Decade IV: 1986

Side 1 of a cassette compilation, recorded 8th April 1990.

 

Okay, so we're back with the OG Decade tapes that I compiled in 1990, a new decade and the end of my teens ahead, ten years of life-shaping music behind me.

Time to address the elephant in the room. You may have noticed from the track listing below and in the previous fortnight that the selection leans heavily on alternative, guitar-based music, and very little in the way of club or pop music. 

Yes, I will admit that as well as receiving my first proper Valentine's card and the same person agreeing to be my first proper girlfriend, I was beginning to tap into my inner Goth. I think I bought my first pair of winkle picker boots with shiny buckles around age 15. And the shirts. Oh, the shirts. My local Boots was also doing quite well out of my regular custom for hair gel and hairspray. Yep, I was quite the catch. I don't know what she was thinking.

Anyway, for all that, the parallel story of my teens was also my propensity for a pop song. My nascent record collection happily included the likes of Heaven 17, Bronski Beat, Erasure, Giorgio Moroder with Phil Oakey, Pet Shop Boys, Cameo, Madonna, Propaganda and so on. 

The reason why you're seeing little of that here is that, when I had the idea in 1990 of recording a themed series of mixtapes covering the 1980s, I already had the overarching title, Decade. I also had the thought that there would be a second, parallel series of more club/pop-oriented songs, acknowledging my love of the 12" single and called Decadance (sic). I never got around to recording any of the latter series, but maybe an idea to revisit here one day...

I will also add that whilst I enjoyed a bit of gnarly guitar, I despised Bon Jovi with a passion. No surprise that at school, I was in the minority, as the bobbins hair metallers were especially popular with my female friends. Thankfully, my girlfriend was an exception, in many ways but crucially in her indifference to the hirsute charms of Jon and the lads.

Scene set, here’s the mixtape.

Frankie Goes To Hollywood open up, though a band very much on the downward slide by 1986. I bought the single but more out of a weakening sense of loyalty and I didn't even bother with the accompanying album, Liverpool, at the time. And I echoed the howls of protest when an interview with comic writing legend Alan Moore on Channel 4's The Tube was abruptly cut short to segue to the video of Warriors (Of The Wasteland). It wasn't Frankie's fault of course, but they bore the brunt of my disgruntlement.

John Lydon had made a triumphant return with Public Image Ltd. and the single Rise, ahead of an album that depending on the format you bought was titled 'Album', 'Cassette' or 'Compact Disc' or 'untitled', if you want to be contrary. Co-produced with Bill Laswell, it's big on percussion, like the musical equivalent of a left hook from Mike Tyson (who became the youngest heavyweight champion in history in November 1986, fact fans). I love 'Album' for lots of reasons, and follow up single Home is one of them.

The Godfathers are next in line, matching Tyson's left hook with a piledriver to the head. I bought I Want Everything on 12" and played it loud. My mum understandably hated it. Tick.

I'm not sure my parents were fans of Gene Loves Jezebel but for all their backcombing, lipstick and chiffon, Sweetest Thing was a brilliant pop song. This is one brotherly reunion that isn't likely to happen until hell freezes over, though there's much to love in their early 80s albums. Sweetest Thing only got to #75 in the UK yet Discover reached #32, the only UK Top 40 album in their career.

A perhaps surprising return for Wall Of Voodoo, after their first appearance in 1983. Mexican Radio had a least been a minor hit (#64). Far Side Of Crazy failed to make even that much of an impression, despite the added appeal of 12" B-side Dance You F***ers (the label's censorship, not mine!). I didn't buy this first time around though I acquired Far Side Of Crazy when it was itself included as a B-side to follow single, a cover of The Beach Boys' Do It Again, which fared equally poorly with record buyers in general. Andy Prieboy was now lead singer and it's worth mentioning that former frontman Stan Ridgway had a #4 hit with Camouflage in July 1986. That must have stung a little.

Also on the comeback trail was Iggy Pop, aided and abetted yet again by David Bowie, with a phenomenally successful album, Blah Blah Blah, to boot. Cry For Love was the opening salvo and whilst Iggy enjoyed greater success with the follow up cover of Real Wild Child, I prefer this.

 

I mentioned earlier that Bronski Beat didn't make it into this series, though Jimmy Somerville's next project does. I thought The Communards was a brilliant next step and the musical partnership with Richard Coles produced some fabulous music, politically charged pop, beautifully arranged and sung, with incisive, insightful lyrics. Disenchanted is perhaps the prime example of this. It could be taken as an update or reflection on Smalltown Boy, though it's many other things too. And that wonderful descending piano chord at the bridge. A shame that The Communards are generally remembered for their 80s revival of disco classics. All hits and all good, but they were so, so much more than that.

