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. 

Heaven 17 - "Penthouse and Pavement" Vinyl, LP, Album, 1981 (Virgin)

A bit of social-analysis seen through the noise and head of Sheffield's Heaven 17.  One of the great (and smart) synth-funk- pop albums ever.  One of the beauties of the album is that it's under-cooked with respect to production.  In its own fashion, the 'sound' is minimal, and not fussy.  Very straightforward and in one's face.  Ian Craig Marsh and Martyn Ware were members of The Human League who made two great albums (with them in it) that pioneered the electro-experimental-pop sound. Very urban in a JG Ballard landscape that one imagines Sheffield as in the late 1970s and early 1980s.  They left Phil Oakley (lead singer/co-writer) of the League to form B.E.F. with the singer Glen Gregory,  and in theory, Heaven 17 is an off-shoot of this company/production house/art collective.  In many ways, a pop version of Public Image Ltd.  "Penthouse and Pavement" is an album about Capitalism and everything wrong with it, yet, done with beautiful melodies and a steady dance beat. 

This edition is very vinyl aesthetic.  Side one is the Pavement side (probably Situationist minded), and two is Penthouse side.  As the album format goes, this is very much thought out work of pop music making.  The first song on the Pavement side is "(We Don't Need This) Fascist Groove Thang," a song that by all means should be the rallying cry in every demonstration against the corporate and political world.  Written in the Reagan/Maggie era, this song still holds up in today's environment. It's impossible not to shake your hips or move your hands up and down when this record is being played. The "Pavement" side is very groove orientated, compared to the pop leanings of the Penthouse, which has five incredible songs in a row.  Starting off with "Geisha Boys and Temple Girls" (a play of gender in that song) that lead to "Let's All Make a Bomb" which is probably the catchiest song about bomb-making ever in the pop music world.  "The Height of the Fighting" is a glam electro song, that also serves as an anthem, made perfectly for the local Football match or a political rally.  The entire side two is extremely focused on this type of music, where one feels 'action' is taking place instead of talking.  The album ends with "We're Going To Live For A Very Long Time" which never ends if you have a turntable that doesn't turn itself off.  The song continues in the runout until one picks up the record needle.    Fantastic end to a perfect album of its time and place (the early 1980s).

The one persistent style or influence that goes through Heaven 17 and early Human League is glam rock.   The Human League covered Mick Ronson's "After Dark" and Gary Glitter's "Rock n' Roll Part 2" and "Penthouse and Pavement" is very much soul meets glam.  Heaven 17 continued to make  good records, including their work with B.E.F. (British Electronic Foundation), but never came close to the brilliance and great songwriting of "Penthouse and Pavement." Also note that the album is engineered and co-produced by Peter Walsh, who worked on the later Scott Walker masterpieces.   And advice to the buyer, do get the British edition of this album on vinyl, just for the fantastic endless groove of "We're Going To Live For A Long Time." 

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.