Authors note: Before you comment on anything in this post, please note that this is only
A Brief History, not
THE Brief History. You could create your own version of this and it very well might be just as good or better. Comments and suggestions are welcome, but please be civil.
"A Brief History Of..." was a weekly one-hour radio show I had with a cohost on the University of Wisconsin-Madison's student radio station WSUM 91.7FM Madison in 2007 and 2008. The shows were meant to be historically informative while at the same time offering a great playlist to our radio and webcast listeners. Each show was planned to have about 10 minutes of talking (including a station ID, a public service announcement, and our witty music history banter) with the remaining 50 minutes dedicated to the music. Winter Break offered a chance to expand some of the shows and to do a few shows we simply couldn't do in one hour (a one-hour history of progressive rock is impossible). The sum of the shows can provide a pretty solid history of Rock-era popular American and British music, even with the mistakes we certainly made along the way. Plus, I guarantee that these shows make great itunes playlists (or whatever brand you use). Anyway...
It's been almost a year since I wrote up a show. The completionist in me forced me to return to writing these despite the fact that the show no longer exists. First of all, we ultimately cancelled the radio show since our timeslot last spring was awful (6:00AM Saturday mornings). It was taking a toll on both our academic and social lives since Friday night is a social night and Saturday morning is usually time to catch up on sleep. Second, both my cohost and I graduated in May, so there is no longer a way to have the show anyway. Regardless, I intend to finish writing Brief Histories of the remaining shows, whether or not we we actually aired them. I already had much of each playlist set anyway. Plus, this just means that I can now include representative songs that were not FCC compliant and I can expand some of the playlists (most of the shows from the 80s and 90s I felt needed to be 2-hour shows in the first place - the music industry had grown so much in terms of production and audience by then). Anyway, the next show that would have aired was A Brief History Of...Synth-Pop.
A Brief History of...Synth-Pop is not a history of all electronic music, but instead a history of one of the defining sounds of the 80s - for both good and bad (in the end I focused on the good and mostly ignored bands like After the Fire and Kajagoogoo - not that they're terrible, but... you know what I mean).
Synth-Pop developed primarily in England in the late 1970s at the intersection of three of the genres we've already looked at: the most experimental side of Progressive Rock, the electronic dance beats of early Post-Disco music, and most directly as an extension of various Post-Punk and New Wave scenes and cultures. The first half of the show (roughly the first hour) explores some of the defining moments in the process of combining synthesized and pop music into one. The second half of the show examines the rapid expansion of Synth-Pop as it dominated the charts in the early- and mid-80s. The final segment takes Synth-Pop into the 90s with a wide variety of important musical followers. By the end of this show, "synth-pop" shouldn't elicit as negative a response as it usually does these days.
Opening Track:
Heaven and Hell, Pt. II ("Intestinal Bat" & "Needles and Bones") by
Vangelis (1975).
Greek composer/musician Vangelis opens the show with 6:40 of synthesized music. Before it gained popularity as pop music, synthesized music appeared more successfully as the soundtrack to movies. Although
Heaven and Hell was a proper Progressive Rock album, by 1975 Vangelis had already written synthesized soundtrack music. Lasting fame for Vangelis would not come, however, until the release of
Chariots of Fire in 1981 and
Blade Runner in 1982.
"Intestinal Bat" introduces one of the main themes of the show: synthesizers as unique mood-creating instruments. A lot (but certainly not all) early synthesized music artists used the instruments to create dark, frightening soundscapes. You'll see this theme repeatedly during the rest of the show.
Slow but Steady Development:
The Big Ship by
Brian Eno (1975).
Arguably the most influential single person in the development of synth-pop was Brian Eno. Already in 1975, Eno was expanding his musical palette far beyond the glam confines of Roxy Music. "The Big Ship" is another moody synth instrumental that would not sound out of place on a synth-pop record from the early 80s. His own music repeatedly set milestones in a variety of genres (electronic in '75, post-punk in '77, ambient in '78) and just as important, he was the producer for many progressive genre-bending albums in the 70s and 80s (most famously David Bowie's so-called Berlin Trilogy).
My Sex by
Ultravox (1977).
Just before Brian Eno first collaborated with David Bowie on Low, he produced the debut album by Ultravox!. It sold poorly, but shows obvious Bowie/Eno influences. Ultravox would emerge with a new line-up to be a leading synth-pop band in the early 80s. (Note: I included this over something by Bowie because part of my goal with these shows is to play a few more obscure songs with each playlist).
