Listen - A Flock Of Seagulls

[lbworshiper]

There is one persistent notion regarding the history of music with which I take serious issue, and that is the misconception that "New Wave" or so-labeled "80s" music was a transparent and temporary fad. While the era that consisted of bands such as A Flock Of Seagulls, Berlin, Missing Persons, Gary Numan, etc., did not last all that long (comparatively speaking), it was in fact a "Wave" of new ways of approaching the creation and presentation of music. Though sometimes criticized as being superficial, materialist, and solely image-oriented, it was the unique combination of visual imagery and advancements in musical creation and production that made the New Wave movement a truly revolutionary time in music history. The advent of the synthesizer and other electronic forms of creating and manipulating sound opened up vast new vistas for musicians to create in ways that had never been known before, with the results still influencing musicians' sense of sound and style to this day. The truth is, New Wave music and the artists that created it have played a significant role in the evolution of popular music, and they deserve our gratitude.

With the recent resurgence of 80s/New Wave music, the reunions and reformations of 80s bands (thanks in no small part to VH1's excellent "Bands Reunited" series), and a general trend toward all things "retro", certain New Wave bands are finally beginning to reap some of the respect they truly deserve. Of course, a discussion of New Wave would not be complete without a hard look at the music and style of A Flock Of Seagulls (hereafter, AFOS), one of the most successful and popular forerunners of the genre. When asked about this particular band these days, however, it is a sad fact that many people will only recall the single "I Ran" from the band's stellar debut album, "A Flock Of Seagulls", and that one member had "that funny hairdo". Pressed further, talk of that album's other well-known single, "Space Age Love Song" might surface. And with a bit more prodding, some might let out an emphatic "Oh...Yeah!" when the single "Wishing (If I Had A Photograph Of You)" is mentioned. It is the album from which the "Wishing" single came, however - the band's second release, entitled "Listen" - that really marked the maturity of the band's sound. Unfortunately, this album has shamefully been in and out of print for a number of years, having been licensed for reissue only once to Beehive Records in 1992. This pressing did not last long, though, and the album has spent the last decade drifting into obscurity, with only over-priced copies by price-gouging opportunists available on the online auction market.

It is a fact that the responsibility for the cause and perpetuation of the above scenario lies squarely on the shoulders of the record industry, having only allowed the debut album and a greatest hits compilation to remain in print. As a result, many people have only a "sound-bite" familiarity with the music of AFOS, and are almost completely ignorant of the band's full contribution to music history. What once sold well for a major record label has nearly been forgotten, despite the fact that AFOS was one of their most popular and successful artists at the time. As recently as 1998, music industry executives have cited AFOS as one of their major triumphs, as noted in a Billboard article about the formation of Jive Records' "Jive Electro" label:

"'Many people view us as an urban label, but we do other things and have proven successful at them,' says Jive president Barry Weiss, noting the label's past successes with A Flock Of Seagulls and Samantha Fox and currently with the Backstreet Boys. 'We look to release viable music forms that have international appeal. Electronica is one of those genres.' "(Bell, Vol.110, No.47)

So, the success of the AFOS sound can even be linked to the formation of entire record label imprints, and yet the same individuals that proudly claim credit for having brought forth the band to the world, are the very same individuals that have allowed the band's catalogue to virtually vanish from the world. With this milk-it-for-all-it's-worth-and-toss-it mentality that seems so prevalent in the record industry, it is no wonder that gems like "Listen" - and entire bands like the original AFOS - have been allowed to disappear from our collective awareness, disrespectfully discarded like so much trash. All the while, mass awareness moves blindly forward, and like a child neglecting an outgrown toy, dismisses the things that were once so special.

Luckily, however, we now have smaller, preservation-minded independent labels around that are coming to the rescue. This time, it's Superfecta Recordings (www.superfecta.com) who has risen to the challenge and recently released a remastered version of AFOS's "Listen" album, complete with new expanded liner notes (featuring new insights from Mike and Ali Score) and bonus tracks. As one who was involved in the planning of a petition campaign to have this album reissued, I have but one word, boys and girls: HALLELUJA!!

