factory, over the next two years they recorded updated versions of old songs, along with some new ones. These form the album The Beauty of Routine which will be released in 2023 and is available on-line via Burning Shed.
The Beauty of Routine features nine songs, including a cover of Humdrum by Peter Gabriel. Tim Bowness has written the sleeve notes.
The album starts with Trivia, and an old telephone dial tone, with a disembodied “hello”, maybe referencing the future calling the past? This is not the album the band would have made in the early 80s, and Trivia feels like a 21st Century song and production, whilst clearly drawing from the bands musical past. References to modern day living provide lyrical updates to the song that was originally conceived in 1981. I love the proggy keyboards from Brian Hulse, and as always with Hulse recordings, the drum programming is a highlight.
Distant Man was written in 1980, a slow building piece, with a wonderful post-punk bassline from David K Jones, and an emotive performance from vocalist Peter Goddard.
“The letters fade, I loose my hands And they must never know what I feel for you”
Space is the first “new” on the album. Set to a laid-back, loping beat that is underpinned by deep bass, minimal synths and percussive guitar lines, the reflective, at time spoken, lyrics suit the music perfectly. This song makes me want to jump into my (imaginary) time-machine and visit the long-lost London Planetarium to listen to this song, lying back with headphones on whilst experiencing the laser lightshow.
“Infinite, vast, formless, nothingness”
A Contradiction, originally written in 1981, changes direction mid-way through the song, with a very clever dialling down of the speed and pace, with the end section reminding me a little of The Garden era John Foxx. Not in the sound of the vocals or the instrumentation, but the highly emotional, gentle and almost choral arrangement.
A Contradiction is an epic track, with the band pouring more ideas into this single track than some bands put into the mix for a whole EP. Talk about value for money!
Humdrum is a cover of the Peter Gabriel song from his 1977 debut. The Mousetrap Factory add more jittery electronics to their updating of this classic late 70s original. The reimagining is respectful, whilst taking the song into new directions so many years later. Peter Goddard adds his own vocal stylings, instead of providing a more obvious, deeper delivery of the lyrics.
Waiting/Monologue was originally written in 1982, and has some early Simple Mind’s referencing drum and bass interplay, giving the song a potent urgency. Stripped back lyrics and heavily processed vocals make this one of the most interesting arrangements on the album.
I Stand Aside is the second and final new song on the album. Its also my favourite song on The Beauty of Routine. It has a freshness and lightness of touch, to make it stand aside (sorry, not sorry) from the other songs on the album. A stunning vocal performance and arrangement from Peter Goddard, with sympathetic and unobtrusive backing from band colleagues Hulse & Jones, delivers one of the albums key tracks.
“I stand aside I only came here to enjoy the ride But if you’re planning something more beside I stand aside”
The final two songs were both written in 1980. Mrs. Green reminds me a little of The Teardrop Explodes, which is always a good thing. The nursery rhyme-like lyrics, and the unexpected break-down at the half-way mark, gives this track its unique charm.
The Beauty of Routine ends with the slow-paced and atmospheric The Nineteenth Day, featuring deep-cut synths and a melodic bass-line that works so well alongside a very theatrical, expressive vocal from Peter Goddard.
“I hold the future…”
The Beauty of Routine brings together the bands past and transports their music into the here and now, in a way that hints at a possible future.
NOW Yearbook ’78 is a new 4CD or 3LP collection that covers one of the greatest years for UK pop singles. The compilation is available on vinyl – with a 3LP limited pink vinyl release featuring 46 tracks, and two versions of the CD release: the limited hardback 4CD version (including a 28-page booklet featuring a summary of the year, a track-by-track guide, a quiz, and original singles artwork) and a standard 4CD version, both featuring the same 85 tracks.
It is worth noting that the limited editions (vinyl and hardback) usually sell-out, and if you don’t want to pay a premium tracking down more expensive copies on Discogs or eBay, if you are interested, get your order in quick!
