Propaganda: Wishful Thinking

ZTT Records – under the auspices of Trevor Horn – really used the remix format. No throwaway, rush-released projects for them. Their remixes were petri dishes for sonic experiments and situationist pranks, many worthwhile and innovative.

And of course several remix albums were released on ZTT – Grace Jones’ Slave To The Rhythm was essentially one song done eight different ways, and there was also a whole Frankie Goes To Hollywood LP dedicated to ‘Two Tribes’ remixes.

But maybe a lesser-known example is Propaganda’s Wishful Thinking, a reworking of the Düsseldorf unit’s seminal 1985 album A Secret Wish, originally produced by Stephen Lipson (with one track – ‘Dr Mabuse’ –  helmed by Horn).

A Secret Wish’s stock seems to keep rising year after year, gaining more fans and sounding better than ever. But Wishful Thinking is a weird project, to say the least. Co-remixer (alongside former tape op Bob Kraushaar) Paul Morley’s absurd liner notes quote Goethe and boast that the album is the result of ’39 studio hours’, which, by ZTT’s painstaking standards, doesn’t actually sound like much.

But it’s a thrilling, epic collection just the same, regurgitating many of the original album’s sonic motifs but in a different order and in a different place on the stereo spectrum. ‘Machined’ reimagines ‘P-Machinery’ as a mid-tempo piece of minimalism, featuring mainly Claudia Brucken’s vocals and gentle drums.

‘Jewelled’ fuses the two versions of ‘Duel’ from the original album, mixing her ‘angry’ vocals with the backing from the ‘pop’ version. It’s pretty funny and genuinely surreal.

Hidden elements embedded in the original mix are subtly revealed, like Lipson’s chiming guitars on ‘Laughing’. ‘Loving’ exposes and amplifies Andy Richards’ gorgeous piano and synth from ‘The Murder Of Love’, finally revealing it as the fantastic pop song it is.

The two versions of ‘Dr Mabuse’ bring out Horn’s genius and natural flair for the dynamic, showcasing not one but two brilliant bass vamps and a whole host of other sonic delights (thrillingly, one version is used in the absurd opening credits of John Hughes’s 1987 movie ‘Some Kind Of Wonderful’).

But possibly the best track on Wishful Thinking is the closing ‘Thought’, an excerpt of the band’s version of Throbbing Gristle’s ‘Discipline’. It’s nothing less than a brutalist, industrial masterpiece.

All in all, it’s an epic, exciting hour of music, and a real one-off. For anyone still fascinated by A Secret Wish, as this writer is, it’s required listening. The band probably hated it, though Brucken did donate one of her paintings for use on the cover (but then she was married to Morley at the time…).

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Thomas Dolby’s The Golden Age Of Wireless: 35 Years Old Today

EMI Records, originally released 25th March 1982

9/10

London-born Thomas Morgan Robertson had already made a bit of a name for himself as a synth wiz for hire – working with Bruce Woolley/The Camera Club, Joan Armatrading, Thompson Twins, Lene Lovich and Foreigner – before embarking on his debut solo album in late summer 1981. But, as he once said, he knew ‘too many chords’ to get any regular employment in the punk and new-wave bands of the era, so was pretty much forced to go it alone.

The Golden Age Of Wireless was mainly recorded at Tapestry (a subterranean studio built and owned by John Kongos situated at the end of my mum’s road in South-West London), essentially a one-man-band operation with occasional contributions from various muso mates (Daniel Miller, Tim Friese-Greene, Andy Partridge, Simon House, Kevin Armstrong, Mutt Lange).

Lyrically, the album seemed to be a Janus-like vision of England – looking back to its WW2 past and forward to the kinds of urban dystopias explored by novelist JG Ballard. ‘Europa And The Pirate Twins’ emphasises this collision of past and future with Andy Partridge’s blues harmonica and the song’s rockabilly feel rubbing up against a barrage of synths and sequencers. The haunting ‘One Of Our Submarines’ repeats the trick with ‘futuristic’ vocal samples alongside ARP string synths more redolent of the mid 1970s.

