The Associates - "Wild and Lonely" Vinyl, LP, Album, 1990 (Circa)

There is no such thing as a bad Associates or Billy Mackenzie record.  It doesn't really exist. Still, the early recordings with Alan Rankine are for sure the more artful era of The Associates.  Compare early Bryan Ferry with Eno Roxy Music, and later era of that band.  Both are still great, but very different. "Wild and Lonely" is basically Billy solo, even though he kept the band's name, it is a solo album.  It is also a brilliant pop album with a strong groove.  I think Billy was listening to Michael Jackson "Off the  Wall," in that he mixes the pop with the Rn'B in an organic manner that it seems effortless.  There is not a bad cut on the album, and why it wasn't successful either in the UK or in the U.S., is sort of an odd mystery, but more of a great disappointment.  

"Strasbourg Square" is a lush and beautiful ballad.  European to its soul, one would have hoped that Billy moved to Paris or even Berlin, but alas, a man of Scotland to the very end.  A great album. 

British Electric Foundation - "Music of Quality & Distinction, Volume 1" Vinyl, LP, 1982 (Virgin)

In the late 70s and early 80s, there was this procedure where bands like Public Image LTD and Heaven 17's British Electric Foundation (B.E.F.) were into the corporate identity.  Not only a group but also a company.  I imagine in those days that there were no band meetings, but instead, and in its place, a board meeting took place.   I'm a massive fan of Heaven 17's first album "Penthouse and Pavement," which at its heart is a synth-pop soul sound, but also mixing in real instruments as well. When Ian Craig Marsh and Martyn Ware left Human League to form Heaven 17/B.E.F., it was an ambitious move on their part.  Through Virgin Records, they clearly wanted to have their separate identity as a production house, songwriting group, as well as having a radical approach to corporation life, which I suspect was in itself a critique of that world. 

With that in mind, and also playing the game of marketing an image/music for the consumer, B.E.F. put together "Music of Quality & Distinction, Volume 1" which is a collection of 1960's Motown soul music with 70's Glam era rock.   Each song had a guest singer, and it was usually an iconic figure in the music world.  You have Tina Turner covering the Temptations' "Ball of Confusion," Sandie Shaw doing "Anyone Had a Heart," and Gary Glitter doing a pretty great glam version of Elvis' "Suspicious Minds."  The brilliant aspect of this project is having singers who were fading out in the mainstream music world at the time, and giving them a decent song, as well as a commentary on their era of music making.   The great Paul Jones of Manfred Mann fame does a remarkable version of Northern Soul "There's a Ghost in My House." 

In 1982, the pop singers on the album that were happening at the moment like the excellent Billy MacKenzie (Associates), Heaven 17's Glenn Gregory, and TV announcer Paula Yates (tragic life that one) making mostly classic music from the 60s.  Gregory does the Jimmy Webb song "Witchita Lineman" as well as Lou Reed's "Perfect Day," which is from the 70s.  Ware and Marsh attempt to freeze an era through music, but the brilliant part is their choice of artists doing the material, yet working in the B.E.F. mode of production and vision. 

For me, MacKenzie never fails.  His version of Bowie's "The Secret Life of Arabia" and Roy Orbison's "It's Over" are magnificent due to Billy's voice and approach to these songs.  Having the Shadows' Hank Marvin on the Orbison song is a nice touch as well.  Again, it's the mixture of electronics with real instrumentation, as well as choosing the right iconic singer doing the material makes this album a real joy. 

The Associates - "Perhaps" Vinyl, LP, Album, 1985 (WEA)

Billy MacKenzie's passions were in this order:  His dogs,  his family, and then music.  And I suspect he hated the music business. Which explains why he didn't go for the gold when it was evident that his talents were placed above so many others in the music world.  Without a doubt, his greatness was magnified by his work with Alan Rankine.  The first three Associates albums were magnificent in its scope, design and of course, the voice of MacKenzie.  When Rankine left the partnership, MacKenzie lost the driver, yet, he still made gorgeous pop music. 

