Electronic – Getting Away with It

When they first appeared, three decades ago this week, Electronic must have been a bit of a revelation. True, New Order had been steadily evolving from rock to pop over the preceding decade, but a collaboration between Bernard Sumner and Johnny Marr, the extraordinary guitarist from The Smiths, must have conjured up ideas of something guitar-heavy. It wasn’t – Getting Away with It was, in a way, both Sumner and Marr’s first experiment with true pop.

The single version is, as I’m sure you know by now, exceptional. It’s a pop song, with synth strings and sweet acoustic guitar work. There’s something a little quirky with it, of course, but it still holds together beautifully. On vocals, Bernard Sumner and Neil Tennant – neither of them particularly accomplished vocalists, but both great in their own way – harmonise perfectly, bringing a delightfully humanist quality to the song. It’s definitely nothing like New Order or The Smiths, and although it is a lot like Pet Shop Boys, the pop lyric doesn’t feel like something that Neil Tennant would have come up with on his own.

The definitive track listing appears to be the digital reissue, pulling all the different tracks together in one place, and that takes us next to the lead track on the 12″, the Extended Mix. This is an extended version very much in the 1980s style – take the first verse and strip it back a bit, add an extra instrumental verse, and mix original elements in, one by one. It’s a worthy version, but to a modern ear, there’s surprisingly little new here until the long breakdown section in the middle, which could honestly be dispensed with.

By 1989, artists were already sending tracks off for a multitude of weird and wonderful remixes, but Electronic seem not to have been especially aware of this, so the various singles of Getting Away with It are largely peppered with alternative versions. The extended Instrumental is lovely, and unusually for an instrumental version, it stands well alone. This includes the longer orchestral ending that would appear on later versions of the single mix.

There is a b-side, though – and this is perhaps a surprise, given that it seems to have since flown completely under the radar. Maybe this was intentional, as it was omitted altogether from the CD release. Lucky Bag is a beatsy, early house instrumental that provides occasional echoes of Bobby Orlando‘s huge bass lines. It’s hard to know exactly what Electronic would have been thinking with this, to tell the truth – it’s nice, but also instantly forgettable. Maybe it’s an extended experiment, or maybe it was always intended to be a b-side. Either way, it’s a nice diversion.

There are remixes here, but there’s nothing particularly great. For whatever reason, the common trend at the time with remixes was to cut the original back, add beats, add a few cheesy synth lines, and a bit of a calypso arpeggio, and call it done. So it is with Graeme Park and Mike Pickering‘s remixes. The Nude Mix is an uninspired dub version with weird down-tempo, almost rave-inspired synth lines dropping in all over the place. The Vocal Remix is, I would assume, their attempt to add the vocal back in for a more radio-friendly version, and while there’s plenty to enjoy here, both mixes really seem to fail on most levels. They’re nice, but just not quite good enough, and while the final fade on the second mix comes a little suddenly, it really can’t come too soon.

It’s nice to get another version of Lucky Bag to close the release, but the Miami Edit is a curious version – slightly more beat-driven than the one on the 7″, but far from different enough to really be noteworthy. On the UK release, this was hidden away on the second 12″, which seems appropriate – it’s a nice treat, but nothing particularly special.

So Getting Away with It is a bit of a mixed bag – a great track, but not, perhaps, such a great single. Electronic, for the time being, showed all the signs of being a one-off experiment, but perhaps inevitably, given the success of this release, they got back together for the 1991 Electronic album, which then inexplicably went on to skip Getting Away with It from its original track listing altogether. But with Getting Away with It, they assured us that there was something special about this collaboration.

We reviewed the US CD single. The five versions of the original track from here can be found on this digital release.

New Order – Technique

Thirty years ago this week, New Order released their fifth studio album, Technique. This was the album where they famously disappeared to Ibiza to record, and, intentionally or otherwise, returned with something that wasn’t entirely complete yet.

It opens with Fine Time, full of huge late 1980s bass and snare sounds. It must have already sounded a little outdated, actually – a lot of these are the sorts of sounds that were turning up on New Order‘s own remix 12″ singles a couple of years earlier, and the times were moving fast by the late 1980s. Of course, the previous album Brotherhood (1986) predated a lot of that, so maybe what we witness here is a band who knew this had been done already, and just wanted to enjoy themselves. The goat samples are, of course, a welcome addition.

But Technique is interesting in that regard – famously none of the first four New Order albums contained any singles, and so prior to this point, there was a clear division to the New Order you find on modern compilations versus the band who could be found on LP. Fine Time was the first single from this album, actually released in late 1988, and was one of their more successful releases, peaking at number 11.

All the Way is much closer to what I would now regard as classic New Order, although offhand I’m not sure how much material like this they had actually recorded prior to 1989, It’s less electronic, and more guitar-based, and offers Peter Hook a good chance to shine with his lively bass lines. Love Less is similar, with some of Bernard Sumner‘s typically awkward lyric writing, but a catchy chorus and some gentle rhythmic elements. For the first time on this album, I think you can understand what they’re trying to do here, although for a band as adventurous as New Order, that isn’t necessarily a good thing.

Then you get the second single Round & Round, which peaked at number 21 shortly after the release of the album. If you struggle as much as I do with New Order song titles, it might help if you think of this as the one that’s built around loads of orchestral hits. The single was remixed slightly, and frames the song a little better than the album version, but it’s definitely the best song of the album so far.

