Here’s my audio and visual reinterpretation of Erasure’s “why can’t we all just get along” opus. For this clip I have mangled the song’s original rather excellent video, with hopes that my liberties will be excused by those involved.
The remix was done almost exactly 30 years ago at the dawn of 1987, around the same time as Daniel Miller’s legendary lost Laibach mix, which would account for the presence of his EMS Vocoder 2000 in the studio.
The edit of this mix is unusual in that there is no edit at all for the first couple of minutes. Having looped a few bars of backing vocal over the rhythm section I enjoyed the resulting chord inversions so much I just let it run, even though the results were a tad dissonant for an Erasure track. In fact I got a phone call from Flood after delivering the mix, to warn me that this one “might not fly”, as he could imagine Vince Clarke gagging somewhat on the jazzy chord shapes. But it did fly, Vince didn’t gag…and here it is, pop pickers!
It had been a while since I’d done much for Mute but in the second half of ’88 Daniel rolled out some big guns for me. The first assignment was 3 tracks with Wire.
Wire…holy shit! No pressure, right? Their first 3 albums had been a huge influence in the late 70s, in particular the amazing 154. I never worked with too many “real” bands, and never with one such as Wire; four gifted individuals collaborating in a free ranging creative landscape, they were a band to the power of ten. If they were a chemical reaction they’d be one of those mad fizzing things that expand all over the place and make a weird sculpture.
Graham Lewis and Bruce Gilbert…what a pair of geniuses. A bass player and a guitar player who can create any sound that could be imagined. In 1980 I became so obsessed with their Dome and Cupol projects that I sought out their recording engineer (Eric Radcliffe) and picked his brains.
Colin Newman…I have to admit I was somewhat intimidated by Colin, not the kind of guy to “suffer fools gladly” as they say. Always a challenge for a fool such as I. On the whole I felt we got on fine though, my enormous respect must have won the day. Colin has a certain finesse as a songwriter and player that is truly unique.
Robert Gotobed…well, he’s a drummer. The tightest drummer I ever recorded. This guy could phase out the click track. I once saw him send a Linn Drum rushing out the studio to weep uncontrollably in the corridor. May have dreamed that last bit.
So we had three great songs to record: two A sides in Eardrum Buzz and In Vivo, and one of the most gorgeous B sides ever in The Offer. We also managed to throw down a quick Dome track during a lunch break. The whole recording session was a dream, all I had to do was set up the mics and sit back while this amazing creative machine did its thing.
They then left me alone to mix, which I really appreciated, especially as the new Mute Studio was having some teething problems and progress was sometimes tortuous. I really badly wanted to give Daniel Miller a hit single and went all out on Eardrum Buzz. The arrangement is as detailed as a Vermeer painting and I wanted to make every sound as clear as possible. I’m still proud of the mix I did, one of my most polished. It wasn’t a hit single though.
I did rather run out of time on In Vivo and they decided to mix that one themselves. It was OK, but Paul Kendall and Flood later did a fantastic mix that was closer to what I had envisioned.
The Renegades left Rhythm King and were beamed up to the Mute mother ship, fitted with Flood, set for stardom. I still got to do the odd session with them though, and one of the first in the new Mute Studio on Harrow Road was this fab floor filler, which did the rounds as a white label for a while before its official release on the B side of Space Gladiator. A Rico personal fave.