Ghost Rider by
Suicide (1977).
Across the Atlantic, Suicide, an electronic music duo from New York, together since the early 70s, finally released their first album in 1977. Inspired by the punk scene, but never a really a part of it, Suicide's driving, endlessly pulsating rhythms created a sound that many would draw on for darker, creepier songs (a couple examples are below).
Metal by
Gary Numan (1979). Numan's breakthrough album, 1979's
The Pleasure Principle opened the door for the flood of synth-pop bands that would hit the charts in 1980. The success of an album with exactly zero guitars found in its production notes marked a shift in popular listening and, with hindsight, helped us define the decade switch (an arbitrary boundary if you think about it) from the guitar-god 70s to the synth-wizard 80s.
Foreign Influences (i.e. not US/UK):
Das Modell by
Kraftwerk (1978).
Kraftwerk had been leading the electronic music push since 1974's
Autobahn. With each new album they added greater pop and dance touches. "Das Modell" (yes, the German version is better!) is a short 3:43 masterpiece. Danceable robotic rhythm, cool melody, and German lyrics that are obviously about a beautiful woman (even non-German speakers know that much). What more could you ask for?!
Computer Game by
Yellow Magic Orchestra (1978).
It is somewhat difficult for German bands to score hits in Britain and America, but not unheard of. The surprise came when a completely synthesized song created by some Japanese nerds about playing a game with a newfangled room-sized calculating machine called a "computer" became a hit. Originally released at the end of 1978, "Computer Game" (aka "Firecracker") was eventually a Top 20 hit in the UK.
The Number One Song in Heaven by
Sparks (1979).
We already encountered Italian producer/musician Giorgio Moroder in the Post-Disco playlist. Donna Summers Moroder-produced "I Feel Love" inspired Sparks to reinvent their sound. In 1979 Moroder produced Sparks' smash hit album
No. 1 in Heaven. Many bands, from Depeche Mode to They Might Be Giants point to this album as influential to their own music. And if you listen for it, the grooves of almost all synth-pop hits of the 80s can fall between this song and Suicide's "Ghost Rider."
Synth-Pop Emerges with New Romantics:
Punk was hitting the reset button for rock music. After punk, certain trends from before the punk era began to repeat themselves and mix in new ways. The New Romantic movement could be seen as the 80s answer to Glam. A decade after Bowie's androgyny, the New Romantics wore wild makeup and dressed in women's clothes or wore funny-looking fop shirts (the origin of the term New Romantics). The fashion movement was closely associated with a certain brand of New Wave - one that consistently brought synth-pop to the top of the pop charts for the time.
Enola Gay by
Orchestral Manoeuvres in the Dark (1980).
"Enola Gay" of course is about the bomber that dropped "Big Boy," the first atomic bomb, on Hiroshima, Japan at the end of World War II. The synthesized arpeggios and dance beat provide an ironic backdrop for lyrics which disparage the use of such a terrible weapon on civilians.
Vienna by
Ultravox (1980).
The original Ultravox broke up in 1979, with many artists going on to more successful groups (hard to believe!). Not to be too detailed, but look at some of the groups former Ultravox members went on to work with within a year: James Honeyman-Scott (The Pretenders), Howard Devoto and Magazine, Barrie Masters (Eddie and the Hot Rods). In any case, the band did not die. Billie Curie, an original member of Ultravox and having just played on Gary Numan's
Pleasure Principle (see above), formed the studio-only band Visage. It was there that he met Midge Ure. Ure joined Ultravox and, as both singer and keyboardist, filled the roles of two previous members. They released
Vienna in July of 1980. In early 1981 the title track was released as the third single and shot to the #2 in the UK.
Fade to Grey by
Visage (1980).
Released at the end of 1980, "Fade to Grey" was also a Top Ten hit in the UK in early 1981. I'd say that counts as a pretty good year for Curie and Ure. A third member of the band, Visage lead-singer Steve Strange, was a leading figure in the New Romantic fashion movement. He had appeared in the music video of David Bowie's hit "Ashes to Ashes" in August 1980 and his made-up face adorned most Visage album covers.
Atmospherics:
As stated in the intro, synthesizers seemed predestined for a few specific uses. This section looks at the dark side of synth-pop.