1978 was a great year for so many genres. Look at the new wave hits (mostly congregating on LP 2 side B and CD disc 2). Siouxsie and The Banshees debut single Hong Kong Garden jostles for attention with The Clash’s (White Man) In Hammersmith Palais, an early classic from The Jam with the chilling Down In The Tube Station At Midnight, alongside one of Ian Dury and The Blockheads finest singles What A Waste. The Bruce Springsteen / Patti Smith song Because The Night is a track that sounds as powerful today as it did back in 1978. Great music is timeless.
The rock and roll revival of the late 70s is represented by Darts with The Boy From New York City, and one of the biggest films of the year in Grease features with two of the soundtracks ballads, Olivia Newton-John’s Hopelessly Devoted To You and John Travolta’s Sandy.
Disco was one of the most popular genres in 1978, and some absolute classic are featured on NOW Yearbook 1978. Donna Summer features twice with MacArthur Park and the classic pop of I Love You. Instant Replay from Dan Hartman and the Michael Zager Band’s Let’s All Chant will get you on your feet as well as singing along. Eruption’s I Can’t Stand The Rain was all over the airwaves in 1978 and is deservedly included here, as is Earth, Wind and Fire’s Fantasy along with a couple of soul ballads in Heatwave’s Always And Forever and Love Don’t Live Here Anymore from Rose Royce.
Classic Rock and progressive pop also features strongly. An often overlooked band from this era, City Boy, contribute 5.7.0.5., their only hit single. One of the last great singles from The Who (Who Are You) is well-sequenced in this compilation next to Cold As Ice by Foreigner, a staple of FM radio in Life’s Been Good by Joe Walsh and the finest Blue Oyster Cult single, (Don’t Fear) The Reaper, a song used to wonderful effect in the TV adaptation of Steven King’s The Stand from 1994.
Jeff Wayne’s Musical Version of The War of the Worlds was a massive selling album in the late 70s, and one of the key songs in Justin Hayward’s Forever Autumn features in NOW Yearbook ’78. Renaissance and their top 10 hit single Northern Lights is rarely played on oldies stations these days, but its a fine single. A Taste Of Honey with Boogie Oogie Oogie was another that was a much-played song on the radio and yet seems to have been forgotten as the years have passed.
Some songs that do still feature on 70s themed stations make a welcome appearance. Gerry Rafferty and Baker Street with one of the most iconic sax solos in pop and Mr. Blue Sky, a signature song from Electric Light Orchestra, are well-known, yet some less celebrated singles such as Love Is In The Air by John Paul Young and the late Andrew Gold with the pop nugget that is Never Let Her Slip Away are just as rewarding.
The only mis-step is the inclusion of Father Abraham’s Smurf Song. I know it was a hit but does anyone really want to hear this novelty song in 2023? The CD will be switched off before the song comes on, and I’m sure I won’t be alone in doing this. It was wisely programmed as the final track on the CD set.
NOW Yearbook 1978 is available now.
