‘I Can’t Stop’ was a welcome return to some modicum of chart success for Gary Numan in the summer of 1986 after a period in the wilderness for his solo releases. A stomping rocker of a number, it’s ostentatious female vocals repeating the title over and over perhaps don’t charm many a Numan fan more accustomed to his moodier work, but this mid-’80s period saw Gary embrace far more mainstream tastes in order to stay afloat in a musical world that was increasingly forgetting his place in it. Well documented in Numan’s autobiographies, this period was one of survival. And as you can see from the selection of releases pictured here, the multi-format ’80s madness was catered for with this release.
‘Temptation’ was the third (or fourth, depending on whether you count the Factory Benelux 12” variant of ‘Everything’s Gone Green’ as a unique variant) single release by New Order, released May 1982, it was a big deal at the time. The first unique release after the debut ‘Movement’ album, it highlighted that the band had finally parted ways from the influence of Martin Hannett as the producer, and both sides of the single saw the band’s sound build further on the minimal electronic sequencer-driven sound that ‘Everything’s Gone Green’ had first ushered in. Yet, it retained a somewhat delicately ramshackle vibe too, ahead of the polished dance-beat driven sound that would subsequently re-write the band’s DNA for their more electronic-based tracks.
^ New Order ‘Temptation’ 1982 UK 12″ front cover debossed title detail
‘The Basics’ is a curious oddity, a 1986 Japanese-only compilation that gathers together various mixes of five singles that were peeled from the ‘Cupid & Psyche ’85’ album. It comes housed in a design based on the UK 1985 12″/gatefold 7″ single sleeve design. Why the title of ‘The Basics’? I have no idea. And despite being housed in a sleeve filched from the UK 12″ of ‘Perfect Way’, the mix of that song that is included is actually a quite different mix from the US 12″ single! Odd!
^ Scritti Politti ‘The Basics’ 1986 mini-album – LP and cassette front cover designs
Wire have proved to be a band who have come and gone from active duty many times over their nearing fifty year history. Often with several years of inactivity between each period, something seemingly compels the complex magnetism that exists between the band members, flipping poles to re-attract and re-form. The ‘Ahead’ single is from the period of Wire’s first reactivation (Wire (Mark 2) aka the ‘beat combo’ and partnership with Mute Records for their recordings) following their split in 1980 and their departure from existiing label, EMI/Harvest records.
^ Wire ‘Ahead’ UK 12″ and 7″ singles front cover designs
It was quite the year, 1980, the short while it lasted for the band. They had a second attempt at recording their ‘Our Swimmer’ single (first recorded late 1979) with an aim to release it as the calling card for their post-EMI existence, including a possible release on Charisma Records – see Side by side: Wire – ‘Our Swimmer’ and ‘Second Length’ versions, for further details. More famously, February 1980 witnessed an infamously self-immolating live appearance at the Electric Ballroom in London. By standard logic, a band that had freed itself from a label (and Wire were at pains to point out that they had walked away from EMI) might be more inclined to make use of such a gig as something of a commercial shopfront to woo a new a label. But no such intent from Wire. Its outright commercial suicide note of a performance put light to Wire (Mark 1) and torched it. But that gig is another story and will be documented before too long on VersionCrazy. Continue reading “Wire – ‘Ahead’ UK 7″ and 12″ (Mute, 7 MUTE 57 / 12 MUTE 57, 1987)”
1989 was the first year in the band’s history that would see no significant new releases from them, with various album CD re-presses seemingly the only new product to emerge. No live work either – in fact, there had been no live appearances during 1987 or 1988 either – a three year gap, that would not be broken until late 1990. But the band were far from idle during the year. 1989 saw the band acquire and fit out their September Sound studio [1], the former Eel Pie studios owned by Pete Townshend, where in time they would record at their leisure and what was to be the venue where all the band’s subsequent albums would be recorded. 1989 was a significant year on a personal level for the band members too, with the birth of Elizabeth Fraser and Robin Guthrie’s daughter, Lucy Belle, in September 1989. The month was also significant for Simon Raymonde, though of a sadder nature with the passing of his father, Ivor Raymonde, as detailed in his excellent and moving autobiography published earlier this year, ‘In One Ear: Cocteau Twins, Ivor and Me’. [2]
^ Cocteau Twins – various 1990 releases
1990 by contrast was an extremely significant year, with the eventual release of ‘Heaven Or Las Vegas’, which would prove to be the band’s final new album recorded and released for the 4AD label and the work that many fans consider to be their finest album – and, by the latter quarter of 1990, a return to live touring once more, though with a significantly different band line up.