Side A closes with Guilty Partner, a catchy but somewhat directionless piece with a particularly huge bass part. With New Order, it’s rarely worth thinking too hard about what they were trying to do, best instead just to enjoy their songs for what they are – that guitar solo at the halfway point is beautiful, and that’s really all that matters here.

We get the singles out of the way with the original version of Run at the start of Side B. In its single form (Run 2) it’s a great song that underperformed disappointingly on its release, crashing out from number 49 on the charts. Based on the album version, its poor performance would be a little more understandable – the catchier moments and the unusually insightful lyrics are actually there, but the production is just a little dreary and flat.

Mr. Disco is interesting – a lot of the classic New Order elements are there, and again, it’s good to hear them exploring some of the ground that had been limited to 12″ singles previously. At the same time, there are elements that are absolutely awful – mainly the lyrics and vocal delivery (such as rhyming “letter” with “met you”) – but there are other things that don’t quite seem to fit together. It’s a mess, but it’s a nice enough mess.

Vanishing Point is next, and is probably the best track on here. For the first time, we get many of the traditional New Order elements and a great song at the same time. Ninety second introductions had long been typical of the band’s singles in the 1980s, and dreary, dark, and introspective lyrics were very traditional too. Why wasn’t this one of the singles? Even the production seems to have stepped things up a level. Pure brilliance.

But it’s with Dream Attack that they really shine. They had never used honky tonk piano as a lead line before, and surprisingly it fits extremely well. Peter Hook‘s unchanging rhythmic bass is complemented by a wonderfully punchy synth bass part, and again, the lyrics actually sound sincere. This is New Order at their best, without a doubt.

For all of its patchier moments, Technique is indisputably one of New Order‘s finest albums. By the time Republic came out four years later, they had decisively moved from their elegantly dreary and experimental roots to a commercially successful indie pop-rock crossover. So Technique shows a band in transition, and demonstrates all the conflict and brilliance that you might expect from that.

The double CD special edition of Technique is still widely available, but as always, keep an eye out for the versions with dodgy sound quality.

Ivor Novello Awards Winners 1956-2018 (Part Two)

Last week, we ran through the 63-year history of the Ivor Novello Awards, and listed all the winners in the Song and Album categories, and the special and one-off awards. Let’s finish that journey now, starting with the Artist Award categories.

Artist Awards

Outstanding Services to British Music

  • 1956 – Jack Payne
  • 1957 – A.P. Mantovani
  • 1958 – Ted Heath
  • 1959 – Billy Cotton
  • 1960 – Lionel Bart
  • 1961 – Eric Maschwitz
  • 1962 – Cliff Richard, Jet Harris, Hank Marvin, Tony Meehan and Bruce Welch
  • 1963 – Lawrence Wright
  • 1964 – Brian Epstein, George Harrison, John Lennon, George Martin, Paul McCartney and Ringo Starr
  • 1965 – Paddy Roberts
  • 1966 – BBC TV (for the production of the series ‘A Song For Europe’)
  • 1967 – Joe Loss
  • 1968 – Alan Herbert
  • 1969 – Andrew Gold
  • 1970 – Noel Coward
  • 1971 – Cliff Richard
  • 1972 – Jimmy Kennedy
  • 1973 – Vivian Ellis
  • 1974 – Tolchard Evans
  • 1975 – Vera Lynn
  • 1976 – Dick James
  • 1977 – Adrian Boult
  • 1978 – Harry Mortimer
  • 1979 – George Martin
  • 1980 – Robert Mayer
  • 1981 – William Walton
  • 1982 – Lennox Berkeley
  • 1984 – Andrew Lloyd Webber
  • 1985 – Michael Tippett
  • 1986 – Malcolm Arnold
  • 1987 – Yehudi Menuhin
  • 1988 – David Heneker
  • 1989 – Paul McCartney
  • 1990 – Mick Avory, Dave Davies, Ray Davies, Ian Gibbons and Jim Rodford
  • 1991 – Robert Farnon
  • 1996 – Jeff Lynne