Depeche Mode began the second phase of their career in 1986, following the mega-selling Singles 81-85 compilation. Many of my classmates referred to them as 'Depress Mode', though my friend Ady and I were increasingly committed to this new direction. 1986 would bring the Black Celebration album and my first ever live gig, seeing Dave and the lads at the Colston Hall in Bristol. I loved lead single Stripped and I bought the 5-track 12" single without having heard a note of the song. I didn't need to. Still hits the spot, four decades on.

My first proper girlfriend and I shared a love of Talk Talk. The Colour Of Spring and it's attendant singles came out as our young romance was blossoming and so the music inevitably became very special for us both. To be truthful, Give It Up was 'our song' - sadly prescient, given that our relationship lasted mere months - yet I have had an enduring love for Living In Another World as it's arguably the least Talk Talk-like song that they ever recorded. And I love it for that.

After committing the crime of not including either E=MC² or Medicine Show in my 1985 mixtape - all the more unforgivable, as This Is Big Audio Dynamite was one of my favourite albums of that year - here they are at last. C'mon Every Beatbox was released to announce the arrival of second album, No. 10, Upping Street. It's a cracking single, from it's familiar riff on Eddie Cochran's C'mon Everybody, to Sam Sever's deft editing and scratching, to Mick Jones and Don Letts' superb trade offs. The 12" version is even better, even if my vinyl rip is sounding to my ragged ears like it might be running a tad too fast....

My second crime is the paucity of Julian Cope in this series. Apart from his appearance with The Teardrop Explodes in 1981, this side marks the first sample from Julian's solo career. Though what an example! World Shut Your Mouth had been demo'd but never finished before the Teardrops, er, imploded. It then provided the title of Julian's first album in 1984 though omitting the song itself.

World Shut Your Mouth finally saw the light of day at summer's end in 1986, the song beefed up by US producer Ed Stasium, famed for his work with Ramones, and with a remix 12" by fellow Americans Trouble Funk. This was a different Cope for sure: sexy, pouting, leather clad; though the climbing frame mike stand was a sure sign that he was still bonkers as ever. The Saint Julian album also proved to be a huge success (#11 in the UK) and for a brief moment, the world did shut its mouth and pay attention. 

Another hugely underrated and underappreciated act is It's Immaterial. Driving Away From Home had been a surprise Top 20 hit in April 1986 and the record label reasonably thought that Ed's Funky Diner, a flop single in 1985 yet an equally brilliant and quirky song, deserved another shot. 

 

As before, Ed's Funky Diner was given the full format treatment: 7", 7" double pack with an extra single, 12", limited edition remix 12". It did better than before, though by better I mean a peak of #65. Their debut album got a few places higher and that was the end of the band as a chart-troubling entity. Thankfully, despite a series of unfortunate events in the intervening decades, It's Immaterial are actively recording and releasing music in the 21st century and the world is a better place for it.

 

1) Warriors (Of The Wasteland) (Single Version): Frankie Goes To Hollywood

2) Home (Single Version): Public Image Ltd.

3) I Want Everything (Single Version): The Godfathers

4) Sweetest Thing (Album Version): Gene Loves Jezebel

5) Far Side Of Crazy (Remix): Wall Of Voodoo

6) Cry For Love (7 Inch Edit): Iggy Pop

7) Disenchanted (Album Version): The Communards

8) Stripped (Single Version): Depeche Mode

9) Living In Another World (Single Version): Talk Talk

10) C'mon Every Beatbox (Extended Vocal Version): Big Audio Dynamite

11) World Shut Your Mouth (Album Version): Julian Cope

12) Ed's Funky Diner (Album Version): It's Immaterial

 

Side One (46:19) (KF) (Mega)

Up On The Downs, Part Two

So, it's 4.00pm on a windy Bank Holiday Sunday afternoon at the ACT 1.5 climate action accelerator event in Bristol, and Lankum are next up at 4.40pm.

 

The place is starting to fill up though it's still nowhere near capacity. I know Massive Attack are the big draw here, but none of the support acts are small fry and I don't understand why some people splash out on a ticket and then intentionally don't turn up to get the full experience.