Atmosphere by
Joy Division (1980).
The distant synth-backed verses provide the setting for the lyrics: "Your confusion/My illusion/Worn like a mask of self-hate/Confronts and then dies." The chorus is essentially a burst of synthesizer sounds including a descending treble pattern. First released on the French-only single "Licht und Blindheit," "Atmosphere" is surely Joy Division's finest moment. Stepping away from their typical harsh and arid post-punk sound, "Atmosphere" shows the first signs of the sound that took New Order to new heights a few years later.
Photographic by
Depeche Mode (1981).
A very different take on the photographs than ol' Ray Davies (see The Kinks
Village Green...), "Photographic" was the first song released by Depeche Mode. It appeared in 1981 on the Some Bizzare Album (the first compilation released by Some Bizzare Records). Depeche Mode admitted that the song was not their best (those they saved for their first album), but it is certainly not bad. The song shows a direct influence of Suicide and listening to this song, their very first, it's not hard to see songs like "Master and Servant" and "Stripped" in the bands future. Before all that, though, they released a synth-POP album, including the classic "Just Can't Get Enough."
Darkness by
The Human League (1981).
The finest complete album of synth-pop,
Dare! is so full of great songs I had two choices of dark, creepy songs to put in this spot (the other was "I Am the Law"). Once again, the synthesizers perfectly express the lyrical paranoia (this is my second-favorite song about paranoia - watch for the other in a future playlist). In 1984 Human League lead singer Phil Oakly collaborated with producer Giorgio Moroder on a UK #3 hit called "Together in Electric Dreams." Moroder left his mark on just about anything with a danceable beat for nearly a decade.
Eroticism:
This section would probably have needed to be cut (at least the first song) or the FCC would have been all over WSUM. BUT, this won't be on the radio. Make your own playlist from this and just don't be offended by sex dwarfs.
Sex Dwarf by
Soft Cell (1981).
Yet another classic album from 1981.
Non-Stop Erotic Cabaret spawned the famous hit "Tainted Love," but the real spirit of the album is best represented by "Sex Dwarf" (simply look at the track titles on the album - I'm not lying). Who wouldn't want to dance to these lyrics: "We can have playtime/In my little playroom/Disco dollies/My sex dwarf/And my dumb chauffeur/I would like you on a long black lead/You can bring me all the things I need..." Speaking of erotic chauffeurs...
The Chauffeur by
Duran Duran (1982).
"The sun slips down bedding heavy behind/The front of your dress all shadowy lined/And the droning engine throbs in time with your beating heart." And that's not even a verse; it's the chorus! Synth-pop was destined for creepy erotic escapades. Really, it was. You might have noticed by now that I have tried to hit the major albums - "The Chauffeur" comes from
Rio - but not necessarily the big singles. I think we've all heard "Don't You Want Me" and "Hungry Like a Wolf" enough. It's the album tracks that can really separate a decent or just plain lucky band from a truly talented one - well, at least in the era we're talking about.
Desire by
Yello (1985).
One of the more experimental and less overtly commercial synth bands of the 80s, my generation might only know of them by way of the still-popular 1986 film
Ferris Bueller's Day Off, which featured the song "Oh Yeah." Another song from the album from which that song came fits in with this theme. "Desire" still has a driving backbeat, but it's lower in the mix, so the song feels fairly relaxed. The lyrics are also more a bit more vague on specifics than, say, "Sex Dwarf," but the individual scenes they set remain quite vivid.
Lost Classics:
I think I made this playlist for a two hour show because I think my generation brushes off the original wave of synth-pop too lightly. There were some really great bands, albums, and singles of the era that have not received their due. This section contains four songs that for four different reasons have been somehow lost.
4 Ever 2 Gether by
ABC (1982).
The Lexicon of Love is ANOTHER fantastic album. You almost certainly know "Poison Arrow," and probably have heard "Tears Are Not Enough" and "The Look of Love (Part 1)" at least a few times. "4 Ever 2 Gether" is lost in the sense of being a superb track at the tail end of a great album that was full of hit singles. Completely overlooked. If you don't have
Dare! (by The Human League) and
The Lexicon of Love, find a way to get them. If you've never thought you liked synth-pop or have never heard it, those are my recommendations as your starting points.
Let Me Go by
Heaven 17 (1983).