Songwriter of the Year

  • 1970 – Tony Macaulay
  • 1971 – Roger Cook and Roger Greenaway
  • 1972 – Roger Cook and Roger Greenaway
  • 1973 – Gilbert O’Sullivan
  • 1974 – Mike Chapman and Nicky Chinn
  • 1975 – Phil Coulter and Bill Martin
  • 1976 – Wayne Bickerton and Tony Waddington
  • 1977 – Biddu
  • 1978 – Tony Macaulay
  • 1979 – Barry Gibb, Maurice Gibb and Robin Gibb
  • 1980 – Ben Findon
  • 1981 – Ben Findon
  • 1982 – Adam Ant and Marco Pirroni
  • 1983 – Andy Hill
  • 1984 – Annie Lennox and Dave Stewart
  • 1985 – George Michael
  • 1986 – Roland Orzabal
  • 1987 – Annie Lennox and Dave Stewart
  • 1988 – Matt Aitken, Mike Stock and Peter Waterman
  • 1989 – George Michael and Matt Aitken, Mike Stock and Peter Waterman (presented jointly)
  • 1990 – Matt Aitken, Mike Stock and Peter Waterman
  • 1991 – Phil Collins
  • 1992 – Mick Hucknall
  • 1993 – Colin Angus and Richard West
  • 1994 – Gary Barlow
  • 1995 – Tony Mortimer
  • 1996 – Damon Albarn, Graham Coxon, Alex James, Dave Rowntree and Noel Gallagher (presented jointly)
  • 1997 – George Michael
  • 1998 – Richard Ashcroft
  • 1999 – Guy Chambers and Robbie Williams
  • 2000 – Fran Healy
  • 2001 – Craig David and Mark Hill
  • 2002 – Dido Armstrong
  • 2003 – Guy Berryman, Jonny Buckland, Will Champion and Chris Martin
  • 2004 – Ed Graham, Dan Hawkins, Justin Hawkins and Frankie Poullain
  • 2005 – Tom Chaplin, Richard Hughes and Tim Rice-Oxley
  • 2006 – Damon Albarn and Jamie Hewlett
  • 2007 – Dan Gillespie Sells, Ciaran Jeremiah, Kevin Jeremiah, Richard Jones and Paul Stewart
  • 2008 – Mika
  • 2009 – Eg White
  • 2010 – Lily Allen and Greg Kurstin
  • 2011 – Ben Drew
  • 2012 – Adele Adkins
  • 2013 – Calvin Harris
  • 2014 – Tom Odell
  • 2015 – Ed Sheeran
  • 2016 – Adele
  • 2017 – Skepta
  • 2018 – Ed Sheeran

PRS for Music Outstanding Contribution to British Music

  • 1977 – John Bonham, John Paul Jones, Jimmy Page and Robert Plant
  • 1979 – Jeff Lynne
  • 1981 – John Lennon
  • 1982 – Roger Daltrey, John Entwistle, Kenney Jones, Keith Moon and Pete Townshend
  • 1983 – Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford
  • 1984 – Andy Brown, Peter Kircher, Alan Lancaster, Rick Parfitt and Francis Rossi
  • 1985 – Graeme Edge, Justin Hayward, John Lodge, Patrick Moraz and Ray Thomas
  • 1986 – Elton John
  • 1987 – John Deacon, Freddie Mercury, Brian May and Roger Taylor
  • 1988 – Barry Gibb, Maurice Gibb and Robin Gibb
  • 1989 – Mark Knopfler and John Illsley
  • 1990 – David Bowie
  • 1991 – Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood and Bill Wyman
  • 1992 – David Gilmour, Nick Mason, Roger Waters and Richard Wright
  • 1993 – Bernie Calvert, Allan Clarke, Bobby Elliott, Tony Hicks, Graham Nash and Terry Sylvester
  • 1994 – Tim Rice
  • 1995 – Lonnie Donegan
  • 1996 – Kenney Jones, Ronnie Lane, Steve Marriott and Ian McLagan
  • 1997 – Elvis Costello
  • 1998 – Morrissey
  • 1999 – Chrissie Hynde
  • 2000 – Chris Lowe and Neil Tennant
  • 2001 – Topper Headon, Mick Jones, Paul Simonon and Joe Strummer
  • 2002 – Kate Bush
  • 2003 – Bryan Ferry
  • 2004 – Errol Brown
  • 2005 – Simon Le Bon, Nick Rhodes, Andy Taylor, John Taylor and Roger Taylor
  • 2006 – Ray Davies
  • 2007 – Norman Cook
  • 2008 – Chris Difford and Glenn Tilbrook
  • 2009 – Robert Del Naja, Grant Marshall and Andrew Vowles
  • 2010 – Trevor Horn
  • 2011 – Paul Rodgers
  • 2012 – Gary Barlow, Howard Donald, Jason Orange, Mark Owen and Robbie Williams
  • 2013 – Justin Hayward
  • 2014 – Jeff Beck
  • 2015 – Boy George
  • 2016 – Geoff Barrow, Beth Gibbons and Adrian Utley
  • 2017 – Anne Dudley
  • 2018 – Billy Bragg

International Achievement

  • 1970 – Tom Jones
  • 1980 – Paul McCartney
  • 1991 – Albert Hammond
  • 1992 – Bernie Taupin
  • 1993 – Rod Temperton
  • 1994 – Bono, Adam Clayton, Larry Mullen Jnr and The Edge
  • 1997 – Noel Hogan and Dolores O’Riordan
  • 1998 – Enya, Nicky Ryan and Roma Ryan
  • 1999 – Martin Gore
  • 2001 – Bruce Dickinson, Janick Gers, Steve Harris, Nicko McBrain, Dave Murray and Adrian Smith
  • 2002 – Sting
  • 2003 – Astro, James Brown, Ali Campbell, Robin Campbell, Earl Falconer, Norman Hassan, Brian Travers and Michael Virtue
  • 2004 – Colin Greenwood, Jonny Greenwood, Ed O’Brien, Phil Selway and Thom Yorke
  • 2005 – Robert Smith
  • 2006 – Ian Anderson
  • 2008 – Phil Collins
  • 2010 – Imogen Heap
  • 2011 – Matthew Bellamy, Dominic Howard and Christopher Wolstenholme
  • 2013 – Gavin Rossdale
  • 2014 – Ted Dwane, Ben Lovett, Winston Marshall and Marcus Mumford
  • 2016 – Wayne Hector
  • 2017 – Florence Welch
  • 2018 – Billy Ocean