 

The original plan when I bought tickets months ago - I was fortunate enough to live within the qualifying postcode zone for pre-sale access - was that this would be a Clan K excursion. A series of unforseen events, not least Lady K going to a friend's party the day before, meant that unfortunately it became a solo venture. Fortunately, I was able to sell my unwanted pair of tickets via the suggested Tixel site, which was a pleasant surprise given the short notice and hundreds of tickets up for grabs at the same time. 

 

My plan B was to hook up with an old friend's brother, who I knew was also going to be there. Apart from a chance encounter at an O.M.D. gig earlier this year, I hadn't seen him for a while so I was looking forward to catching up. However, I was forewarned: he and his friend were planning to meet in the city centre at 3.00pm and "go to a few pubs" en route to the Downs, not planning to be on site "til early evening". It's probably worth mentioning that he was well oiled at the aforementioned O.M.D. concert.

Therefore, I wasn't expecting a rendezvous for the Lankum set but given that the last entry cut off for the event was 6.00pm, I anticipated meeting them in time for the final support show. So, I made a beeline for the front of the crowd and took position for Lankum.

 

I don't own any of Lankum's albums and my knowledge of their music is limited to a handful of songs that have appeared on music magazine freebie CDs, a couple of live tracks and a very good Tiny Desk concert from 2020. I vaguely knew what to expect, but I didn't expect to be familiar with most of the songs played. 

 

The band took to the stage and formed a line, brothers Ian Lynch and Daragh Lynch at each end, Radie Peat and Cormac Mac Diarmada in the middle. Fleshing out the live band at the back were producer John 'Spud' Murphy on electronics (or subsonics, as credited on their last album) and John Dermody on percussion.

Lankum start off with the mesmerising drone of their version of The Wild Rover, the song that I am most familiar with. It's one thing to hear it through headphones or speakers, quite another to experience it in person, the bass vibrations coursing through your body, the band adding layers of sound as Radie intones over the top. The song simultaneously goes on forever and yet ends too soon after ten minutes or so, setting the tone (drone) for the rest of the show, six songs over the course of an hour.

The remaining songs are drawn from their two three (thanks, Ernie) studio albums, plus a cover of The Rocky Road To Dublin, which to date has only been performed live on stage. Ian and Daragh do most of the talking, passing back and forth and finishing each other's sentences with such ease that it was easy to lose track of which brother was talking. The Pride Of Petravore, we are told (by Ian or Daragh, I'm not sure) included a snippet of a Sting song (We Work The Black Seam, according to my post-gig "research") but you wouldn't have known otherwise. 

The deftness and dexterity of the band generally is matched by the dizzying number of instrument changes that Ian effects during the set. I couldn't begin to name most of them, but suffice to say each one added something special to the performance. Not to be outdone, Radie's swaps between harmonium, concertina and accordion were equally impressive.

Penultimate song Bear Creek was the only other song that I was familiar with, before Lankum drew things to a close with a spine chilling rendition of Go Dig My Grave, the opening song from second album False Lankum. It was all over too soon, Lankum gave thanks and waves and exited the stage.

The crowd had been up for it from the start and went properly wild by this point. If I had seen Sam Morton and Lankum as a standalone gig, I would have felt that I'd had a great time. But there was more to come. Well, kind of.

There was a 45-minute wait until the next show, not that the gaps were silent. I'll mention the numerous guest speakers when I review the headline gig, but DJ Milo was also on hand to provide satisfying sounds to ease the transition between each part of the event.

 

As I made my way from the stage, a text from my friend's brother popped up. "We're in...where r u?" Glancing around, I suggested meeting them at the back of the accessible viewing platform and opposite the presciently-named food stall Oh Crepe! It was 5.45pm, dusk was already looming, the site was considerably busier and the queues for all of the food stalls were already looking ridiculously long. 

I waited. And waited. And waited. It was around 6.10pm and still no sign. "Are you close?" I texted. "We're by the Hippy Chippy!" came the reply. Now, the Hippy Chippy was about three stalls down from Oh Crepe! so the two will have walked past the accessible stage, Oh Crepe! - and me - to get there. Given the flowing thoroughfare of people though, not a great surprise that we may have missed each other.

Also no surprise when we met up a few minutes later and I realised just how well oiled they both were! They revealed that their intention had been to carry on drinking and rock up about 8.00pm to catch Massive Attack alone, until another friend had been in touch to point out the 6.00pm last entry cut off, forcing a frantic dash uphill from Clifton to The Downs.

