Best Synthy B-Sides of the 1980's pt2.

The B-side, as known by a generation of music lovers, is mostly extinct - the concept being seemingly inseparable from it's medium of delivery. That other physical side of the 45RPM record or cassette tape that needed filling with something! In a world of streaming, our listening habits have become a constant highlight-reel, with no space for "lesser" works. Last time, I celebrated some of my own favourite 1980's B-Sides, but I happen to live next door to a Birmingham Legend - Phil the Goth. Phil, an avid music-lover and big-hair enthusiast, sent me his picks and they're absolute bangers. There's several article's worth here, so we'd best get started.

John Foxx - Film One

If you thought Foxx's Underpass was bleak, try the B-side! This downtempo instrumental number drips in tense, synthetic dread. Flanged Roland CR78 drums (including an unhinged guiro!) meet reverberant, warbly strings. Both tones play against a series of ominous, distorted synths - reminding me that no one does bleak better than John Foxx!

Soft Cell - Hendrix Medley

In January 1983, Soft Cell released a promotional 12" record that came free with initial copies of "The Art Of Falling Apart". This stonking Hendrix medley recontextualizes classic songs like Hey Joe (arranged here with an insistent bass line and warbly, counter-melodic synth leads), Purple Haze (where those synth leads get angrier, bendier!) and Voodoo Chile. Marc Almond's voice is quite a departure from Jimi's - but triumphs with an earnest, soulful take. It's undoubtedly kitsch, but a great time nonetheless; it's also the first song that sprang to mind upon hearing the news of Dave Ball's passing.

Visage - Frequency 7

Wow... I think I've found a new song to obsess over. There's multiple versions of this song, with this being the sprightlier of the two. Kicking off with analogue drums, attention-grabbing synth leads and a plodding quarter-note bass line, we're later treated to angst spoken in monotone - "Face the future, it's here now, You can't stop it anyhow.' and a delightfully misplaced major-chord vocoder assault. The ending? Pretty raucous - angst and reverb growing atop a bassline that's starting to wonder off. Love it.

Thanks to Phil for suggesting these songs, there will definitely be more!

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