Outstanding Contribution to British Musical Theatre

  • 1994 – Andrew Lloyd Webber
  • 1996 – Cameron Mackintosh

Lifetime Achievement

  • 1980 – Edgar Yipsel Harburg and Jimmy Kennedy
  • 1983 – Vivian Ellis
  • 1989 – Cliff Richard
  • 1992 – Eric Clapton
  • 1993 – George Shearing
  • 1994 – Ron Goodwin
  • 1995 – Van Morrison
  • 1997 – John Bonham, John Paul Jones, Jimmy Page and Robert Plant
  • 1999 – Rod Stewart
  • 2001 – Pete Townshend
  • 2007 – Peter Gabriel
  • 2008 – David Gilmour
  • 2010 – Paul Weller
  • 2012 – Mark Knopfler
  • 2014 – Christine McVie
  • 2015 – Geezer Butler, Tony Iommi, Ozzy Osbourne and Bill Ward
  • 2016 – Damon Albarn
  • 2017 – Nitin Sawhney

The Jimmy Kennedy Award

  • 1985 – Tommie Connor
  • 1986 – Lionel Bart
  • 1987 – Hugh Charles
  • 1988 – Norman Newell
  • 1989 – Leslie Bricusse
  • 1990 – Herbert Kretzmer
  • 1991 – John Barry
  • 1992 – Tony Hatch and Jackie Trent
  • 1993 – Les Reed
  • 1994 – Roger Cook and Roger Greenaway
  • 1995 – Don Black
  • 1996 – Tony Macaulay
  • 1997 – Mike Chapman and Nicky Chinn
  • 1998 – Barry Mason
  • 1999 – Peter Callander and Mitch Murray
  • 2000 – Geoff Stephens

Outstanding Song Collection

  • 1993 – Marcella Detroit, Siobhan Fahey and Dave Stewart
  • 1994 – Paul Weller
  • 1995 – Elvis Costello
  • 1996 – Joan Armatrading
  • 1997 – Richard Thompson
  • 1998 – Johnny McElhone and Sharleen Spiteri
  • 1999 – Wallis Buchanan, Simon Katz, Jason Kay, Derrick McKenzie, Toby Smith and Stuart Zender
  • 2000 – Mike Barson, Mark Bedford, Chris Foreman, Cathal Smyth, Suggs, Lee Thompson and Daniel Woodgate
  • 2001 – Roy Wood
  • 2002 – Mick Hucknall
  • 2003 – Bono, Adam Clayton, Larry Mullen Jnr and The Edge
  • 2004 – Lol Crème, Kevin Godley, Graham Gouldman and Eric Stewart
  • 2005 – John Deacon, Brian May, Freddie Mercury and Roger Taylor
  • 2006 – Philip Cunningham, Gillian Gilbert, Peter Hook, Stephen Morris and Bernard Sumner
  • 2007 – Yusuf Islam
  • 2008 – Gabrielle
  • 2009 – Vince Clarke
  • 2011 – Steve Winwood
  • 2012 – Gary Kemp
  • 2013 – Noel Gallagher
  • 2014 – Tom Rowlands and Ed Simons
  • 2015 – Albert Hammond
  • 2016 – Charlie Burchill, Derek Forbes, Jim Kerr and Mick MacNeil
  • 2017 – Pulp
  • 2018 – Cathy Dennis

PRS for Music Special International Award

  • 1999 – Hal David
  • 2000 – Jerry Leiber and Mike Stoller
  • 2001 – Stevie Wonder
  • 2002 – Benny Andersson and Bjorn Ulvaeus
  • 2003 – Brian Wilson
  • 2004 – Lamont Dozier, Brian Holland and Eddie Holland
  • 2005 – Lou Reed
  • 2006 – Kenny Gamble and Leon Huff
  • 2007 – Quincy Jones
  • 2008 – Diane Warren
  • 2009 – Smokey Robinson
  • 2010 – Neil Sedaka
  • 2011 – Stephen Sondheim
  • 2012 – Jimmy Webb
  • 2013 – Randy Newman
  • 2014 – Nile Rodgers
  • 2015 – Paul Williams
  • 2016 – Bryan Adams
  • 2017 – Bill Withers
  • 2018 – Lionel Richie

BASCA Fellowship

  • 2006 – Barry Gibb, Maurice Gibb and Robin Gibb
  • 2009 – David Ferguson
  • 2009 – Don Black
  • 2010 – Tim Rice
  • 2012 – Andrew Lloyd Webber
  • 2015 – Annie Lennox

The Ivors Inspiration Award

  • 2008 – Jazzie B
  • 2009 – Edwyn Collins
  • 2010 – Johnny Marr
  • 2011 – Dizzee Rascal
  • 2012 – Siouxsie Sioux
  • 2013 – Marc Almond
  • 2014 – Jerry Dammers
  • 2015 – James Dean Bradfield, Sean Moore and Nicky Wire
  • 2016 – Mark Day, Paul Davis, Paul Ryder, Shaun Ryder and Gary Whelan
  • 2017 – Gary Numan
  • 2018 – Shane MacGowan

