Archive for the ‘Versions, versions’ Category

Tones On Tail – ‘Tones On Tail’ EP (4AD, BAD203, 1982)

Monday, January 14th, 2019

The first 12″ EP release by Tones On Tail, at the time very much the prime focus was shining on Daniel Ash as a solo project from the day job with Bauhaus. The record itself has an interesting history in that respect, with ‘Copper’ having its roots in Bauhaus, but the mix of input from both Ash and fellow Tones collaborator, Glenn Campling, who was famously at this point involved in Bauhaus in the capacity of their road crew, brings a richer variety to it all. Campling’s basslines are somewhat unique on ‘A Bigger Splash’ and ‘Means of Escape’, while the record also showcases some lower end of the market rhythm boxes, long before the arrival of Kevin Haskins to the drum stool in Tones On Tail. The record also established two elements that would become definitive Tones On Tail, the moody and mysterious cover painting and the use of Caslon Antique for the band logo.

Tones on Tail EP front cover design

^ Tones on Tail EP front cover design

A Bigger Splash

The opening track on side one, ‘A Bigger Splash’, is an Ash/Campling co-creation – underpinned by a busy, echo-enhanced beat, the Tensai (possibly an RCR-332 model?) rhythm box – a weird critter of a thing that was basically a radio/tape deck boombox with built-in preset rhythm machine – sitting atop of this, Daniel Ash (presumably, since he was oft seen to do this on Bauhaus tracks such as In Fear of Fear) adds oral percussion explosions and oddness too. Adding to the foundations is Glenn Campling’s wonderful FX  heavy bassline – once it starts it is pretty well off for the duration, almost machine-like itself. Over all of this, there is Ash’s vocals and then some fairly minimal extra instrumentation, wailing backwards guitar drifting in and out from time to time.

Tones on Tail EP rear cover design

^ Tones on Tail EP rear cover design


Side one’s second track, ‘Copper’ has an interesting history to it. The sleeve credits note that all instruments are down to Daniel Ash, though with the combined voices of he and Campling, all somewhat manic and cackling.

The long departed ‘APOLLOX’ Love and Rockets/Bauhaus-related fanzine is the source of the following nugget of information, courtesy of an interview conducted with Glenn Campling…

‘A SHORT TALE OF TONES…. Where Truth Begins and Fiction Ends…’
© Apollox Feb / March 2006 with thanks to Glenn Campling
Thursday, January 22, 2009
Andrew J. Brooksbank MySpace – archived 24/11/2009

(On ‘Copper’) …this track, or rather the guitar element, was played during one of the four improvisations the band (Bauhaus) would jam with during the European leg of the ‘Mask’ Tour, the month following the Reading show you speak of…’The Colours’ were basically four instrumental (largely) improvisational pieces, where each member would take the lead, i.e. one of them was a drum driven track (in the vein of ‘Satori’), a second one was bass driven etc and ‘Copper’ was played during the “guitar” colour. I am only aware of one show where all four of these “Colours” were actually played during the same performance. Often they would play one or two of them but rarely all four, like all improvisations once the act or music is performed / played more than once they begin to evolve and take on life of their own, thus becoming fully fledged and losing their spontaneous edge I guess that’s maybe why this idea didn’t last beyond a handful of dates…

It’s all flooding back to me now! I personally regard ‘Colours’ as a failed Bauhaus project. It started as a kind of live jam on that tour in the hope it would develop into a masterpiece. When I wrote the set lists for the night, the whole crew would say ‘Oh no, not that again’. The trouble was the band would mostly play it in the middle of the set, and it felt like a gaping hole was about to appear. They would argue that the audiences mixed feelings was the response they wanted, irrelevant of the eerie silence followed by timid applause when it was all over. As far as I know it was never recorded, but Dan must have like his part (obviously influenced by the Beatles, ‘Daytripper’ which Tones recorded later)…

It is also noted on the sleeve with dual 45/331/3 speed for this one track, presumably inviting the listener to try either. (It’s a wonder one of the countless CD compilation re-issues has not in fact tried this trick to date!)

Tones on Tail EP side one label design

^ Tones on Tail EP side one label design

Means of Escape

Side two opens with ‘Means of Escape’, where things get somewhat groovy. A strict, heavily reverbed snare and simple 4/4 rhythm box kick drum sets the bedrock of the track over which Glenn Campling once again starts up his bass guitar and proceeds as he means to go on. Over this, Daniel Ash gets the drum stick out and bows this over the guitar (a technique more famously heard on ‘Hollow Hills’ and always a sight to have seen live) layering a haunting wash of sound in and out of focus. The vocal takes the form of a quiet whisper, adding to the mystery of the lyric, while towards the end Ash adds atmospheric saxophone into the mix. Surprisingly perhaps, this only appears to have resurfaced on CD one one release, the mistakenly titled ‘Everything’ compilation.

Tones on Tail EP side two label design

^ Tones on Tail EP side two label design


Side two and the EP ends with ‘Instrumental’ – once more, the credits list Daniel Ash responsible for all instruments, which this time comprise 12 string acoustic guitar, SoundMaster SR-88 rhythm machine, bass guitar (somewhat more basic sounding than Campling’s heavily FX-laden style) and a string synthesizer (unidentified, but customarily beautiful in sound).