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Electric Light Orchestra – Mr. Blue Sky Gerry Rafferty – Baker Street Rod Stewart – Da Ya Think I’m Sexy? 10cc – Dreadlock Holiday Justin Hayward – Forever Autumn Wings – With A Little Luck Kate Bush – The Man With The Child In His Eyes
LP 1 Side B
Bonnie Tyler – It’s A Heartache Suzi Quatro – If You Can’t Give Me Love Clout – Substitute Crystal Gayle – Don’t It Make My Brown Eyes Blue Elton John – Part-Time Love Billy Joel – Movin’ Out (Anthony’s Song) Joe Walsh – Life’s Been Good Blue Öyster Cult – (Don’t Fear) The Reaper
LP 2 Side A
Donna Summer – MacArthur Park Chic – Le Freak A Taste Of Honey – Boogie Oogie Oogie The Three Degrees – Givin’ Up Givin’ In Chaka Khan – I’m Every Woman Yvonne Elliman – If I Can’t Have You Odyssey – Native New Yorker Earth, Wind & Fire – Fantasy
LP 2 Side B
The Boomtown Rats – Rat Trap The Undertones – Teenage Kicks Buzzcocks – Ever Fallen In Love (With Someone You Shouldn’t’ve) Siouxsie And The Banshees – Hong Kong Garden The Rezillos – Top Of The Pops Elvis Costello & The Attractions – (I Don’t Want To Go To) Chelsea The Jam – Down In The Tube Station At Midnight Patti Smith – Because The Night
LP 3 Side A
ABBA – Take A Chance On Me Baccara – Sorry, I’m A Lady Boney M. – Rivers Of Babylon Althea & Donna – Uptown Top Ranking Blondie – Denis Olivia Newton-John – Hopelessly Devoted To You Renaissance – Northern Lights Dean Friedman w/ Denise Marsa – Lucky Stars
LP 3 Side B
Marshall Hain – Dancing In The City Eruption – I Can’t Stand The Rain Dee D. Jackson – Automatic Lover Sarah Brightman & Hot Gossip – I Lost My Heart To A Starship Trooper Hot Chocolate – Every 1’s a Winner Commodores – Three Times A Lady Rose Royce – Wishing On A Star
4CD Track listing
Disc: 1
Electric Light Orchestra – Mr. Blue Sky Gerry Rafferty – Baker Street Rod Stewart – Da Ya Think I’m Sexy? ABBA – Take A Chance On Me Boney M. – Rivers Of Babylon 10cc – Dreadlock Holiday Althea and Donna – Uptown Top Ranking Donna Summer – MacArthur Park Chaka Khan – I’m Every Woman Yvonne Elliman – If I Can’t Have You Chic – Everybody Dance Odyssey – Native New Yorker Rose Royce – Wishing On A Star Commodores – Three Times A Lady Marshall Hain – Dancing In The City Clout – Substitute Bonnie Tyler – It’s A Heartache Suzi Quatro – If You Can’t Give Me Love Wings – With A Little Luck Kate Bush - The Man With The Child In His Eyes
Disc: 2
The Boomtown Rats – Rat Trap The Undertones – Teenage Kicks Buzzcocks – Ever Fallen In Love (With Someone You Shouldn’t’ve) Siouxsie and The Banshees – Hong Kong Garden The Rezillos – Top Of The Pops Blondie – Hanging On The Telephone Elvis Costello and The Attractions – (I Don’t Want To Go To) Chelsea The Clash – (White Man) In Hammersmith Palais The Jam – Down In The Tube Station At Midnight Ian Dury and The Blockheads – What A Waste Patti Smith – Because The Night The Cars – My Best Friend’s Girl The Motors – Airport City Boy – 5.7.0.5. Sweet – Love Is Like Oxygen Elton John – Part-Time Love Billy Joel – Movin’ Out (Anthony’s Song) The Who – Who Are You Foreigner – Cold As Ice Joe Walsh – Life’s Been Good Blue Oyster Cult – (Don’t Fear) The Reaper Justin Hayward – Forever Autumn
Disc: 3
Chic – Le Freak A Taste Of Honey – Boogie Oogie Oogie Tavares – More Than A Woman Alicia Bridges – I Love The Nightlife (Disco ‘Round) Dan Hartman – Instant Replay Michael Zager Band – Let’s All Chant Raffaella Carrà – Do It Do It Again (A Far L’Amore Comincia Tu) Baccara – Sorry, I’m A Lady Sheila and B Devotion – Singin’ In The Rain Voyage – From East To West Donna Summer – I Love You The Three Degrees – Givin’ Up Givin’ In Eruption – I Can’t Stand The Rain Dee D. Jackson – Automatic Lover Sarah Brightman and Hot Gossip – I Lost My Heart To A Starship Trooper Crown Heights Affair – Galaxy Of Love Gladys Knight and The Pips – Come Back And Finish What You Started Hot Chocolate – Every 1’s A Winner Earth, Wind and Fire – Fantasy Heatwave – Always And Forever Rose Royce – Love Don’t Live Here Anymore
Disc: 4
Blondie – Denis Olivia Newton-John – Hopelessly Devoted To You John Travolta – Sandy Darts – The Boy From New York City Bill Withers – Lovely Day John Paul Young – Love Is In The Air Barry Manilow – Copacabana Renaissance – Northern Lights Scott Fitzgerald and Yvonne Keeley – If I Had Words Boney M. – Brown Girl In The Ring Brotherhood Of Man – Figaro Co-Co – Bad Old Days Dollar – Shooting Star Andrew Gold – Never Let Her Slip Away Dean Friedman w/ Denise Marsa – Lucky Stars The Manhattan Transfer – Walk In Love David Soul – Let’s Have A Quiet Night In Crystal Gayle – Don’t It Make My Brown Eyes Blue Elkie Brooks – Don’t Cry Out Loud David Essex – Oh What A Circus Brian and Michael – Matchstalk Men And Matchstalk Cats And Dogs Father Abraham – Smurf Song
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Cherry Red are releasing a 4CD box set bringing together all of New Musik’s three studio albums along with a disc of B-sides, single edits and remixes.