The Ivors Classical Music Award

  • 2003 – Boots of Lead – Simon Holt
  • 2004 – Richard Rodney Bennett
  • 2005 – John Tavener
  • 2006 – Harrison Birtwistle
  • 2007 – John Rutter
  • 2008 – Jonathan Dove
  • 2009 – James MacMillan
  • 2010 – Peter Maxwell Davies
  • 2011 – Michael Nyman
  • 2013 – Errollyn Wallen
  • 2014 – John McCabe
  • 2015 – Judith Weir
  • 2016 – Oliver Knussen
  • 2018 – Thea Musgrave

The Ivors Jazz Award

  • 2012 – Stan Tracey
  • 2017 – John Surman

Genre or Style-Specific Awards

Best Instrumental or Light Orchestral Work

  • 1956 – The Dam Busters – Eric Coates
  • 1957 – The Westminster Waltz – Robert Farnon
  • 1958 – Elizabethan Serenade – Ronald Binge
  • 1959 – Lingering Lovers – Ron Goodwin
  • 1960 – Windows of Parish – Tony Osborne
  • 1961 – Seashore – Robert Farnon
  • 1962 – The Secrets of the Seine – Tony Osborne
  • 1963 – Nicola – Steve Race
  • 1964 – Carlos’ Theme – Ivor Slaney
  • 1965 – Bombay Duckling – Max Harris
  • 1966 – March of the Mods – Tony Carr
  • 1967 – The Power Game – Wayne Hill
  • 1968 – Love in the Open Air – Paul McCartney
  • 1969 – Ring of Kerry – Peter Hope
  • 1971 – March from the Colour Suite – Gordon Langford
  • 1975 – Four Dances from Aladdin – Ernest Tomlinson
  • 1976 – Introduction and Air to a Stained Glass Window – John Gregory
  • 1977 – Rain Forest – Biddu
  • 1978 – Cavatina – Stanley Myers
  • 1979 – Song For Guy – Elton John
  • 1980 – War of the Worlds – Jeff Wayne and Gary Osborne

Best Comedy Song

  • 1956 – Got’n Idea – Paddy Roberts and Jack Woodman
  • 1958 – Three Brothers – Paddy Roberts
  • 1959 – I’m So Ashamed – Ken Hare
  • 1960 – The Ballad of Bethnal Green – Paddy Roberts
  • 1964 – Flash, Bang, Wallop – David Heneker
  • 1966 – A Windmill In Old Amsterdam – Ted Dicks and Myles Rudge
  • 1967 – Hev Yew Gotta Loight, Boy? – Allan Smethurst
  • 1968 – Grocer Jack – Keith West and Mark Wirtz
  • 1969 – I’m the Urban Spaceman – Neil Innes
  • 1971 – Grandad – Herbie Flowers and Ken Pickett
  • 1972 – Ernie – Benny Hill
  • 1973 – The People Tree – Leslie Bricusse and Anthony Newley
  • 1974 – Nice One Cyril – Helen Clarke and Harold Spiro

Best Swing / Rhythm Composition

  • 1956 – Big City Suite – Ralph Dollimore
  • 1957 – Itinerary of an Orchestra – Johnny Dankworth and Dave Lindup
  • 1958 – Overdrive – Tommy Watt

Best Jazz Work

  • 1959 – The Colonel’s Tune – Johnny Dankworth
  • 1960 – Beaulieu Festival Suite – Kenny Graham
  • 1961 – Apache – Jerry Lordan
  • 1962 – African Waltz – Galt Macdermot
  • 1963 – Outbreak of Murder – Gordon Franks
  • 1964 – What the Dickens – Johnny Dankworth

Best Beat Song

  • 1966 – It’s Not Unusual – Gordon Mills and Les Reed
  • 1969 – Build Me Up Buttercup – Michael D’Abo and Tony Macaulay
  • 1974 – Rubber Bullets – Lol Crème, Kevin Godley and Graham Gouldman

Best Ballad or Romantic Song

  • 1969 – I Close My Eyes And Count To Ten – Clive Westlake
  • 1971 – Home Lovin’ Man – Roger Cook, Roger Greenaway and Tony Macaulay
  • 1972 – No Matter How I Try – Gilbert O’Sullivan
  • 1973 – The First Time Ever I Saw Your Face – Ewan MacColl
  • 1974 – Won’t Somebody Dance with Me – Lynsey De Paul

The Best Pop Song

  • 1971 – Love Grows – Tony Macaulay and Barry Mason
  • 1972 – Simple Game – Mike Pinder
  • 1973 – Oh Babe What Could I Say – Hurricane Smith
  • 1974 – You Won’t Find Another Fool Like Me – Tony Macaulay and Geoff Stephens
  • 1975 – Kung Fu Fighting – Carl Douglas
  • 1976 – I’m Not In Love – Graham Gouldman and Eric Stewart
  • 1977 – Don’t Go Breaking My Heart – Elton John and Bernie Taupin
  • 1978 – How Deep Is Your Love – Barry, Robin and Maurice Gibb
  • 1979 – Baker Street – Gerry Rafferty
  • 1980 – I Don’t Like Mondays – Bob Geldof
  • 1981 – Stop the Cavalry – Jona Lewie
  • 1982 – Every Little Thing She Does is Magic – Sting
  • 1983 – Our House – Carl Smyth and Chris Foreman
  • 1984 – Karma Chameleon – Boy George, John Moss, Michael Craig, Roy Hay and Phil Pickett