"Perhaps" is the first album without Rankine, and it's produced by various people on different tracks. Martin Rushent did half, and Martyn Ware of Human League/Heaven 17/B.E.F. did the others, with some self-production by MacKenzie.  As a whole, the album sounds like a bunch of singles with the additional b-sides added to the package.   It doesn't have a consistency as the other Associates' albums.  On the other hand, you're going to get pop perfection in all its glory with songs like the title cut "Perhaps," "Those First Impressions," "Breakfast," "Thirteen Feelings," and others.  For one, the songwriting of Billy MacKenzie doesn't falter.  As a lyricist he's superb, but also he can sing the text off a cereal box and make it magnificent sounding.  For sure, with Rankine, he was pushing boundaries, and here he's singing magnificent pop.  The production makes the record sound very 1985, but if you go beyond that, there are incredible songs on this album.   In fact, over time in 1985, MacKenzie did a live concert with just his voice and a piano player.  Hardcore Billy music.  One of the great figures from the Post-Punk world, this album is essential to the Associates' world.  If for nothing else, for the comparison of the two sides of The Associates and just a reminder how great the Rankine/MacKenzie team were. 

The Associates - "The Affectionate Punch" Vinyl, LP, Album, 1980 (Fiction Records)

"The Affectionate Punch" is the first Associates' album, and it's a classic introduction to the amazing talents of Alan Rankine and the amazing vocals by Billy MacKenzie.  At this stage of their career, MacKenzie's singing style reminds one of Bowie's classic croon, with Russell Mael's ability to define and pronounce words in a speedy manner.  Which sounds like MacKenzie is imitating them, but in fact, it's an influence and one that MacKenzie uses for his own unique purposes.  The Associates will remind you of other artists, but in truth, they are very original.  Rankine pretty much plays all instruments on this album, except for drums. It's very electric guitar (with effects) and bass with drums.  Then on the top, you have the Billy voice which of course, is a wonder.  

Lyrically some of the songs are vague and fragmented, in that one would think another influence on this album would be Iggy Pop's "The Idiot," as well as Bowie's "Low."  There is a mechanical feel for the beat, as one works in a factory environment.  It's hard, but then you have the soulful voice of MacKenzie relating to an emotional response that is taking place outside of the song.  Morrissey as a young man must have had this album.  Lyrically there are Morrissey touches, but of course, this album was recorded in 1980.  Not that Morrissey is imitating MacKenzie, but I feel he was an influence on his outlook, coolness, and intelligence that was felt much later in The Smiths. 

Rankine and MacKenzie made two other albums that are essential listening experience, especially on the post-punk landscape.  As this is their first album, the songs are well-defined, but happily, their experimental stage is still to come.   Meanwhile marvel at the beautiful melodies of "Paper House," and "Even Dogs In The Wild" (an animal that MacKenzie was devoted to).  These are guys locked in their own world and making brilliant music.  

The Associates "Q Quarters" / "Kissed" & "Q Quarters (Original)" 12" 45 rpm Single (Situation Two)

The 12" single from the late 1970s and early 1980s was the golden years of such object.   Always expensive, yet always desired, the 12" offers another way to hear a song from the album, or from the 45rpm single.  Drums louder, but clearly the bass is more out front.  Nevertheless, one of my favorite artists/bands, The Associates," knew how to make a proper 12" single.   For one Associates Mark One - the original band which was Alan Rankine on every noise, except for Billy MacKenzie who handled the vocals, and I presume the lyrics as well.  "Q Quarters" is a smokey hypnotic little electronic groove piece, which is beautifully textured with subliminal sounds.  These two guys in 1981 were at the top of the peak, with respect to their ability to make pop music that was a combination of Musique Concrete with Euro-Bowie like pop.  One can wonder and reflect on Billy MacKenzie's vocal abilities.  One of the perfect pop voices, ever!  

British Electric Foundation - "Music Of Quality and Distinction Volume 3

British Electric Foundation - Music of Quality and Distinction Volume 3

16 x File, MP3, Album, UK, 2013

Wall of Sound

I thought the chances would be very slim that this would even be listenable, but alas, it’s a fantastic album.   It guess it took British Electric Foundation 20 some odd years to recover from Volume 2, which, without a doubt,  I tremendously disliked with a certain amount of passion.  But Volume 3 which came out of nowhere, well basically a typing mistake on Spotify, it came up upon my eyes. 