Now, for a look at the album...

A discussion of "Listen" - and AFOS in general - cannot escape immediate recognition of the creative leadership and songwriting skill of Mike Score, the band's lead singer/keyboardist (that guy with the funny hairdo). Although song construction for the band was a shared responsibility among its members, it is generally accepted that Mike Score was the spearhead in the creative process, and that fact is evident in the song development on "Listen". The centerpiece of the record, the aforementioned single "Wishing (If I Had A Photograph Of You)" is a dreamy, wistful piece, that seems to deal with lost or unrequited love. The instantly recognizable melody is one of the most memorable ever composed, hanging around in the mind long after the song has ended. It is one of those irresistible hooks that requires listening to another equally memorable melody in order to clear it from one's mind (as if), and is the trademark of this truly great song. The melody is a complement to the lyrical structure, which reads like a romantic poem:

"It's not the make-up, and it's not the way that you dance
It's not the evening sky
It's more the way your eyes are laughing as they glance
Across the great divide

If I had a photograph of you, as something to remind me
I wouldn't spend my life just wishing..."

Aside from writing attributes, "Wishing" also features one of the most unique sound effects ever to be employed on a mainstream record, and that is the mechanized accent on the clap-track backbeat that leads off the song. This effect sets the tone for the song, creating an edgy undertow beneath the light, ethereal melody (the resulting contrast is a hallmark of Score's overall writing and arranging; a micro-level example of a larger trend within the band's albums, which often juxtaposes lofty, melodic, and atmospheric elements against dark, disturbing, and strange themes - more on this later). Adding to the clever use of this effect is drummer Ali Score's ingenious single-stroke hi-hat "tick" that precedes the mechanized effect on the off-beat, which sets up the rhythm for the otherworldly electronic tom fill that gets the song rolling. As the song progresses, this rhythmic combo gradually settles into the foundation, just audible enough to support the song under the rich, textured interplay between the vocals, synth, and guitar lines. During the song's instrumental second half, the robotic backbeat begins to rise to the surface again, and when the instrumental climax concludes and the melody takes over once again, the beat returns prominently to the fore. As the outro melody wanes, the cybernetic beat plods on for another couple of measures amid reverberating tom fills, and ends with a dramatic and thundering "BLAST!" The use of the mechanized accent (and the drum track in general) to dictate the dynamics of the song is an inconspicuously clever method of creating mood and drama within the song, not entirely unlike some of the techniques that Jimmy Paige was known to employ in manipulating drum sounds to achieve certain moods in the songs of Led Zeppelin. Whether this element was conceived during the writing of the song, or merely a trick performed at the mixing console, the result is the same. It is one of the most effective uses of a single sound effect I have ever heard, and has not been successfully duplicated since. Brilliant in its simplicity, but profound in effect, it is one of the album's most peculiar and special features.

While there isn't really a true stylistic sequel to "I Ran" on "Listen", "Wishing" comes closest to it and is the anchor for the album. The rest of the record flows from there, and takes the listener on a lyrical journey through myriad subjects that span the spectrum of human experience: mental, emotional, material, and metaphysical. As a vehicle for such explorations, "Listen" becomes an album of contrasts, both literally and figuratively. Even the album's cover design suggests this, a visually striking image that pairs two unlikely elements in a unified whole. In the expanded liner notes, Stephen Schnee describes it thusly:

"The sleeve design (by Pete Watson) used the perfect image to describe the band's sound: a profile of a human face against a backdrop of electronic circuitry."