Best Middle of the Road Song

  • 1976 – Harry – Catherine Howe
  • 1977 – Music – John Miles

The Ivors Dance Award

  • 1998 – You’re Not Alone – Tim Kellett and Robin Taylor-Firth
  • 1999 – Horny – Mousse T and Errol Rennalls
  • 2000 – Re-Rewind – Mark Hill/Craig David
  • 2001 – Woman Trouble – Mark Hill, Craig David, Robbie Craig and Pete Devereux
  • 2002 – Can’t Get You Out Of My Head – Cathy Dennis and Rob Davis
  • 2003 – Lazy – Ashley Beedle, Darren House, Darren Rock and David Byrne
  • 2004 – Strict Machine – Alison Goldfrapp, Will Gregory and Nick Batt

Musicals, Films, Television, Radio, and Video Games

The Best Song From a Musical

  • 1956 – Salad Days – Dorothy Reynolds and Julian Slade
  • 1958 – Free as Air – Dorothy Reynolds, Julian Slade
  • 1960 – Lock Up Your Daughters – Lionel Bart and Laurie Johnson
  • 1961 – Oliver! – Lionel Bart
  • 1962 – Stop the World I Want to Get Off – Leslie Bricusse and Anthony Newley
  • 1966 – Charlie Girl – David Heneker and John Taylor
  • 1972 – I Don’t Know How To Love Him – Andrew Lloyd Webber and Tim Rice

Best British Musical

  • 1963 – Summer Holiday – Brian Bennett, Stanley Black, Ronald Cass, Mike Conlin, Hank Marvin, Peter Myers, Cliff Richard and Bruce Welch
  • 1965 – Robert and Elizabeth – Ron Grainer and Ronald Millar
  • 1974 – Jesus Christ Superstar – Andrew Lloyd Webber and Tim Rice
  • 1975 – Treasure Island – Cyril Ornadel and Hal Shaper
  • 1976 – Great Expectations – Cyril Ornadel and Hal Shaper
  • 1978 – Privates on Parade – Denis King and Peter Nicholls
  • 1979 – Evita – Andrew Lloyd Webber and Tim Rice
  • 1980 – Songbook – Monty Norman and Julian Mo
  • 1982 – Cats – Andrew Lloyd Webber and Trevor Nunn
  • 1983 – Windy City – Tony Macaulay and Dick Vosburgh
  • 1984 – Blood Brothers – Willie Russell
  • 1985 – The Hired Man – Howard Goodall
  • 1986 – Me and My Girl – Reginald Armitage and Douglas Furber
  • 1987 – The Phantom of the Opera – Charles Hart, Andrew Lloyd Webber and Richard Stilgoe
  • 1990 – Aspects of Love – Don Black, Charles Hart and Andrew Lloyd Webber
  • 1992 – Joseph and the Amazing Technicolor Dreamcoat – Andrew Lloyd Webber and Tim Rice

Best Film Score Theme or Song

  • 1957 – The March Hare – Philip Green
  • 1959 – Inn of the Sixth Happiness – Malcolm Arnold
  • 1967 – Born Free – John Barry and Don Black
  • 1973 – Diamonds Are Forever – John Barry and Don Black
  • 1978 – How Deep Is Your Love – Barry Gibb, Robin Gibb and Maurice Gibb
  • 1979 – Bright Eyes – Mike Batt
  • 1980 – Caravans – Mike Batt
  • 1981 – Xanadu – Jeff Lynne
  • 1982 – The French Lieutenant’s Woman – Carl Davis
  • 1983 – For All Mankind – Ravi Shankar and George Fenton
  • 1984 – Going Home – Mark Knopfler
  • 1985 – We All Stand Together – Paul McCartney
  • 1986 – We Don’t Need Another Hero – Graham Lyle and Terry Britten
  • 1987 – Sweet Freedom – Rod Temperton
  • 1988 – Cry Freedom – George Fenton and Jonas Gwangwa
  • 1989 – Two Hearts – Phil Collins and Lamont Dozier
  • 1990 – Henry V Nons Nobis Domine – Patrick Doyle
  • 1991 – Witches – Stanley Myers
  • 1992 – Under Suspicion – Christopher Gunning
  • 1993 – Tears in Heaven – Eric Clapton and Will Jennings
  • 1994 – The Piano – Michael Nyman
  • 1995 – Circle of Life – Elton John and Tim Rice
  • 1996 – Have You Ever Really Loved A Woman – Robert John ‘Mutt’ Lange, Michael Kamen and Bryan Adams
  • 1998 – Picture of You – Paul Wilson, Andy Watkins, Ronan Keating and Eliot Kennedy
  • 1999 – The Flame Still Burns – Chris Difford, Marti Frederiksen and Mick Jones