The lads were quite up front that they had little interest in the support slot by Killer Mike (which was just starting) and their main focus was food, fags and beer. Only the latter was satisfied during our time together. Neither them smoked nor knew anyone that did nor had any plans to go rooting around, trying to buy, beg or 'borrow' from someone in the crowd. The bar was more easily accessible and the queues were moving more swiftly, and they grabbed a couple of cans of lager each.

 

As we were talking, it also became apparent that (a) the 'crowd' in front of us was actually the queue for the Hippy Chippy and (b) the end of the queue wasn't in sight and the people in our direct line of site moved about two metres for the entirety of Killer Mike's hour-long set. The same appeared to be true of every food stall in our line of vision. No problem for me, I had no plans to eat but I did feel for my acquaintances, who literally had gallons (and counting) of booze to soak up.

I'm realise that I'm painting an unflattering picture here, but it was a great fun to catch up with my friend's brother and his best mate, who I'd also met a few times on various nights out over the years. There were great anecdotes and some impassioned reminisces, which sometimes only copious amounts of alcohol can unlock. 

Unfortunately, it came at the cost of getting the full experience of Killer Mike's set. With my extended proximity from the stage and my occasional moments of breaking from the conversation and listening to the music, I was clearly missing the best part of a great set. But hell, sometimes you make a choice and for me, time with some lovely if incredibly pissed people won out.

I'm only really familiar with Killer Mike's recent album Michael and a few smatterings of  his songs - solo and as one half of Run The Jewels - and guest appearances here and there over the past two decades. Despite releasing a new album recently, the songs that I did catch seemed mostly to be from Michael. The performances, enhanced by backing trio The Mighty Midnight Revival, sounded incredible and I was also clearly missing on some quality between song banter, judging by the approving roars from the crowd.

 

So, a slight pang that I didn't abandon the reunion and plunge straight back into the melee at the front for the penultimate support slot, especially as the likelihood of another opportunity to see Killer Mike at all, let alone in a similar setting, is slim. However, my loosely-planned reunion was nourishing for the soul in other ways and hey, what's the point in regret? Life's too short!

 

Besides, there was still Massive Attack to come. And what could possibly go wrong?

 

I'll tell you all about that on Monday. In the meantime, here's a 12-song selection of Sam Morton, Lankum and Killer Mike to tide you over. Whilst there was some online grumbling about the choice of seemingly unconnected support acts, I thought it was inspired and I was really excited to see them all. In compiling this set, the links between all three, narratively and sonically speaking, seem more apparent. 

If you like what you hear, go check them all out via Bandcamp or your friendly neighbourhood record shop.

 

1) Hunting The Wren (Album Version): Lankum (2019) 

2) Loved By God: Sam Morton ft. Alabaster DePlume (2024)

3) Slummer (Album Version): Killer Mike ft. Jagged Edge (2023) 

4) Netta Perseus (Album Version): Lankum (2023)

5) The Little White Cloud That Cried (Cover of Johnny Ray & The Four Lads): Sam Morton (2024)

6) Run (Damian 'Jr. Gong' Marley Version): Killer Mike (2023) 

7) Bear Creek (Tiny Desk Concert Version): Lankum (2020) 

8) Double Dip Neon: Sam Morton (2024)

9) Something For Junkies (Album Version): Killer Mike ft. Fabo (2023)

10) Broxtowe Girl: Sam Morton ft. Ali Campbell & Alabaster DePlume (2023)

11) Two Days (Album Version): Killer Mike ft. Ty Dolla $ign (2023) 

12) The Wild Rover (Live @ Relix, New York): Lankum (2019) 

 

Up On The Downs (57:54) (KF) (Mega)

Up On The Downs, Part One

I spent Bank Holiday Sunday (25th) at the ACT 1.5 climate action accelerator event in Bristol, organised and headlined by Massive Attack, for what was billed as their first hometown gig in 5 years...and potentially their last.

 

And event is an understatement. You've probably read about it, as they were all over the media in the lead up, but this was an attempt to stage the lowest carbon show of its size (capacity c. 36,000 people). On the ground, bar the odd hiccup, it felt like they delivered and then some.

ACT 1.5 was situated on Durdham Downs, in the north of Bristol, a short walk from the old Zoo and Clifton Suspension Bridge. Except all of the promo referred to it as Clifton Downs. I haven't lived in the city for a decade and a half and everyone I knew back then referred to it as simply "The Downs". Secret Bristol attempted to dig deep into the origin of the name though, in the end, it's all the same: a 400-acre flat expanse, and a perfect setting for the event.