The From A To B – The Sony Years box-set includes a booklet featuring fascinating, scene setting notes from Record Collector’s Daryl Easlea, that includes quotes from Tony Mansfield.
Formed in 1977 by Tony Mansfield, a former member of The Nick Straker Band (A Walk In The Park) with bassist Tony Hibbert and drummer Phil Towner, New Musik’s first single Straight Lines was released in 1979, and their debut album, From A to B, followed in April 1980.
Living by Numbers was the band’s most successful single and the album, which entered the Top 40 in the UK Albums Chart, featured two further hit singles with This World of Water and Sanctuary.
New Musik’s first album came at the beginning of the 80s synth driven explosion that was to shape the decade, sharing a similar electronic soundscape to The Buggles, but also including guitars and bass. Straight Lines is a powerful opener and is followed by the equally commercial Sanctuary, a bright shining pop gem.
From A to B is primarily an extremely commercial electronic pop album, but with a variety of moods and textures. Slower paced songs such as A Map Of You and the fretless bass driven, shifting The Safe Side hint at the further experimentation that was to seep into the music on the later albums.
Its the singles that stay with you on the debut album. This World Of Water has dark lyrics that are disguised in the upbeat music.
“These waters have frozen Can’t break the ice no more It’s raining so hard now Can’t seem to find a shore”
My favourite New Musik single from the album is Living By Numbers, a song that reached No13 in the UK singles chart, and instantly takes me back to 1979 whenever I hear it.
“They don’t want your name Just your number…”
The band’s second album Anywhere was released in 1981 and and was the last album to feature band members Towner and Hibbert. At this point, its time to strap yourself in, as the music takes a slightly more left-field turn. The warm pop sound remains but is peppered with a darker, more experimental side.
Areas is one of the highlights in the New Musik back catalogue, and this is referenced by the faithful 2013 cover version by Dutch rock band The Gathering from their Afterwords album. The mood of the New Musik original is hazy and evocative, and it may have been a missed opportunity not releasing this song as a single. Churches is an evolution in the bands sound, with a more dynamic bass line, and a more natural arrangement.
This World of Walter is an obvious play on words on the single from the first album. CR-78 percussion drives this charming, short album track.
“And Walter’s sure that his world’s no more Than just a fading dream”
In the sleeve-notes, Tony Mansfield describes this period of New Musik as his favourite, and its easy to see why. There is a playfulness and warmth to songs such as Luxury, and more experimentation with reversed vocals along with sharp tangents cutting into some of the arrangements.
Peace sees a clever use of tribal drumming, a tool often used in post-punk recordings, but here used as a tight, mechanical mechanism buried quite deep in the mix, as a way to drive the song and add a degree of tension.
Traps adds some progressive / Tony Bank’s like keyboards to the palette, and is one of the most electronic songs on the album, topped by wonderful production touches such as Mansfield’s trademark twisted, processed vocal lines.