Best Original Film Score

  • 1968 – Doctor Dolittle – Leslie Bricusse
  • 1969 – Madwoman of Caillot – Michael Lewis
  • 1976 – Murder on the Orient Express – Richard Rodney Bennett
  • 1979 – The Silent Witness – Alan Hawkshaw
  • 1995 – Shadowlands – George Fenton
  • 1996 – Don Juan De Marco – Michael Kamen
  • 1997 – 101 Dalmatians – Michael Kamen
  • 1998 – William Shakespeare’s Romeo + Juliet – Craig Armstrong, Marius De Vries and Nellee Hooper
  • 1999 – Firelight – Christopher Gunning
  • 2000 – The World Is Not Enough – David Arnold
  • 2001 – X-Men – Michael Kamen
  • 2002 – Shrek – Harry Gregson-Williams and John Powell
  • 2003 – The Quiet American – Craig Armstrong
  • 2004 – Max – Dan Jones
  • 2005 – Enduring Love – Jeremy Sams
  • 2006 – Evil – Francis Shaw
  • 2007 – Ice Age: The Meltdown – John Powell
  • 2008 – Atonement – Dario Marianelli
  • 2009 – There Will Be Blood – Jonny Greenwood
  • 2010 – Ice Age 3: Dawn of the Dinosaurs – John Powell
  • 2011 – How To Train Your Dragon – John Powell
  • 2012 – The First Grader – Alex Heffes
  • 2013 – Anna Karenina – Dario Marianelli
  • 2014 – The Epic of Everest – Simon Fisher Turner
  • 2015 – ‘71 – David Holmes
  • 2016 – Ex_Machina – Geoff Barrow and Ben Salisbury
  • 2017 – Kubo and the Two Strings – Dario Marianelli
  • 2018 – Jackie – Mica Levi

Best Television or Radio Theme or Song

  • 1962 – The Maigret Theme – Ron Grainer
  • 1963 – Steptoe and Son – Ron Grainer
  • 1964 – Theme from ‘The Avengers’ – Johnny Dankworth
  • 1965 – Not So Much a Programme, More a Way of Life – Caryl Brahms, Ron Grainer and Ned Sherrin
  • 1971 – Who Do You Think You Are Kidding Mr Hitler – Jimmy Perry and Derek Taverner
  • 1974 – Galloping Home – Denis King
  • 1975 – No Honestly! – Lynsey De Paul
  • 1976 – The Edwardians (Upstairs, Downstairs Theme) – Alexander Faris
  • 1977 – Sam – John McCabe
  • 1978 – Poldark – Kenyon Emrys-Roberts
  • 1979 – Lillie – Joseph Horovitz
  • 1980 – Nunc Dimittis – Geoffrey Burgon
  • 1981 – I Could Be So Good for You – Gerard Kenny and Patricia Waterman
  • 1982 – Brideshead Revisited – Geoffrey Burgon
  • 1983 – Theme From Harry’s Game – Paul Brennan
  • 1984 – That’s Livin’ Alright – David Mackay and Ken Ashby
  • 1985 – Jewel in the Crown – George Fenton
  • 1986 – Edge of Darkness – Eric Clapton and Michael Kamen
  • 1987 – The Monocled Mutineer – George Fenton
  • 1988 – Fortunes of War – Richard Holmes
  • 1989 – Testament – Nigel Hess
  • 1990 – Ruth Rendell Mysteries – Brian Bennett
  • 1991 – Victorian Kitchen – Paul Reade
  • 1992 – Darling Buds of May – Philip Burley and Barrie Guard
  • 1993 – Civvies – Michael Storey
  • 1994 – Stalag Luft – Stanley Myers
  • 1995 – Middlemarch – Stanley Myers
  • 1996 – The Hanging Gale – Shaun Davey
  • 1997 – Hetty Wainthropp Investigates – Nigel Hess
  • 1998 – Rebecca – Christopher Gunning
  • 1999 – Close Relations – Rob Lane
  • 2000 – Trial By Fire – Richard G Mitchell
  • 2001 – Gormenghast – Richard Rodney Bennett
  • 2002 – The Blue Planet – George Fenton

Best Television or Radio Soundtrack

  • 1973 – Colditz – Robert Farnon
  • 2003 – Feltham Sings – Dextrous and Simon Armitage
  • 2004 – The Young Visitors – Nicholas Hooper
  • 2005 – Blackpool – Rob Lane
  • 2006 – Elizabeth I – Rob Lane
  • 2007 – The Virgin Queen – Martin Phipps
  • 2008 – Oliver Twist – Martin Phipps
  • 2009 – Wallace and Gromit (A Matter of Loaf and Death) – Julian Nott
  • 2010 – Desperate Romantics – Daniel Pemberton
  • 2011 – Any Human Heart – Dan Jones
  • 2012 – The Shadow Line – Martin Phipps
  • 2013 – Lucian Freud: Painted Life – John Harle
  • 2014 – Ripper Street – Dominik Scherrer
  • 2015 – The Honourable Woman – Natalie Holt and Martin Phipps
  • 2016 – London Spy – Keefus Ciancia and David Holmes
  • 2017 – War and Peace – Martin Phipps
  • 2018 – The Miniaturist – Dan Jones

Best Theme from a Commercial

  • 1990 – Abbey Endings (Abbey National) – Lionel Bart
  • 1991 – Only You (Fiat Tempra) – Geoff MacCormack and Simon Goldenberg
  • 1992 – Driven By You (Ford Motor Company) – Brian May

Best Original Video Game Score

  • 2010 – Killzone 2 – Joris de Man
  • 2011 – Napoleon: Total War – Richard Beddow, Richard Birdsall and Ian Livingstone
  • 2018 – Horizon Zero Dawn – Joris de Man, Joe Henson and Alexis Smith

Ivor Novello Awards – The 1990s

Ivor Novello Awards 1990

Grosvenor House in London hosted the Ivor Novello Awards on 2nd April 1990.