The album is also for me inextricably linked to the coastal area of South-East England near the White Cliffs Of Dover where I spent family holidays during my late teens, an area of course also reverberating with military history. I’d comb the beaches and walk the cliffs with Wireless playing loud on my Walkman.

But first to ‘She Blinded Me With Science’. The title is taken from a war-time phrase, an expression of female appreciation, as in: ‘Cor, she fair blinded me with science, guvnor!’ For a ‘novelty’ single, it has aged pretty well, mainly due to the incredible amount of detail placed across the stereo image: TV scientist Magnus Pyke’s still-pretty-funny interjections, Simon House’s beguiling, Middle-Eastern violin licks, Matthew Seligman’s pithy synth bass and Dolby’s intriguing sonic ‘events’. The song was a huge American hit, making #5 in May 1983, but could it have been any more British? Never mind the title – one wonders how many Americans even came close to understanding a lyric such as ‘She blinded me with science and failed me in biology’.

But ‘Blinded’ was somewhat of an anomaly. Much of Wireless is downbeat, enigmatic and haunting. Dolby proves himself a brilliant producer and arranger, a master of painting pictures with sound: the shortwave radio which kicks off ‘Radio Silence’; the shipping forecast closing ‘One Of Our Submarines’, the ‘doom’ vocals which introduce ‘Weightless’ and close ‘Cloudburst At Shingle Street’. He’s also obviously a tremendous keys player, with endless excellent arrangement ideas and even a few chops (you wouldn’t catch anyone from OMD attempting anything like the extended Moog solo in the very Prefab-esque ‘Commercial Breakup’).

In the middle of recording his second album (and second masterpiece) The Flat Earth, ‘Blinded’ took off in the States, becoming a signature tune of the Second British Invasion. Dolby had to drop everything and get over there pronto. Michael Jackson wanted to meet him. But he would never again trouble the singles charts in the States, and the ‘mad scientist’ image would only very occasionally be dusted off from here on in. Not necessarily a bad thing.

Gig Review: John Carpenter @ The Troxy, 1st November 2016

carpenter-halloween

Carpenter (centre) and band overseen by Jamie Lee Curtis and Nancy Loomis from ‘Halloween’

In a way, it’s surprising that John Carpenter has taken so long to perform his own music in concert. The director of ‘Halloween’, ‘Assault On Precinct 13’, ‘The Fog’ and ‘The Thing’ is well-known for his incredibly effective, synth-laden soundtracks, and he’s also been known to let his hair down in after-hours rock band The Coupe De Villes with movie biz friends Nick Castle and Tommy Lee Wallace.

But it’s actually a perfect time for him to be fronting his own band. Watching Adam Curtis’s impressive ‘HyperNormalisation’ documentary last week, I was struck how many current bands are clearly influenced by Carpenter’s music (which has also frequently turned up in Curtis’s docs). The dark, pulsing synthscapes of worriedaboutsatan and Pye Corner Audio particularly owe him a large debt.

Though apparently not in tip-top health (it’s hard to resist quoting that great line from ‘Assault’: ‘He don’t stand up as good as he used to…’), Carpenter was clearly having a ball on this short UK tour, bopping around behind his keyboard and booming out pre-rehearsed lines like ‘Good evening, London, I’m John Carpenter!’ and ‘Horror movies will live forever!’.

The beautiful Art-Deco Troxy venue was specially decked out like the ‘Escape From New York’ set, while a large screen behind the stage projected key scenes from his many classic movies.

carpenter-they-live

Carpenter mixed up tracks from his soundtrack work with some from recent non-soundtrack albums Lost Themes 1 and 2. The theme from ‘The Fog’, embellished with some baroque church organ, sent a chill down the spine while ‘They Live’ and ‘In The Mouth Of Madness’ were graced with some great, sleazy noir lead guitar from Daniel Davies.

‘Halloween’ and ‘Escape From New York’ were greeted like hit singles by the near-sold-out crowd. Newer track ‘Vortex’ showed how distinctive a musician Carpenter really is, the opening piano chords instantly recognisable as his soundworld. Other tracks had hints of Metallica, The Knack and even The Police at their rockiest.

