An expertly curated compilation celebrates the beautiful failure of the synth pop artists that chart fame eluded. The wannabe hitmakers who remained working in a cocktail bar
Before the availability of affordable models in the late 70s/early 80s, the unwieldy, difficult-to-operate analog synthesiser was predominately used for progressive music (think Tangerine Dream or Wendy Carlos), far removed from the mainstream. But the ready accessibility of these new, cheaper synths on the market was to prove a chart-busting, game-changer, as no longer did you need a brain the size of Brian Eno to get a ‘tune’ out of one.
A sonic revolution ensued and the charts were soon sloshing about with synth pop 45s, resulting in one of the most fertile and glorious eras of UK pop music. But as Philip King, musician (Lush, Felt, JAMC etc.), vinylologist, and compiler of the compelling All The Young Droids (Night School, RVSN003) can testify, for every Human League, Depeche Mode and OMD out there, there is always a bargain bin counterpart.
Philip’s compilation, following on from his equally illuminating Glam Rock equivalent, All The Young Droogs (RPM Records, RPMBX 543), deftly pulls together four sides of revelatory synth pop miscellany. The artists that didn’t make it onto Top Of The Pops are now afforded their moment.
Groovy Times caught up with Philip and posed him some questions. We’ve also populated this piece with a number of picture sleeves from some the artists involved.
I’m guessing Junkshop Synth Pop is more of a concept than an actual scene?
Yes, rather like ‘Post Punk’ or ‘Freakbeat’ which were not genre descriptions for the music at the time. I guess it is just a good – and fun – way of compartmentalising a sub genre of music.
How did you approach compiling All The Young Droids? Did you have to dig about for vinyl copies?
The majority of the records on the compilation I own and found in record shops, charity shops, record fairs – and even junk shops. Also, Discogs too. I basically cherry picked all the best ones, made a master list, and then we went about tracking down the artists. For the most part the records were self-released, so easy to license. It also meant I could interview the artists for the sleevenotes.
Is there an active collector’s scene? Do any of these 45s go for any money?
There is a ‘Cold Wave’ scene – which is a bit more dark and doomy – and some of those singles go for ridiculous prices. Junkshop Synth Pop is more the fun, poppy end of the scene – and, at present, most of the records on All The Young Droids are very cheap on Discogs – but if it is anything like the Junkshop Glam comps I did – it won’t stay that way for very long.
Did the availability of affordable synths push forward a new breed of musician?
I think most musicians were already playing the guitar – certainly after the punk explosion – and then bought the synth to add, excuse the clumsy simile, another string to their bow.
Is it safe to say the proximity to synths brought out the inner sci-fi nerd in some?
I think definitely in the UK as we all grew up watching Dr Who/Blake’s 7 etc – the magnificent work of the BBC Radiophonic Workshop on those shows slipped in like a trojan horse musically – and we unknowingly got to hear – and were influenced – by all those weird and wonderful sounds.
Is Bowie an influence on the compilation?
Bowie is an influence on everything.
Was this an indie label scene or were the majors involved?
On Droids it was mostly self-released indie labels that often just had the one single released on it. I could easily do another comp sourced from major labels – but that would prove much more expensive to license. It can be done though if anyone is interested!
The press release claims the comp blurs the line between junk and treasure – I’m guessing this ought to be regarded as a huge strength?
Oh definitely. It’s redeeming what was once considered junk – only through the fact it wasn’t successful commercially – and drawing attention to its brilliance.
Why did you look to both sides of the Atlantic rather than UK only?
Synths know no boundaries.
In terms of timeframes, Synth Pop ran alongside Post Punk – any crossover?
As I say, a lot of the artists on this comp had already bought guitars – often at the time of punk – so buying an affordable synth – as they had been so expensive before – was the way to go. Quite a few songs on the comp actually have chunky punk influenced rhythm guitar – and synth on them. So, in answer to your question, yes.
The undeniably excellent All The Young Droids – Junkshop Synth Pop 1978-1985 is out now and released on Night School Records. Here’s a sneaky link to the label’s bandcamp page.