The union of polar opposites (such as the interface of man and machine) is a concept that permeates the "Listen" album, and is expressed through several trends throughout the record. As referred to earlier, one of these trends typifies most of AFOS's early work and deals with the contrast that is created by track order throughout the albums; airy, feel-good pop melodies are often alternately positioned against dark, eerie creations, and stories of romance are pitted against grim, almost Orwellian tales of life in the futuristic digital age. This quality was present on the band's debut album, with the cheerful, upbeat melodies of songs like "Space Age Love Song" and "Telecommunication" being counterbalanced by the heavier, more serious tones and themes of "Messages", "Modern Love Is Automatic", and the wonderfully creepy "Standing In The Doorway". This trend continues on "Listen", and is apparent after the conclusion of the first track, where the heavenly "Wishing" transitions into the neurotic "Nightmares". A haunting and thought-provoking song, "Nightmares" is an exploration into the dark side of the Human psyche. It seems to examine the forlorn inner voice of a psycho-emotionally scarred individual who is seeking comfort in memories past in a futile attempt to cope with some type of life trauma, or perhaps abandonment (I've also often wondered if the song could be a first-person glimpse into the mind of a person dealing with mental illness). The next track is the melodically uplifting "Transfer Affection", which is a musically elegant and beautiful song, while at the same time being lyrically bittersweet. Continuing the "trend of opposites", this quality illustrates an even deeper extension of that same trend, only now within the songs themselves as well as across them. The deceptive differentiation of uplifting melodies positioned against lyrics that are laced with disappointment, loneliness, and sadness creates a complexity to the songs as individual entities, but also runs an unlikely thread of connectivity throughout the whole of the album.

The next track is, in my perception, the high point of the "Listen" album, and is in itself an encapsulation of all of the best aspects of the AFOS sound. It is simply a terrific song, and despite the fact that it is possibly one of the more unknown and underrated of AFOS's songs, it may well also represent the band's very best offering. Entitled "What Am I Supposed To Do", the song opens up with a fast-paced, Funk-inspired slap-and-pop bass riff (courtesy of bassist Frank Maudsley) that jumps face-first into a tight, driving drum track paired with oscillating synth lines that are reminiscent of (or the inspiration for?) Duran Duran's best work. Then enters Paul Reynolds' soaring lead guitar riffs, volume swells, and vibrato chords, and the song sets sail into New Wave Heaven. In the entire AFOS catalogue, I do not believe there is a song that more aptly suits the imagery elicited by the band's name, as one gets the distinct sensation of gliding into the sunset on the wings of a seagull when listening to it. Of course, the song stays true to the trends mentioned previously, with lyrics suggesting the awkwardness of a strained relationship:

"You're giving me a hard time
What am I supposed to do?
With a hard time
Especially from you
The way that you smile
Reveals a shadow from the past
When I thought I knew you
But you lied...

If I see you walking
If I see you talking
What am I supposed to do?"

From this peak point, the record moves on through darker and more mechanical sounds, with the quirky and oh-so-80s-sounding "Electrics", the bizarre narrative of "The Traveller", and the sole instrumental contribution, an electronic interlude called "2:30". The album then returns to more emotional and existential themes with "Over The Border" and "The Fall", which is the stylistic descendant to the first album's somber "Man Made". The original track list concludes with the paranormal and frenetic "(It's Not Me) Talking", an account of apparent extraterrestrial communication.

Finally, there is the bonus material included on the release, which features three selections of different types. The first is an extended version of "Committed", a non-album track from the same time period that probably has more in common with post-"Listen" material than anything, but has never appeared on CD before. The next is "Quicksand", an edgy rocker and terrific song that originally appeared as an extra track on the cassette release, and also appeared later on the 1992 reissue. The third bonus track is a live version of "I Ran", which is probably the most beautifully and impeccably performed live version of the song that I have personally ever heard, and features the band at their absolute best. In fact, if not for Paul Reynolds' blazing guitar work and Mike Score's adieu at the end, the casual listener might not realize that this is a live recording. For my personal taste, however, the bonus material on this release does not significantly add to or subtract from the album (the original tracks stand alone), other than to say that the tracks are a nice addition for fans who have never heard the songs, especially since two of them have never appeared on CD before. I think it is probably safe to say that some more knowledgeable fans might have preferred to see other items included on the release, such as the other two bonus tracks that appeared on the cassette and first CD release, "Rosenmontag" and "The Last Flight Of Yuri Gagarin"** (see note below), or perhaps some other more obscure selections. If any fans are like me, however, they are ecstatic that the original ten tracks are back on CD at all. I, for one, am overjoyed to have that.