Like the other two volumes, British Electric Foundation (Heaven 17) chose specific artists to cover a song, and usually the song choices are really good, but sometimes I feel there is a subtext to their choices as well.  Nevertheless we Boy George doing Lou Reed’s “Make Up” and surprisingly The Stooges’ “I wanna Be Your Dog.”  Now that sounds like a strange mash-up of singer and song, but George does it well, and its a great track on this album.  

The one that really made me go gaga is someone named Maxim, who is a Russian pop singer.  He does the fantastic “The Day Before You Came” a masterpiece song from late ABBA.  His performance of the song resembles Joel Gray’s character in Cabaret.  Campy as hell and it works.  Glenn Gregory, who is the Heaven 17 singer comes up quite nicely with Frank Sinatra’ middle-age angst “It Was A Very Good Year” and a beautiful piano version of Billy MacKenzie’s (Associates) “Party Fears Two.”   And do we need another version of “God Only Knows?”  Sure, why not.  It is such a beautiful ballad, a Brian Wilson piece of genius work.  Overall this is a great collection of songs re-thunk by Martyn Ware.  In other words New Wave’s revenge.

British Electric Foundation - "Music Of Quality and Distinction Volume 2"

British Electric Foundation - Music of Quality and Distinction Volume 2

CD, Album, UK, 1991

10 Records

No.  Just plain no.  Compared to volume one, this is a major disappointment.  Not due to the talent that is involved with the album, but the arrangements and the song choices I feel are mediocre at best.  Even the great Billy MacKenzie comes off so-so, and a man of his talent should never ever be in that taste bracket.   The album reeks of middle-age thinking with a great lack of passion.  Imagine going to the worst yuppie bar on the planet, and this album being played - it will be the perfect soundtrack for that environment.    In theory this could have been an interesting album, with the Heaven 17 guys doing their take on soul music, but alas, it is passionate music done un-passion like.  No.  

British Electric Foundation - "Music Of Quality & Distinction Volume 1"

British Electric Foundation - Music Of Quality & Distinction Volume 1

I-Tunes, British, 1981

Virgin

For a brief time in my world, Heaven 17 were a very important band.   For one I was totally caught up in their juxtaposition of politics and pure electro-pop music.  To me they were an updated version of folk-music from Greenwich Village New York, but with suits and keyboards strapped on.  Also I liked their concept that their parent company was or is called British Electric Foundation, that sort of issues the Heaven 17 brand.  At the time they were in theory sort of the more commercial version of Public Image LTD.    One of the projects from the British Electric Foundation was their Music Of Quality & Distinction series, and this being number 1.  

When I got this album, I was totally intrigued on numerous levels.  On one level, it is Heaven 17 with interesting cast of characters doing their favorite songs.  But knowing their political point of view, I also saw it as a political statement of some sort, which to this day is very vague.  Nevertheless this album recorded in 1981, features songs from the ’60’s to the early ’70’s.   The ’70’s work being David Bowie and Lou Reed songs.  So there is a glam aspect to the package, with Reed, Bowie, and having Gary Glitter (the king of  glam?) doing an Elvis cover.  

I get the feeling that B.E.F. chose their artists for this album for both musical reasons as well as a cultural iconic stance.  A statement of some sort.  Tina Turner’s recording of “Ball of Confusion” started her even bigger career in the ’80’s and also brought forward ’60’s icon Sandie Shaw as well to the soup that is this album.  The Shadows’ legendary guitar player Hank Marvin plays on “It’s Over,” the great Roy Orbison song, here sung by the equally fantastic Billy MacKenzie.  

The talents of Ian Craig Marsh and Martyn Ware (with their singer Glenn Gregory) made an interesting observation on music-past.  All the song selections are very much in-tuned to the world of Human League as well as Heaven 17 (of course).    A fascinating record of its time that still sounds good.