Heaven 17 appeared with the left-wing anthem "(We Don't Need This) Fascist Groove Thing" in 1981. I included "Let Me Go" because, although it was a hit single, at least on the radio stations near me, it is never played anymore. And that's a shame.
Sweet Dreams (Are Made of This) by
Eurythmics (1983).
This song is here for the exact opposite reason. "Sweet Dreams" is so overplayed on 80s radio, classic rock radio, and even those "modern mix 80s, 90s, and today" stations. I wish they would vary the mix a bit more (play some of the album tracks in this playlist!). If that were the case, I would jump with excitement when "Sweet Dreams" came on, because, well, it is a fantastic song. Get some headphones or good speakers and listen to the powerful timbre of the synths that open the song. !!! - that's how I would feel.
Smalltown Boy by
Bronski Beat (1984).
Again, I wish people weren't so closed-minded about what lyrics make up a good pop song. This was a worldwide hit when it was released (except in the US, of course, where being gay is STILL taboo). Now, my complaint that this song is never played on radio stations near me might simply be that it wasn't really a hit here, but still. A deserved song on a good album (although his voice does wear on me by the end when I listen straight through).
The Perfect Synth-Pop Song:
Bizarre Love Triangle (single version) by
New Order (1986).
First, let me say that at first I liked the album version better, but after many listens the single version is ultimately just a little bit better. New Order evolved from Joy Division, blah, blah, blah. We've all heard the story. Die-hard fans would tell you that because of their history, labeling New Order as merely synth-pop is a travesty. Whatever. I could use countless superlatives to describe the band's 80s output, but when you write and perform the perfect synth-pop hit, you get labeled synth-pop. "Bizarre Love Triangle" is first and foremost a perfect pop song. It just happens to also have the perfect mix of synth plucks and synth washes. Perfect.
Where Did it Go?:
Head Like a Hole by
Nine Inch Nails (1989).
Before you yell at me, stop and think. Listen to the synth bass line before the shredding guitar kicks. It could easily be mistaken as another disturbing Depeche Mode song. If you still don't think NIN fits as a follower of synth-pop, consider these facts: on the tour that followed 1989's
Pretty Hate Machine, NIN often covered "Sex Dwarf" and NIN's 2000 album contained a cover of "Metal" by Gary Numan (see above).
Being Boring by
Pet Shop Boys (1990). Another overlooked gem. In this case, the full album version is better. If you thought that synth-pop was all funny, fun dance songs and songs about dwarfs, you're missing a mature genre. "Being Boring" alone is proof enough. There's a bonus too. The song starts with some guitar chk-i-wah-wahs a la Isaac Hayes - and who doesn't love that?
Happy Nation by
Ace of Base (1993).
Another surprising pick, you say? Well, not really. In the end synth-pop did mostly disappear from the pop charts. Many of the original artsits faded away or moved on to new projects and new sounds. What remained typically merged with or was subsumed by the rise of other electronic dance music genres like house and techno (for more details on those, see the Post-Disco show - and again thank Giorgio Moroder). A few artists, Pet Shop Boys and New Order come to mind, seemed to remain separate. They each continued with an almost endless string of club/dance hits, but pop hits became fewer and farther between.
Which brings me back to Ace of Base. Think about the pieces that make up "Happy Nation." Press play (if you have it, or go find it on Youtube or something) and listen to the pieces come together. The song starts with a lone synth melody - a very average synth melody if you ask me. That line continues, but you're quickly distracted by a lazy house groove that falls in behind it. That groove also sounds perfectly typical of the era, except for the low-level faux-reggae synth plucks that join after four measures. Those little plucks are also nothing special. Heck, they built a whole album around them! Then, surprise. The whole song changes when a soft female voice begins singing in Latin backed by, er, almost covered by layers of treble synth washes. Finally, the verse falls in with typical mid-level reggae plucks and a pretty decent vocal melody.
Now go back and listen to Visage's "Fade to Grey," The Human League's "Darkness," or New Order's "Bizarre Love Triangle." "Happy Nation" would not exist without them. And I suppose I have to defend Ace of Base. No, they're not a fantastic high-art music group, but they sure made some great dance singles.
A final note. Eventually I will post a would-be show that looks at 90s dance music and it will not doubt contain a continuation of synth-pop, albeit with different names. Check back soon for another show posting (it'll still be music from the 80s).
Bronski Beat