Overall, "Listen" is a darker, more serious and complex album than its predecessor, but is actually more sophisticated in terms of the AFOS sound, and more fully realizes the creative efforts that were achieved on the first album. The band embraces their electronic heritage full-on on the record, and skillfully craft congruent songs around their trademark sound. It would also be a dereliction of duty not to mention the influences of producer Mike Howlett and co-producer/friend/colleague of the band Bill Nelson on the record, as both were instrumental in the formation of the early AFOS sound as it appears on the first album and "Listen".

To conclude, I highly recommend this record for all fans of 80s and New Wave music, not just because it is a classic album for the genre, but because this might be the only opportunity to get a copy. In our current age of technology, it is difficult to fathom that something like an AFOS album won't be available in the future, given the profusion of other less viable and important releases on the market (I mean, come on...my last trip to the toilet just came out on DVD). With the treatment that "Listen" has seen in the past, however, it is difficult to know when, if ever, this album will be released again once this pressing is gone. For all 20-to-40-something adults who are (or once were) even casual fans of the New Wave era, and want to have a memento/heirloom of the music they grew up with to pass on to their children, this is one of the best albums to get.

{Note: For any New Wave fans who are looking for other reissues, Superfecta Recordings/The Ideal Copy (www.superfecta.com) have a nice and growing catalogue of 80s reprints and rarities, and I highly recommend checking out their website. For AFOS fans looking for other reissues by the Flock, "Dream Come True" has also recently been reissued by Almacantar Records (www.almacantarrecords.com). **RE: Bonus material- Some believe this release to be "incomplete", due to the fact that they became accustomed to the cassette version that contained all three "bonus" tracks. While this is definitely understandable, my medium of choice was the vinyl LP, which contained only the original 10 tracks, so in my perception the "album" portion of this release is complete with regards to those tracks.**}

[PhilG]

This is a great review, thanks.Makes one want to go grab the CD right away.

[edisonoside]

I have wanted to own "Listen" in CD form for quite some time now and have never been able to find it. thanks for letting us know.[:)]

[NuWaveRx]

Very complete and heartfelt review of my second favorite AFOS album (The Story of a Young Heart is number 1 for me). I agree with you entirely about "What am I supposed to do" It's the best track on the original LP (I like both Quicksand and Rosenmontag better, however). What you mention and I would echo is the layering complexity of the sound of "Listen". Few albums I own have the guitar, bass and keyboards all sharing equally in the sound, let are blended perfectly together so they all "sound" right in the overall mix. I also second your comments on Paul Reynolds and Frank Maudsley. Both were/are outstanding musicians that never got their due.
Well done[:D]

[KYYX4ever]

I LOVE THIS ALBUM!
(I owned the cassette version w/ the extras).

"Nightmares" and (It's Not Me)Talking" are my fave AFOS songs ever, and the whole cassette is dark, synthy, and atmospheric. Epitomizes my very favorite sound of New Wave. This is New Wave, to me.
Thanks for the terrific review!

[IWantMyMTV]

[quote][i]Originally posted by edisonoside[/i]
<br>I have wanted to own "Listen" in CD form for quite some time now and have never been able to find it. thanks for letting us know.[:)]
[/quote]

Try Amazon

<img src="http://i11.photobucket.com/albums/a197/cdmaniac/omcoverbigntiny.jpg" alt="Image hosted by Photobucket.com">[i]All I Ever Wanted[/i]

[zill]

When I read this it immediately caused me to dust off my old cassette copy. Listen is a great piece of work and I haven't listened to it from start to finish in 20 years. Thanks for reminding me how phenomenal it is - a terrific review.

I must agree I get annoyed when AFOS is classified as a one hit wonder!