Billy MacKenzie / Steve Aungle - "Eurocentric" CD Album

Billy MacKenzie / Steve Aungle – Eurocentric

CD, Album, 2001

Rhythm of Life Records

“Liberty Lounge” is pretty much the highlight to this album by the great MacKenzie with large assistance from Steve Aungle. For one the song is like a refreshing splash in the face, due that most of the album is very electro-dance or ballad driven, which is perfectly OK, but the music is not that challenging compared to other Billy projects. But “Liberty Lounge” wow. Like most (if not all) Billy Post-death albums, it is very much a grab-bag of music. The techno-music doesn't work when one compares it to classics like “Wild Is The Wind.” It's hard for me to be critical on an album like this due that Billy wasn't alive to finish it, and by no means is the work exploitive – one wants these releases. But the pacing of the album is not that strong. They're very much of a side-one and a side-two. But what makes Eurocentric a must is the cover of Sparks' great “Mother Earth.” For the Billy obsessive, which I belong in that category, the album is a must. But by no means is it an introduction to his greatness. For that you have to go back to the Alan Rankine era Associates. 

Billy MacKenzie - "Outernational" CD, Album, 1992

Billy MacKenzie – Outernational

CD, Album, UK & Europe, 1992

Circa

I remember reading about this album when it was released in Europe but I had a hell of a time trying to locate a copy. Eventually I found a single copy at Tower Records Piccadilly London branch around 1994. And it was expensive! Nevertheless worth every pence.

The only Billy MacKenzie album released under his name when he was alive. Not sure why this is not under the Associates banner, but nevertheless all albums without Alan Rankine, is in its nature, a solo album. The first cut “Outernational” is a classic in the same landscape as Kraftwerk's “Trans-Europe Express.” Electro-pop at its best. An excellent opening to a world of electro-disco, and in many ways a total underrated masterpiece.

Often Outernational sounds like it wasn't made by humans, because it is very much a producer's album, being that Yello's Boris Blank and the totally European sounding Thomas Fehlmann and Moritz Von Oswald. MacKenzie's voice blends into the mix like adding cream to coffee. It is effortless that it seems to be an ideal of what pop should sound like. Dance floor friendly to the max, if this album was a color it would be pastel colors with flowing fabric on a window backed by a wind machine.

The Boris Blank cuts are more flavored in the sense it is very textural and Billy's voice and music is in the hands of a wonderful chemist. The stunning great song here (besides the title cut) is “In Windows All.” That alone is worth the expense of getting this album. A Billy slow burner.

Billy MacKenzie - "Beyond The Sun" CD, Album

Billy MacKenzie – Beyond The Sun

CD, Album, UK, 1997

Nude Records

Beyond The Sun was the album that Billy was working on when he committed suicide. So of course there is tragedy spilt on this album like red wine on a white cloth. Stained with memories, yet its best to look at this album away from the tragedy.

The album feels very rough, not in the quality of the songs, but in its pacing. Many ballads, and I believe most of these songs are just demos, that was re-recorded after his death. It doesn't sound like a man drowning in despair, but an artist at his prime working on new material. The one thing that never fails is his unbelievably great voice. It never fails. He can sing from 100 to 1 and it will sound incredible. Along with Bowie and Scott Walker, MacKenzie is one of the great vocalist in the pop world. “14 Mirrors” is the classic Billy cut, with a beautiful melody that just builds slowly up and it comes to head with a gorgeous chorus. Full of emotion and just daring to be out there that only Billy can do. “At The Edge Of The World” is a smoky number that slinks to the edge, and looks over the horizon.

Over-all this is not an essential Billy release except it was demos for his next album at the time of his death, that makes it sad. But clearly this is not an artist on his last stage, but one can't say the same for his personal life or demons. Recordings by Billy are never bad, that's impossible! But there are stronger works by him that's out there, but as a fan you would want this album. And again, the voice never fails. In two words. Superb. Singer. 

Liner notes by Paul Morley that came with the CD

The Associates - "The Radio One Sessions" CD Compilation

The Associates – The Radio One Sessions

CD, Compilation, 1994

Nighttracks

For the completest, which one has to presume I am one, when it concerns The Associates. Which saying is not necessary for the causal fan. As long as you get the major releases (Fourth Drawer Down, Sulk, etc.) then you are OK. The live stuff is amazing because it really exposes the voice of Billy and its not a studio trick. He was really magnificent. 