A couple of bum notes: the venue sound was not great and the band were a bit brittle at times – you occasionally wanted a bit of double-bass-pedal mayhem from drummer Scott Seiver. There was also a bit too much DX7 and not enough booming Moog in the synth department. And where was the video for ‘Night’?

But all in all this was a great way to pay one’s respects to a master of mood and texture and a damn good musician to boot. Go ahead, John. We await the Coupe De Ville’s debut London gig with anticipation.

The Human League’s Dare: 35 Years Old Today

human-leagueVirgin Records, released 16th October 1981

Produced by Martin Rushent/The Human League

Recorded at Genetic Sound Studios, Reading, Berkshire, UK

UK album chart position: #1
US album chart position: #3

Singles released: ‘The Sound Of The Crowd’ (UK #12)
‘Love Action (I Believe In Love)’ (UK #3)
‘Open Your Heart’ (UK #6)
‘Don’t You Want Me’ (UK #1, US #1)

Phil Oakey (vocals/co-composer): ‘Martin really knew what pop was. He could take your mad sounds and make them pop. I still reckon “The Sound Of The Crowd” is one of the maddest songs that’s ever got in the Top 20. “Love Action” hasn’t got a proper chorus. I remember smashing the phone after I was told “Don’t You Want Me” was number 1 in America. It’s so much to live up to. Everyone and their grandma knows about you so no one wants to wear your badges any more…’

Martin Rushent: ‘To a large extent, I was their band. I was certainly their drummer because I programmed all the rhythms and made all the decisions about the grooves. I learned a lot from working with the arranger Johnny Harris. He was bandleader for all the show singers like Petula Clark, Tom Jones and Shirley Bassey. I learned about voicing instruments and how the most important element of music is silence. If you listen to Dare, there’s lots of space in the songs and lots of little parts and you can sing them all…’

Propaganda’s A Secret Wish: 30 Years Old Today

propagandaZTT Records, released 2nd July 1985

Bought: Our Price Hammersmith 1994?

8/10

To fans, A Secret Wish represents the peak of ’80s pop. The glamorous though mysterious project was a flawed masterpiece but also the beginning of the end for big-budget, endlessly-fussed-over ‘concept’ albums.

I was 12 when A Secret Wish came out. Though I liked ‘Duel’ at the time, it took me another ten years or so to finally get hold of the album. If anything, it has only gained in mystique in the years since, quite possibly because it’s such a singular project. It doesn’t really sound much like much else around in mid-’85 (though Pet Shop Boys and a-Ha were definitely listening), nor is it particularly similar to other ZTT releases or Propaganda’s subsequent albums.

A large part of the mystique is provided by Stephen Lipson’s pristine, widescreen production (Trevor Horn only produced ‘Dr Mabuse’), as well as his formidable mixing and guitar work (check out the extended mix of ‘Duel’). Claudia Brucken’s lead vocals are original and Suzanne Freytag’s spoken-word interludes carry unmistakable echoes of Nico (emphasised by their seriously weird ‘Femme Fatale‘ cover from the album sessions).

Yes guitarist Steve Howe contributes a nifty solo to ‘The Murder Of Love’ and David Sylvian has a hand in writing the gripping ‘p:Machinery’. But man of the match is ZTT house keyboardist Peter-John Vettese, purveyor of doomy soundscapes and intriguing chord voicings. Josef K’s post-punk classic ‘Sorry For Laughing’ is reinvented as a Wagnerian synth-pop anthem and there aren’t many more epic album openers in pop than the majestic ‘Dream Within A Dream’.

Paul Morley, ZTT marketing/content man and former husband of Claudia Brucken, has talked about Trevor Horn and David Sylvian’s involvement in A Secret Wish:

Propaganda

‘When Trevor pulled out of producing them, I actually asked David Sylvian. While he was thinking about it, he came up with the ghostly top line of ‘P:Machinery’ – the music, if you like – and a gorgeous watery slowed down version of ‘Duel’, but he decided against producing them, and it stayed within the Sarm (London recording studio owned by ZTT label owners Trevor Horn and Jill Sinclair) pop factory. Actually, another sign of the split between sensibilities at the label: I asked David Sylvian to produce Propaganda and Jill approached Stock Aitken and Waterman!’