I drove to a rail station a few miles from home and about ten miles from Bristol and travelled into the city via train. I purchased tickets via Train Hugger, which included access to a free (electric) shuttle service to The Downs and, at the end of the event, a shuttle service to each of Bristol's main stations to get one of five special 'after hours' trains that had been specially laid on to get attendees back home. 

It's been a while since I've been in Bristol so on arrival at Temple Meads station, I skipped the shuttle and walked the 2.5 miles through the city centre, up Park Street and Whiteladies Road to The Downs. It was a nostalgic ramble, even though many of the places I frequented in my younger days are long, long gone.

Arriving around 2.15pm meant that there was very little queuing to get in, and a chance to do a site recce before taking my pitch. There was plenty around the site opposite the stage, from a programme of speakers and interviews, a tent offering the chance to create DIY Merch with Peter Kennard and Cat Phillips, the Hell Bus by Darren Cullen to a Fire Sale shop selling Massive Attack prints. And of course the Merch Stand if you wanted a quick change into a T-shirt to prove you were there whilst you were there.

 

No food or drink (apart from refillable water bottles) could be brought into the gig; the event had water stations and a range of vegan only food stalls on site. Even more amazing, for a gig of this scale, not the sound or smell of a diesel generator. All I could hear as I approached the stage was DJ Milo doing his thing.

DJ Milo aka Milo Johnson is a local legend, part of the Wild Bunch collective back in the day and continuing to release music as DJ Nature (2023 Otherwhere was a highight of the year). I missed the first quarter of his hour-long set, but it was super slick - as were the between-gig segues - and a perfect scene setter. My favourite moment was a sequence of low-tempo house sandwiched by two 1980s classics: Crockett's Theme from Miami Vice by Jan Hammer and superlative Propaganda B-side Frozen Faces. What a perfect set up.

At 3.00pm, Sam Morton - the person and the band - took to the stage. Samantha Morton is a superb actor, but the prospect of a thespian turning their hand to music is path that I frequently approach with caution, and with good reason. However, the debut Daffodils & Dirt has been a rewarding listen, even if the narrative is frequently challenging.

A collaboration with XL label head Richard Russell, the duo double in size for their live performance. It's not the most dramatic set up: three musicians sat behind a long table like an interview panel, with Samantha front and centre at the mic; an ironic nod to a Britain's Got Talent-style stage, perhaps? Probably not, but all eyes are on Samantha anyway as they perform Daffodils & Dirt in its entirety. 

 

Apart from high winds which buffet the musicians and at one point blow over Samantha's music stand, it's a fine performance. Her vocals are pitched somewhere between sprechsang and nursery rhyme but it's perfectly suited to the narrative and the music. 

 

Despite some brief flashes of intense sunshine, the sky is generally full of ominous looking clouds, which somehow seems fitting. The shortest set of the day at 45 minutes, entirely down to the material available I guess, but appreciated by me and the few hundred that got there early.

It's hard to pick a favourite as I enjoyed the whole performance. Broxtowe Girl is a highlight on the album, focusing on the narrator's love of UB40's Labour Of Love II and featuring a restrained guest vocal from Ali Campbell. Sadly, no sign of Ali on stage today but none the poorer for that. Double Dip Neon is also worth a mention for it's dubby, uptempo vibe which at times channels One Dove, which is no bad thing.

 

Two hours in, seven and half hours and three acts to go. This is inevitably too big for one post (or two, for that matter). Part Two will share my experience of the remaining support acts, when things got a lot busier and took an unexpected turn.

So Many Confused Words

I missed Kevin Ayers' 80th birthday on 16th August so by way of compensation, here's an hour long, 15-track selection for your listening pleasure.

Although I've had Joy Of A Toy and whatevershebringswesing for a few years, I'm still very much a beginner when it comes to Kevin's music. This selection draws from a limited number of albums and odds and sods, covering 1969 to 1973. 

I don't love everything that Kevin recorded and some of the lyrics are teeth-grindingly bad or off-colour at times, but there is so much gold to discover. 

I won't attempt a biography or to write about Kevin's origins in Soft Machine, as I don't know enough and there are much better-written blogs out there. What will I say is that sometimes compiling a selection is more than just a pleasure. I enjoy creating every one but this was one of the 'special ones', where sequencing each track was a joy.

