Wire ‘Buzz Buzz Buzz (Live Live Live)’ limited edition 12″ single (Mute, L12 MUTE 87, 1989)

‘Eardrum Buzz’ was one of Wire’s two single releases of 1989 (along with ‘In Vivo’) that seemingly had their mind focussed on the ‘think pop’ message that Mute label owner, Daniel Miller, had apparently made the message of the previous year’s Berlin recording sessions (for what would be ‘A Bell Is A Cup (Until It Is Struck)’). ‘Eardrum Buzz’ certainly was a catchy ear-worm of a tune, to be sure, and such were the hopes of this making in-roads to the charts of the day that its release (in the UK at least) saw Mute records issue a regular 7″ single, a limited edition clear vinyl 7″ single (withdrawn hastily, apparently), regular 12″ single, 3″ CD single (with a different selection of additional tracks) and limited edition second 12″ single with exclusive live tracks – oh, and one of Wire’s most witty and entertaining promo videos, with a left-field star-studded cast in ear-waggling cameos. Despite the multi-format effort, it didn’t break the upper reaches of the charts – a shame as it was without any doubt one of Wire’s ‘pop’ numbers (well, the kind of ‘perfect pop’ that the NME’s writers used to bang on about) they had periodically been feted for since early days and the video gained plenty of airtime on the likes of MTV (and even an elusive interview with the band on BBC 2’s ‘Snub TV’).

Wire 'Buzz Buzz Buzz (Live Live Live) limited edition 12 inch single front cover design
^ Wire ‘Buzz Buzz Buzz (Live Live Live) limited edition 12 inch single front cover design

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Colin Newman ‘We Means We Starts’ UK 7 inch single (4AD, AD209, 1982)

A stray single that put a full stop on the initial period of Colin Newman’s solo releases, ‘We Means We Starts’ followed shortly after his third album, ‘Not To’ in early 1982, but was not included on the album. Though sonically it shared a lot of the same DNA as the long player, it seems to have been put together by a different grouping. ‘Not To’ had included a good number of songs that Wire had first performed live but never recorded or released, so it inevitably had a great deal of comparisons to Wire from the off. In particular, the more overtly ‘pop’ side was always bandied about as if this were the sole preserve of Colin Newman – despite his previous solo album, ‘Provisionally Entitled The Singing Fish’ straying into the kind of outer fringes sonic areas that erstwhile colleagues Gilbert and Lewis had been mapping as their own. Having said that, there’s no doubt that this ‘poppier’ side was in the sights with this album’s sound.

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Danielle Dax ‘Jesus Egg That Wept’ UK Mini-Album (Awesome AOR1, 1984)

Regular visitors will most likely know already my fondness for that ’80s staple, the mini-album and in ‘Jesus Egg That Wept’ we have a prime example. Six new tracks (plus the addition of a track from the previous ‘Pop Eyes’ LP, for some reason) was a good introduction for me to the wonderfully unique oddities of Danielle Dax. Sleeved in an eye-catchingly odd cover, this mini-album was at a good time all round for Danielle Dax, with 1984 also seeing her brief but significant role in the film, ‘The Company of Wolves’ as well as an appearance on the primetime ‘The Tube’ TV show (performing ‘Hammerheads’).

Danielle Dax 'Jesus Egg That Wept' UK Mini-Album front cover design
^ Danielle Dax, ‘Jesus Egg That Wept’ UK Mini-Album front cover design

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Siouxsie and the Banshees ‘The Peel Sessions 1977-1978’ 7″ coloured vinyl EP (Strange Fruit, 677002, 1991)

An odd little curio, two tracks apiece from the bands first two Peel sessions jumbled up on this 7″ EP that sells itself on the packaging to the max, with a mish-mash of Banshees eras; early, pre-Polydor recordings with a Kaleidoscope/JuJu era? Siouxsie pic and typeface logo from the ‘Kiss In The Dreamhouse’ era – topped off with light blue marbled vinyl for the disc itself. Both sessions from which the tracks were culled had already been out before on 12″, cassette and CD some years earlier, with the plainer, more interchangeable, generic style sleeve designs and subsequently various outings for Banshees BBC material. A rougher and rawer Banshees sound before Steve Lillywhite’s production touch and ‘space’…

Siouxsie and the Banshees - The Peel Sessions 1977-78 7 inch EP front cover
^ Siouxsie and the Banshees – The Peel Sessions 1977-78 7 inch EP front cover

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Elektric Music ‘TV’ German MiniDisc (SPV 076-92678, 1993)

An odd little item this, from Elektric Music – Karl Bartos’ initial post-Kraftwerk creative outlet, along with former Rheingold member, Lothar Manteuffel. 1993 saw the release of their debut album; ‘Esperanto’ and ‘TV’ was a highy catchy single released prior the album. In their native Germany, it came on 12″, 12″ picture disc, very limited promo-only 10″, CD single and this mini-disc edition. The mini-disc being somewhat desirable because in addition to the standard ‘TV’ track it also contained the longer re-take that is ‘TV 2’ in digital format – all other formats for ‘TV 2’ were vinyl – for whatever reason, it never appeared on the CD single variants – they instead had another take on the track, ‘Television’. As well as these two versions of ‘TV’, the mini-disc also contained two tracks from Elektric Music’s first single, ‘Crosstalk’, released in Germany at the tail end of the previous year. (‘Intercomix’ being a variant of ‘Crosstalk’ itself.)

Elektric Music 'TV' minidisc - front case design
^ Elektric Music ‘TV’ minidisc – front case design

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