A Secret Wish wasn’t a huge hit and surely didn’t make back its sizeable recording costs, reaching just 16 in the UK album chart, but the singles ‘Duel’ and ‘p:Machinery’ both made the top 30. The band picked up the first-class rhythm section of ex-Simple Minds pair Derek Forbes on bass and Brian McGee on drums (as well as Bowie/Dolby guitarist Kevin Armstrong) and toured the album extensively. I very clearly remember this performance on the BBC music show ‘Whistle Test’ in late 1985. Happy days:

Japan: Oil On Canvas 32 Years On

japanVirgin Records, released 18th June 1983

9/10

Produced by John Porter and Japan

UK Album Chart Position: #5

First of all: the cover. As a teenager, I was instantly intrigued by Frank Auerbach’s mesmerising artwork, and the music very definitely lived up to the packaging.

Recorded live during Japan’s final tour, though with a good few overdubs (according to the recent band biography ‘A Foreign Place’, the only ‘live’ elements on the album are Steve Jansen’s drums – everything else was replayed in the studio) and three new studio tracks added too, Oil On Canvas was released six months after their break-up and proved a perfect farewell from one of the key bands of the early ’80s.

The fact that it ended up as Japan’s highest-selling album (shifting over 100,000 in the UK) must have really irked manager Simon Napier-Bell – after year of toil, the band were calling it a day just as they were getting some commercial success (read ‘A Foreign Place’ for a full explanation of the split). Tin Drum was great but who knows what they might have come up with as a follow-up given the giant strides they had made as musicians, songwriters and arrangers since ’81. Sure enough, within a few months of their split, Duran Duran were taking their sound and image to the bank.

The Oil On Canvas line-up, December 1982: Masami Tsuchiya, Richard Barbieri, David Sylvian, Steve Jansen, Mick Karn. (Photo by Fin Costello/Redferns)

The Oil On Canvas line-up, December 1982: Masami Tsuchiya, Richard Barbieri, David Sylvian, Steve Jansen, Mick Karn. (Photo by Fin Costello/Redferns)

There is so much to enjoy on Oil On Canvas. The Tin Drum tracks have added heft and a bit more air. David Sylvian’s vocals are warmer and more expressive than on the studio albums (though he has since virtually disowned this early singing style), and his Satie-esque title track prefigures the triumphs of his solo career.

‘Ghosts’ is extended with a superb Stockhausen-meets-serialism intro/interlude thrown in while ‘Canton’ becomes a mighty parade of musical colours, with clanging synths, whip-lashing china cymbals and the late great Mick Karn’s increasingly insane bass embellishments.

There has never been a rhythm section quite like Karn and Steve Jansen (drums) and probably never will be again. They revel in open spaces and ‘non-rock’ textures, typified by the deceptively simple and downright spooky ‘Sons Of Pioneers’. Karn sounded like no one else on fretless bass (and looked like no one else too – see below), exploring Middle Eastern concepts and weird intervals to produce a sound both complex and hilarious.

Jansen came up with several of the most ingenious backbeats in pop history while always making them danceable. Together, they produced classic grooves like ‘Visions Of China’, ‘Cantonese Boy’ and ‘Still Life In Mobile Homes’, and Richard Barbieri’s creative keys playing always emphasises texture and mood over technique. His closing instrumental ‘Temple Of Dawn’ bids a fantastic album farewell first with a chill and then with a brief shot at redemption.

Sylvian escaped to a successful, innovative solo career, Karn also went solo and hooked up with collaborators including Midge Ure, Peter Murphy and, most memorably, Kate Bush. Barbieri and Jansen teamed up regularly in various projects and recorded together as The Dolphin Brothers in 1987 but didn’t enjoy much commercial success. Against all odds, they all got together again at the end of the ’80s for the intriguing Rain Tree Crow project.