When I started, I had in mind a 'quick' post, maybe 10 songs and 45 minutes. It ended up that the music dictated the shape, the form and duration, so you get 15 songs and 60 minutes instead. Lose yourself for an hour in the strolling bass, the guitar and piano harmonies, the duck calls and that deep, rich voice.

Nearly brought tears to my eyes.

 

1) Singing A Song In The Morning (Single Version): Kevin Ayers & The Whole World (1970)

2) Stars (Single Version): Kevin Ayers & The Whole World ft. The Ladybirds (1971)

3) whatevershebringswesing: Kevin Ayers (1972)

4) The Lady Rachel (Unreleased Single Version): Kevin Ayers & The Whole World ft. The Ladybirds (1972)

5) When Your Parents Go To Sleep: Kevin Ayers ft. Archie Legget (1973)

6) Gemini Chile (Alan Black Session): Kevin Ayers (1970)

7) Song For Insane Times: Kevin Ayers ft. Soft Machine (1969)

8) May I?: Kevin Ayers & The Whole World (1970)

9) The Interview (Top Gear Session): Kevin Ayers (1970)

10) Hymn: Kevin Ayers ft. Robert Wyatt (1973)

11) Clarence In Wonderland (Album Version): Kevin Ayers & The Whole World (1970)

12) Oh! Wot A Dream: Kevin Ayers (1973)

13) The Oyster And The Flying Fish: Kevin Ayers & The Whole World ft. Bridget St. John (1970)

14) There Is Loving / Among Us / There Is Loving: Kevin Ayers (1972)

15) All This Crazy Gift Of Time: Kevin Ayers (1969)

 

1969: Joy Of A Toy: 7, 15

1970: Shooting At The Moon: 8, 11, 13

1970: Singing A Song In The Morning EP: 1

1971: Stranger In Blue Suede Shoes EP: 2

1972: whatevershebringswesing: 3, 14

1973: Bananamour: 5, 10, 12

1976: Odd Ditties: 4 

2005: The BBC Sessions 1970-1976: 6, 9

So Many Confused Words (1:00:05) (KF) (Mega)

Elect Tronik

Today's selection features Tronik Youth aka Neil Parnell, and is a follow up of sorts to last Wednesday's spotlight on recent purchases from NEIN Records, the label Neil co-founded with Ian Considine over a decade ago.

 

In a 2018 interview celebrating 5 years of NEIN, Neil described the label's mission as "trying to spread some dark magic around the worlds dance floors" and this brief, C90-friendly mix attempts to reflect some of that in his own remixes and releases as Tronik Youth.

Most of the tracks are from the last few years, but I have included Tronik Youth's debut in 2006 with a remix of Listen Up! by Gossip. At the time Neil, a record shop boss and DJ, got involved with a friend who ran Back Yard Records. The two discovered and signed Gossip, Neil had a go at doing a remix and the rest is history.

 

If you're new to Tronik Youth and like what you hear, head first to NEIN Records on Bandcamp, where you will find a fair few Tronik Youth releases, re-edits and remixes of other label artists for your listening pleasure. 

However, a quick online search will also throw up a vast catalogue of music released on other labels and with other artists in the past two decades, as 2014's Suicide Doors on tici taci (included here) illustrates.

 

1) Cult Haze (One Of Us) (Tronik Youth 'Ritual' Remix): Dan Wainwright (2021)

2) Wrong System (Jay-Son Remix): Tronik Youth (2024)

3) Suicide Doors (Inaigo Vontier Remix): Tronik Youth (2014)

4) I Say Yes (Tronik Youth Remix): Cosman (2024)

5) Listen Up! (Tronik Youth Remix) (Edit): Gossip (2006)

6) Red Shift (Tronik Youth Remix): MAN2.0 (2022)

7) Serpens Caput (Tronik Youth Remix): Celestino (2023)

8) Ghosted Me: Tronik Youth (2024)

 

2008: Rework It: 5

2021: The Universal Energy Within EP: 1

2022: Red Shift EP: 6

2023: tici taci Decade Volume 1: 3

2023: We Are Nothing But Space Dust Remixes EP: 7

2024: I Say Yes EP: 4 

2024: Tronik Youth Club Edits EP: 8

2024: Wrong System EP: 2

 

Elect Tronik (45:28) (KF) (Mega)

My Old Piano

Occasionally, on my travels for work I'll switch from my playlist to a brief listen to Radio 2, always avoiding Zoe Ball and Scott Mills, but retaining a soft spot for Sara Cox and the legend that is Jo Whiley.