On the original vinyl, this track fades out at around the 3 minute 22 mark – you can hear that version on the ‘Night Music’ compilation and US ‘Tones On Tail’ compilation – but there are two slight variants available; the track was first re-issued in 1985 in the UK (also Canada and Greece) on the ‘Tones On Tail’ compilation LP (Situation 2, STU12), an LP that gathered up all of the main tracks from the first three 12″ singles the band released 1982-1983. Somewhere along the line however, someone must have decided to find the editing scissors and trim ‘Instrumental’ to fit on this compilation, as it clocks in at only 2 minutes and 13 seconds approx. – a good minute plus lopped off and crucially, it fades out prematurely before it has even reached its somewhat lively middle-eight section! Unsatisfying…

Perhaps to make amends though, by the time the track was dusted off again and re-issued as part of the ‘Everything’ compilation CD (and later the ‘Weird Pop’ double vinyl compilation), the original tape must have been used and instructions to fade-out before the end gone AWOL as it is unedited, so there is no fade – the instruments just die off at the end naturally.

Addendum: Soundmaster Memory Rhythm SR-88

The rhythm box that underpins both ‘Means of Escape’ and ‘Instrumental’ is the Soundmaster Memory Rhythm SR-88 – I was familiar with this before the release, this is a review from the August 1981 issue of ‘Sound Internationa;’ magazine I had been poring over.

Soundmaster Memory Rhythm SR-88 review scan

^ Soundmaster Memory Rhythm SR-88 review scan


Love and Rockets – ‘Seventh Dream Of Teenage Heaven’ on CD – UPDATE

Friday, November 30th, 2018

With this post I’m going to look at the various releases on CD of ‘Seventh Dream Of Teenage Heaven’, the debut album by Love and Rockets, released in Late 1985 and a particular favourite of mine through the years – and specifically digging about at the various different mixes of some of its tracks and bonus tracks which were added to the numerous CD issues. This updated post adds a few additional points that have become known since the original post, mostly thanks to the wonderful comments left by well-informed readers of this blog – thank you! In short, these are a slight edit to ‘The Game’ on the US version of the album and the US 12″ promo version of ‘Dog End of a Day Gone By’ being a unique mix that is not simply an edit of the US album remix.

Original UK CD (front)

^ Original UK CD (front)


Wire – ‘Life In The Manscape’ US CD single (Enigma/Mute, 7 75553-2 / MUTE 107, 1990)

Tuesday, September 25th, 2018

‘Life In The Manscape’ turned out to be the one and only single release from Wire’s fan-testing ‘Manscape’ album, a period where the band’s insistence on devotion to process (in this case MIDI/computer-based recording and editing) dragged them well out of shape from the nominal ‘beat combo’ of the preceding Mute releases. (And even those releases had already had their fair share of playing second fiddle to the technology…) The album was viewed by Wire as their ‘1990’ album, a deliberate change in direction and methodology. I personally have a lot of time for it, but the band themselves have long since distanced themselves from it and many’s the fan who have either joined them in that view or would hope for some 21st century remix of it to sort it out.

Wire - Life in the Manscape US CD front insert design

^ Wire – Life in the Manscape US CD front insert design


Propaganda – ‘The Nine Lives of Dr Mabuse’ cassette single (ZTT, CTIS101, 1984)

Tuesday, March 27th, 2018

An incarnation of Propaganda recently reactivated and performed ‘A Secret Wish’ in full at a couple of sold out shows at ‘The Garage’ in London, under the monicker of xPropaganda. I never thought I would get a chance to hear this album performed live, so it was quite the event, one that simply had to be attended if at all possible. Many highlights, inevitably, ‘Dr Mabuse’ chief amongst them. What better way to celebrate the re-emergence than to take a look back at the ‘singlette’ edition (as ZTT were wont to call their cassettes) of their debut single…

Propaganda - The Nine Lives of Dr Mabuse - cassette single inlay and case - front

^ Propaganda – The Nine Lives of Dr Mabuse – cassette single inlay and case – front


Peter Murphy – ‘Love Hysteria’ – singles and versions

Thursday, July 20th, 2017

The previous post focussed on Peter’s debut LP and the many versions of the tracks that exist – a similar story in this post, but somewhat less in the way of numbers. Still a fair few to round up, however.

All Night Long

The first single to be released from the album, it is a reasonably straightforward story here – originally the main variants being 7″ mix and 12″/album mix. However, note that the UK and US 7″ mixes are different lengths. The UK 7″ (Beggars Banquet, BEG207) saw a longer edit, at approx. 4’30”. The 2011 CD re-issue of ‘Love Hysteria’ saw the release of a ‘demo’ mix of the song as well though. In the UK, standard 7″ (the A side a 4’30” edit) and 12″ (same version as the LP) singles featured a non-LP B side in the shape of ‘I’ve Got a Miniature Secret Camera’, while the 12″ came with an extra non-LP track, ‘Funtime (In Cabaret)’, Peter’s lounge lizard take on the more frenetic ‘Funtime’, which would surface on the ‘Love Hysteria’ LP. Both of the B sides would be added to the ‘Love Hysteria’ CD (the latter with a slightly different title in ‘Funtime (Cabaret Mix)’) in the UK.

'All Night Long' UK 7" front cover

^ ‘All Night Long’ UK 7″ front cover