Anywhere ends with the uplifting Back To Room One. A haunting song, crammed full of aching, emotional nostalgia and the perfect way to end an album. This track is pure pop, shorn of most of the production touches, relying on the honesty and vulnerability of the song to hit you hard.
“Take me back to my old room It’s not there any more”
The third and final New Musik album was Mansfield with studio musicians. Warp was released on Epic in March of 1982. Digital samplers and sequencers were utilised for this album. Here Come The People features some lovely funk guitar lines and percussion that is very much of its time. A Train On Twisted Tracks includes a Wasp synth sequence similar to The Stranglers Just Like Nothing On Earth, bubbling away in the background. The use of disembodied sampled voices adds to the slightly sinister feel of this track.
All You Need Is Love features twice, with the first being a New Musik original inspired by The Beatles classic, with New Musiks version coming next, topped up by a taste of Greensleeves for good measure.
Hunting features some deep synth bass and heavily processed vocals that add a layer of strangeness to this key experimental album track. The quality dips a little for the remainder of the album, with the seemingly Kraftwerk influenced The Planet Doesn’t Mind offering one of my least favourite New Musik songs.
The final song on the final New Musik album is the title track Warp. A more robotic percussion lets the synths and powerful vocal take centre stage as the band comes to its natural end, with the track slowly decaying into a series of audio errors. Warped to the final note.
Disc four features B-sides / edits and extended versions. The Planet Doesn’t Mind (single edit) works better than the Warp album version. Single B-side Sad Films (from 1979/1980) is one of the most “band” sounding tracks from New Musik, and features some late 70s harmonies and a traditional arrangement, making it quite unique in the bands catalogue.
Missing Persons/Tell Me Something New is notable for a New Musik guitar solo! Again, quite a traditional arrangement, with a killer chorus, and an abrupt ending leading into a haunting soundscape of reversed and mutated sounds to end the track.
She’s A Magazine could easily have been included as an album track. Chik Musik sounds exactly how you would imagine it to sound, and this short instrumental jam is followed by another instrumental, the short burst of Magazine Musik (aka She’s A Magazine).
From The Village was inspired by the cult tv show The Prisoner. While You Wait (extended version) is a longer take of the Anywhere era single, and the extras disc ends with an extended mix of the Warp opening track, Here Come the People – Remix.
Mansfield went on to achieve success as a producer with After The Fire, a-ha, Aztec Camera, The B-52’s, The Damned, Captain Sensible, Naked Eyes, and Mari Wilson. From A To B – The Sony Years pulls together the studio albums and the majority of the key non-album tracks, and is a perfect collection for fans of the band who don’t already own the CD reissues from a few years ago. The box-set will also appeal to the more casual fans of early 80s electronic pop.
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DISC ONE From A To B Straight Lines Sanctuary A Map of You Science On Islands This World of Walter Living By Numbers Dead Fish (Don’t Swim Home) Adventures The Safe Side
DISC TWO Anywhere They All Run After the Carving Knife Areas Churches This World of Walter Luxury While You Wait Changing Minds Peace Design Traps Division Back To Room One
DISC THREE Warp Here Come the People Going Round Again A Train on Twisted Tracks I Repeat All You Need Is Love All You Need Is Love Kingdoms For Horses Hunting The New Evolutionist (Example ‘A’) Green And Red (Respectively) The Planet Doesn’t Mind Warp
DISC FOUR B-Sides / Edits / Extended Versions Straight Lines – Single Edit While You Wait – Single Edit The Planet Doesn’t Mind – Single Edit Sad Films – B-Side Living by Numbers Missing Persons / Tell Me Something New – B-Side This World of Water She’s A Magazine – B-Side Sanctuary Chik Musik – B-Side Sanctuary Magazine Musik – B-Side Sanctuary Twelfth House – B-Side All You Need Is Love From The Village – B-Side While You Wait Guitars – B-Side While You Wait The Office – B-Side Luxury 24 Hours from Culture (Part 2) – B-Side The Planet Doesn’t Mind While You Wait – Extended Version Here Come the People – Remix
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Mr Kinski's Music Shack 