I have no shame in admitting that I'd also catch a bit of Ken Bruce's show, though less for his music picks than for his Popmaster quiz and subsequently, sessions from the BBC Piano Room.

Whilst Ken has long departed (the BBC, not life in general, I hasten to add) and taken Popmaster with him, the Piano Room sessions have continued with his successor, Vernon Kay. I've not really bothered listening to any of Vernon's run to be honest but I have been dipping into the Piano Room via YouTube and BBC iPlayer.

The Piano Room title is literal if a little misleading. Yes, there is a piano present, but so is the BBC Concert Orchestra, so what you get to listen to are lush, cinematic arrangements rather than stripped back versions. The format is generally the same each time: one new(ish) song, one old song and one cover version.

Today's selection of a dozen songs is a mix of all three, mainly from the last coupel of years.

 

Beverley Knight tackles Radiohead's Just, not a million miles from Mark Ronson's take back in 2007, but packing a vocal wallop that only Beverley can deliver.

Bruce Hornsby revisits his best known song (well, in the UK at least), contradicting what I've written above by presenting a pared back piano version, occasional bum notes and all.

Alison Moyet performed Such Small Ale in June this year, a song so new that she'd only released it the week before delivering this version for the BBC.

Not every version works: Rick Witter from Shed Seven struggles a bit with Planet Earth by Duran Duran; Suzanne Vega's new version of Tom Diner could have lost a minute or two; Pet Shop Boys' take on All The Young Dudes is okay though cannot hope to match Mott The Hoople. Poor ol' Mott also suffer the ignominy of not even being name checked, the descriptive blurb crediting the song as a cover of David Bowie. Yes, he wrote it and gave the song to them, but...!

 

My one concession to a Ken Bruce-era Piano Room oldie is The Real Thing's take on Blinded By Your Grace by Stormzy, as delightful as it is unexpected.

1) Just (Cover of Radiohead): Beverley Knight (2024)

2) The Way It Is: Bruce Hornsby (2024)

3) Would I Lie To You (Cover of Charles & Eddie): Texas (2024)

4) All The Young Dudes (Cover of Mott The Hoople): Pet Shop Boys (2024)

5) Sundown (Cover of Scott Walker): Depeche Mode (2023)

6) Oh Hi: Crowded House (2024)

7) Tom's Diner: Suzanne Vega (2023)

8) We Have All The Time In The World (Cover of Louis Armstrong): Elbow (2024)

9) Planet Earth (Cover of Duran Duran): Shed Seven (2024)

10) Such Small Ale: Alison Moyet (2024)

11) Summertime Sadness (Cover of Lana Del Rey): Marc Almond (2024)

12) Blinded By Your Grace (Cover of Stormzy): The Real Thing (2020)

My Old Piano (48:30) (KF) (Mega)

Decade III: 1985

Side 2 of a misplaced mixtape, compiled circa March 1990, wrecked or abandoned some years later, resurrected and repurposed 18th August 2024.

 

In stark contrast, the hits don't keep coming in this selection, the number of singles that failed to chart in the UK (4) outnumbering those reaching the Top 20 (2). 

 

I could have easily filled the 45 minutes with bonafide hits from a-ha, China Crisis, Fine Young Cannibals, Kate Bush, Level 42, Pet Shop Boys, Simple Minds, Thompson Twins and The Waterboys without finding myself in the dire straits of having to include, er, Dire Straits. However, I think this recreation is a pretty fair representation of where this nascent goth was in 1985.

To acknowledge the elephant in the room, I've fallen foul of the record label info again and included Godstar, Psychic TV's tribute to Brian Jones of The Rolling Stones, as a release in 1985. The Official Chart Company insists that the single didn't begin to trouble the charts until the end of March 1986, peaking at a dizzying #67 in its fifth week. 

 

In my defence, I can't confirm the single's official release date but promos were circulating in late 1985 and the record sleeve states that Godstar "is the theme song from the forthcoming feature film of the same name about the Life and Times of Brian Jones which begins shooting on February 28th 1986". So, it's staying put in 1985 as far as I'm concerned!

Continuing the ropey Six Degrees Of Separation theme that I failed to extend beyond three songs yesterday, there is a further connection between sides 1 and 2 of this cassette. Godstar is co-credited to The Angels Of Light, including Rose McDowall, who featured yesterday with Strawberry Switchblade. 

There's a further connection between Since Yesterday by Strawberry Switchblade and track 2, You've Got The Power by Win, in that both were David Motion. You can't make this stuff up, you know.