[Jason²]

I don't know you
but I know I love you

[Tania]

I was just at the record store the other day, so I bought Listen, The Story of a Young Heart, and A Flock of Seagulls for a grand total of about 5 bucks. All in great condition, too! Now all I have to do is listen...hey! I wasn't even thinking about the album title...unintentional pun, or I'm just stupid?


Seona Vs. Rio

[Spit]

Great review. I bought a best of Flock of Seagulls cd a few years back and liked every song from it.Great 80's band. Great band period.

[Ape Module]

Another defender here. I have always dug AFOS, and like many here, decry their "one-hit-wonder" status or the idea they were a "novelty act". I tire of debating this with people who are "too cool" to dig the stuff. To me a lot of NW isn't terribly deep music; it's fun. I admit I barely remember Story of a Young Heart, but the first album and Listen are in constant rotation at Casa de Module de Ape.

I recently acquired a bunch of AFOS vinyl trying to get the b-sides, etc. and even more good, worthwhile work surfaces there.

I feel that many of the bands I love share this one-hit or novelty status and it really bothers me. AFOS had dozens of great songs, as did Trio, Men Without Hats, Wall of Voodoo and a host of NW acts.

Seems nowadays people are more geared towards angst-ridden buttrawk for disaffected teens. All that nu-metal and mallpunk stuff. Truly a marketing device with little thought to quality or originality. Why am I supposed to take some band like Limp Bizkit or Tool or Korn more seriously than DEVO or Adam and the Ants? Because their music is somehow "darker" (and therefore less "shallow"?) Because of the lyrics about how life is so fraught with misery even though they are rich suburban white kids?

I don't have time for that anymore. I guess I do listen to some confrontational music...stuff that is somewhat "negative" on the surface, or from one point of view (Merzbow and other noisier and newer acts like Sightings and Mouthus) but to me their total wrecking of what had been thought of as "music" is a joy to me. Tellingly, these acts are mostly instrumental. The older I get the less tolerance I have for modern lyricists. Very few are worth taking note of and those that are don't tend to fit into NW or Next Wave or whatever. To me at least.

In fact, there are only a handful of current bands I give my time to at all. Most of what I hear today is either so derivative of something that has been done earlier and better that they become pointless or it's just all samey "alt-rock" crap.

I don't any longer have swoopy hair or peg pants or skinny ties or pointy sunglasses, but as much music as I have ingested in my days, I continually come back to new wave (or what I call new wave) as it just makes me happy. Not just out of a sense of nostalgia, but because it is often unique, quality music.

Anyway, this is an excelent review up top. Good on ya (as they say down under...)

[NuWaveRx]

Well said, Ape
BTW I've got nearly everything AFOS recorded ripped by now. Let me know if you need something

[Ape Module]

Thanks, NuWaveRX!

I am trying to track down a few things.

First off, let me offer any of these you might need (though it might take a while for me to get them ripped from vinyl...I'm terribly busy the next couple of weeks and to burn vinyl I have to move a bunch of crap around and hook up a bunch of buried equipment...)

Anyway, I have:

Tangliamara
Rosenmontag
Last Flight of Yuri Gagarin
Talking
Factory Music
Windows

... I think that's it from my collection of b-sides.

I lack:

[b]Tokyo[/b] (off some import versions of the first album)
[b](I Need A) Pick Me Up[/b] (b-side to I Ran)
The 7" NON-extended, single/radio version of [b]Wishing[/b]. (aka Juke Box Version)

I have the first album on CD as well as the recent re-ish of Listen on CD. I do not yet have Story of a Young Heart but there's a place in town I think I can score that on LP on the cheap.

If you need any of the ones I have, let me know (and then please bear with me.) If you have any of what I lack, I would be indebted to you, but at least the second 2 probably aren't too hard to come by if I check eBay, etc.

Thanks so much again!

[Spit]

I forgot all about it but today going thru my album collection I found A Flock of Seagulls "Listen". I must of bought it out of the cutout bin because it has a small notch cutout at the bottom of the album cover right beside the $2.99 price tag.Imagine that,$2.99 for such a great album. What a bargain!!Any other cheap find stories out there?