The Associates -"The Affectionate Punch (re-mixed/ re-recorded version)

The Associates - The Affectionate Punch (re-mixed / re-recorded version)

CD Album, 1997

Fiction Records

A total mystery to me why Billy Mackenzie and Alan Rankine went back to the studio to re-record or re-mixed this album. Contractual reason? The original edition is much better, with its guitar, bass, drums sound, processed with compression and other studio trickery. This version is very 80's orientated. “Paper House” is an Associates classic, and both versions can't do wrong. But I feel that the new recordings doesn't add anything to the mix. Perhaps its bad for any artist to go back to their older work to 'fix' it. Each recording or work of art is part of its time. Or even season. I think one has to respect that aspect of art as it happened.

The Associates - "Sulk" Vinyl Album

The Associates – Sulk

Vinyl Album, 1982

Beggars Banquet

The lushness of the album cover with Billy and Alan looking towards the camera pretty much expresses the sound of the album. Elegance with a twisted angle. “Party Fears Two” has to be one of the great pop records from the '80s. Mysterious, yet enticing with the images expressed in the song. Even the title is so beautifully expressed. “It's Better This Way” is a driving track that one wonders why this is not considered a pop classic. In fact why is this album not as big as “The Other Side Of The Moon?' Seductively recorded it is like laying between velvet walls with shag carpeting. Essential, and a very warm album. The tension is that it can explode any moment....

The Associates - "Popera The Singles Collection" CD

The Associates – Popera -The Singles Collection

CD Compilation, Remastered

Sire

This CD is the one to give to introduce that poor person to The Associates. 'Poor' because their lives are empty if they haven't been exposed to the world of Billy Mackenzie and Company. This is an excellent collection to start off one's obsession about this artist. It even has “Country Boy.”

That specific song may be my most favorite Associates/Mackenzie record. It is so over-the-top in its production and Pre War Munich, one would think it would be illegal to hear it or own the damn record. So yeah, one gets the 'hits' but also the oddities such “Country Boy.” His take on Blondie's “Heart of Glass” is almost exactly the same as the original, but somehow it seems more suited for Billy and his aesthetic. He's such a classic great singer, that whatever song he does, he naturally owns it.

The album is odd in its programming because it starts off the new stuff at the time of its release, and goes into the older and much more experimental music. I can see some would think the older material as being the masterpieces (and they are) but its best to go for the whole ride that is The Associates. The last of the great unique voices, Billy is someone to really miss.

The Associates - "Kitchen Person"/"An Even Whiter Car" Vinyl 12" Single

The Associates – Kitchen Person/An Even Whiter Car

Vinyl 12”

Situation Two

Chaos rules on this record. Its hysterical, nervous, and its heading towards a world that may self-destruct at any moment. Which, made it very exciting for a 12” single. At the time of its release I was totally in awe of The Associates, which at that time it was Billy Mackenzie and Alan Rankine. Like Fourth Drawer Down I bought this recording at Arron’s on Melrose. That and maybe Vinyl Fetish would not only carry their recordings but also someone on the staff would know of them as well. They made such brilliant noise, that its hard for me to understand why someone wouldn't like them. In the U.S. Market they are thought of as a band that's New Wave or maybe even New Romantic, but the truth is they were more experimental. Especially at this time in their non-career.

At the time I think I was working at Licorice Pizza in Reseda, but living on Martel in Hollywood. I have a strong memory of playing this record really loud, and looking outside my window which basically faced a huge tree. The whole single apartment was in a sense a tree house. At least that is what everyone called it when they visited me and my girlfriend at the time. I was also intrigued by the images of Billy Mackenzie. I knew he was campy in a sense, but he also had a 'I don't give a shit' attitude, which to me at the time was totally cool and totally my world. In fact I really needed to listen to someone like Billy Mackenzie with that attitude and even more important that voice that made poetry out of noise.

The b-side is basically the melody of “White Car in Germany” but done slow and sort of in a dub fashion. But it is very Germanic and dramatic.

The Associates - "Fourth Drawer Down" CD Album,

The Associates – Fourth Drawer Down

CD Album, Reissued, Remastered

V2

Originally, and like an idiot, I purchased all the 12” singles that pretty much makes up Fourth Drawer Down. But still, sometime in the '80s I needed to get this album, just to get that feeling that I have everything by The Associates. At the time I was living on Martel Avenue in Hollywood, just a little bit an above of Melrose Avenue. I'm pretty sure I bought the original vinyl of this album at Arrons Records, which at that time was still on Melrose. The furious experimentation of this record was a good soundtrack to the crumbling of my relationship with a girlfriend at the time. We both liked this album, but I don't think she knew that I actually loved this album more than her.