Fire In The Twilight by Wang Chung didn't trouble the Top 100 here, but is forever etched in my mind for its inclusion in John Hughes' film The Breakfast Club, sound tracking the scene where the tearaway teens are racing to get back to their desks ahead of scumbag teacher Vernon. It's an unfeasibly enormous school, based on this scene.

Bring On The Dancing Horses was the first 12" single that I bought by Echo & The Bunnymen, along with their Songs To Learn & Sing greatest hits compilation. Late to the party I may have been, but both have been enduring favourites. 

How Soon Is Now? was the first 12" single I owned by The Smiths, but I've gone for my second purchase, The Boy With The Thorn In His Side, rescued from the ex-chart bargain bin at my local WH Smiths (in the days when there were enough WH Smiths to have a local one). 

The Dream Academy couldn't even quite match Psychic TV's peak, The Love Parade entering the charts at #96 on this day in 1985 and reaching a disappointing #68 a couple of weeks later. A far cry from their previous high of #15 with Life in A Northern Town. They tried again later in the year with a cover of The Smiths' Please Please Please Let Me Get What I Want. The record buying public clearly misinterpreted this request as "another flop single", as it limped to #83. Still, at least the inclusion of the instrumental version in another John Hughes movie, Ferris Bueller's Day Off, guaranteed immortality.

By 1985, Frank Tovey had shed his Fad Gadget persona and was arguably aiming for a slightly more commercial sound, ably demonstrated by the single Luxury. Personally, I liked the new direction. It wasn't a hit, of course, and Tovey ploughed a different, darker, folkier furrow with subsequent albums.

No G.D.M. (Dedicated To Quentin Crisp) by Gina X was first released in 1979, again in 1982 and then re-mixed and re-released by original producer and collaborator Zeus B. Held in 1985. It didn't trouble the UK charts on any of these occasions, which understates its impact and brilliance. I guess Radio 1 playlists - and our sensitive ears - remained unprepared for a song about lesbians, transvestites and "red haired queers". Philistines!

What I Wouldn't Give by Pink Industry is one of the greatest singles of the 1980s. Seriously. I read a review of it in Smash Hits, of all places, where Chris Heath described it as "A very strange record, but a good one" which says it all really, though he had a word count to deliver so does go on a bit more. What I Wouldn't Give contains the brilliant verse,

 

There's my Smiths tapes you never wanted to hear

Throw them away, Morrissey in the bin

If that would bring you back again

A similar fate befell Mozzer's collection in households across the UK years later, when he devolved into a complete prick.

Some loud guitars from either end of the spectrum, first off with The Jesus & Mary Chain, followed by The Cult. I bought the latter, along with The Smiths, O.M.D. and, er, Animal Nightlife with a bunch of other 12" singles whilst holidaying with the family in a caravan in (I think) Bournemouth in the summer of 1985. 

It was a while longer before I owned a record by The Jesus & Mary Chain (not counting their appearance on The Hit Red Hot EP), though my love for their continuing recordings has outlasted that of The Cult by some distance. 

ZTT scored a coup by signing Grace Jones. Slave To The Rhythm was originally written and intended as a follow up to Frankie Goes To Hollywood's Relax and their demo finally saw the light of day a few years ago. It's good though I don't think anyone will argue that gifting it to Grace was the right move. For this selection, I've re-edited sections from the 7" and 12" 'Blooded' remix, including Ian McShane's introduction, to create a - for me, at least - more satisfying composite version. Heeeeere's Grace!

Normal service resumes next weekend, as I revisit the Decade cassette that I recorded in 1990, covering 1986 and 1987. Expect the unexpected. Well, a little.

 

1) Godstar (7" Version): Psychic TV ft. The Angels Of Light

2) You've Got The Power (7" Version): Win

3) Fire In The Twilight (Specially Remixed Version): Wang Chung

4) Bring On The Dancing Horses (Single Version): Echo & The Bunnymen

5) The Boy With The Thorn In His Side (Album Version): The Smiths

6) The Love Parade (7"): The Dream Academy

7) Luxury (Album Version): Frank Tovey

8) No G.D.M. (7 Inch): Gina X

9) What I Wouldn't Give (Album Version): Pink Industry

10) Never Understand (Album Version): The Jesus & Mary Chain

11) She Sells Sanctuary (Album Version): The Cult

12) Slave To The Rhythm (Cold Blooded Edit By Khayem): Grace Jones

 

Side Two (45:35) (KF) (Mega)