Billy Mackenzie and Alan Rankine were holed up at Playground Studios, which for these two its a pretty good name for a recording studio. Experimentation was the exception, with Mackenzie singing through a vacuum cleaner hose among other effects. All of it low-fi in that Joe Meek method, without the guns and madness. But saying that it was rumored that drugs was also in the forefront of the recording. Nevertheless one got an album (or is this a demented greatest non-hits album?) of perfect songs being fucked-up and sent out to the stars. Officially this was their second album, the first being a very moody guitar, bass, drums and spacey keyboards number. Here the sound-effects takes first place along with Billy's amazing and beautiful voice. In many ways the whole album reminds me of Bowie's “Look Back In Anger” off his Lodger album. Very compressed sound with soaring vocals fighting against the noise made by Rankine. Totally brilliant. 

The Associates - "Double Hipness" 2 X CD

The Associates – Double Hipness

2 x CD Compilation

V2

Even material that was left on the bottom of the barrow that was left for the dead turns out to be a good Associates album. Billy, Alan and others never fail. Even throw-a-way tunes & recordings are gold nuggets among the landscape of trash. Billy Mackenzie just had the 'it' quality in spades. He could write, make superb recordings, and god of course what a voice. Some compare him to Bowie or Russell Mael, and for sure those two are a major influence on him. But Billy was also a great admirer of various pop and jazz girl singers. Everytime he opened his mouth to sing, it comes out as blues with a strong European tinge added to it. One can imagine that there are singers like Mackenzie out there, but he was really one of a kind. Like Bowie and Mael, they can be imitated but can't surpass the masters. And Billy is up there with those two geniuses.

There are a lot of collectable recordings in this package, including The Associates' take on Bowie's “Boys Keep Swinging” which was unique because it was recorded hours after Bowie released the single. It was put out on their own label, and rushed to indie stores around the U.K. Almost Situationist like type of action, that was subversive but as well as honoring the artist that's Bowie. I believe that was their first record.

The package covers all eras of The Associates, and what is of interest is that there are recordings that he did with Alan, a come-back for the original two. Sadly it didn't last long. But Billy Mackenzie is not about lasting forever, but just making those moments special and memorable.

The Associates - "Wild and Lonely" CD Album

The Associates – Wild and Lonely

CD Album, 1990

Circa

By all concerns at this point of time The Associates is Billy Mackenzie. Wild and Lonely is his Avalon, all smooth, effortlessly performed pop, but still through his unique and overly seductive manner. I bought this particular copy of the album at The Wave in Roppongi, Tokyo. The six story building was torn town for the monster shopping complex Roppongi Hills. This album plus some others are my lasting memories of an once perfect music store. But alas, it is understandable why this album is such a sad affair for me.

The music being ultra-produced, even by Billy's standards reminds me of Tokyo's aesthetic of being in love with the surface. I think Mackenzie did play in Japan for either this album or maybe during the time of Perhaps but it is also a record that loves the surface. The one sonic aspect that breaks through the smoothness is Billy's remarkable and beautiful voice. Also there are top-notch songs on this album. One can't say this is a masterpiece or close to the greatness of Sulk, but it has its own fragile beauty among the surface of its melodies. 

The Associates - "The Radio Sessions Volume Two 1984-1985 CD

The Associates – The Radio Sessions Volume Two 1984-1985

CD Compilation, UK, 2003

Strange Fruit

Recorded 'live' for the radio, here we have the great combination of a fantastic song with the glory that is Billy Mackenzie's voice. “The Crying Game” is one of my all-time favorite records by Dave Berry, and here, Billy makes it the ultimate torch song. It seems effortless on his part, but its not only his voice, but he's also a fantastic songwriter, as well as a man of great taste, with respect to his choice of cover songs to sing. In some ways, and it is picking apples from the oranges, this collection may be the best of the two radio session series. Included is a rare recording of “Kites,” a song I know nothing about. Same as “Country Boy” (not on this album) – where does he find these songs?