  • Best Contemporary Song: All Around the World, written by Lisa Stansfield, Ian Devaney and Andrew Morris. Also nominated: Back to Life (However Do You Want Me), performed by Soul II Soul, written by Jazzie B, Caron Wheeler, Nellee Hooper and Simon LawShe Drives Me Crazy, performed by Fine Young Cannibals, written by David Steele and Roland Gift
  • Best Song Musically and Lyrically: The Living Years, performed by Mike + The Mechanics, written by BA Robertson and Mike Rutherford. Also nominated: Another Day in Paradise, written by Phil Collins; Room in Your Heart, performed by Living in a Box, written by Marcus Vere, Richard Darbyshire and Albert Hammond
  • Best Theme from a TV/Radio Production: Ruth Rendell Mysteries, written by Brian Bennett. Also nominated: Sherlock Holmes, written by Patrick Gowers; Agatha Christie’s Poirot, written by Christopher Gunning
  • Best Film Theme or Song: Henry V Nons Nobis Domine, written by Patrick Doyle. Also nominated: Nothing Has Been Proved, written by Neil Tennant and Chris Lowe; Travelling East, written by Eric Clapton and Michael Kamen
  • The Jimmy Kennedy Award: Herbert Kretzmer
  • Best Selling ‘A’ Side: Too Many Broken Hearts, performed by Jason Donovan, written by Stock Aitken Waterman (Mike Stock, Matt Aitken and Pete Waterman). Also nominated: Back to Life (However Do You Want Me); Something’s Gotten Hold of My Heart, performed by Marc Almond and Gene Pitney, written by Roger Cook and Roger Greenaway
  • International Hit of the Year: She Drives Me Crazy. Also nominated: Buffalo Stance, written by Cameron Mcvey, Philip Ramacon, Neneh Cherry and Jamie Morgan; Another Day in Paradise, written by Phil Collins
  • Best Theme from a TV/Radio Commercial: Abbey Endings (Abbey National), written by Lionel Bart. Also nominated: Big Day (Maxwell House), written by David Mindel; Terry Keeps His Clips On (Toshiba), written by Viv Stanshall
  • The Best British Musical: Aspects of Love, written by: Don Black, Charles Hart and Andrew Lloyd Webber
  • Outstanding Contribution to British Music: David Bowie
  • Most Performed Work: This Time I Know It’s for Real, written by Stock Aitken Waterman and Donna Summer. Also nominated: Something’s Gotten Hold of My HeartToo Many Broken Hearts
  • Songwriters of the Year: Stock Aitken Waterman
  • Outstanding Services to British Music: The Kinks (Mick Avory, Dave Davies, Ray Davies, Ian Gibbons and Jim Rodford)

Ivor Novello Awards 1991

The 1991 ceremony took place at Grosvenor House in London on 2nd May 1991.

  • Best Contemporary Song: Killer, written by Adam ‘Adamski’ Tinley and Seal. Also nominated: Don’t Worry, written by Kim Appleby, Craig Logan and George Deangelis; Unbelievable, performed by EMF, written by James Atken, Ian Dench, Zachary Foley, Mark Decloedt and Deran Brownson
  • Best Song Musically and Lyrically: Sacrifice, written by Elton John and Bernie Taupin. Also nominated: We Let the Stars Go, performed by Prefab Sprout, written by Paddy McaloonNothing Ever Happens, performed by Del Amitri, written by Justin Currie
  • Best Theme from a TV/Radio Production: Victorian Kitchen, written by Paul Reade. Also nominated: Tidy Endings, written by Stanley Myers; The Green Man, written by Tim Souster
  • Best Film Theme or Song: Witches, written by Stanley Myers. Also nominated: Arachnophobia, written by Trevor Jones; Lily Was Here, written by Dave Stewart
  • The Jimmy Kennedy Award: John Barry
  • Best Selling ‘A’ Side: Sacrifice / Healing Hands, written by Elton John and Bernie Taupin. Also nominated: World in Motion, performed by Englandneworder (New Order), written by Bernard Sumner, Stephen Morris, Gillian Gilbert, Keith Allen and Peter Hook; Killer, written by Adam ‘Adamski’ Tinley and Seal
  • Best Theme from a TV/Radio Commercial: Only You (Fiat Tempra), written by Geoff MacCormack and Simon Goldenberg. Also nominated: Citric Bite (Schweppes Tonic), written by Don Gould and James LowtherNick of Time (Audi), written by Tony Sadler and Gaynor Sadler
  • International Hit of the Year: All Around the World, written by Lisa Stansfield, Ian Devaney and Andrew Morris. Also nominated: Close to You, performed by Maxi Priest, written by Gary Benson, Winston Sela and Maxi Elliott; I’ve Been Thinking About You, performed by Londonbeat, written by George Chandler, Jimmy Chambers, Jimmy Helms and Liam Henshall
  • Special Award for International Achievement: Albert Hammond
  • PRS Most Performed Work: Blue Savannah, performed by Erasure, written by Andy Bell and Vince Clarke. Also nominated: All I Wanna Do Is Make Love to You, performed by Heart, written by Robert John ‘Mutt’ LangeKiller, written by Adam ‘Adamski’ Tinley and Seal
  • Outstanding Services to British Music: Robert Farnon
  • Songwriter of the Year: Phil Collins
  • Outstanding Contribution to British Music: Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood and Bill Wyman

Ivor Novello Awards 1992

May 1992 saw Grosvenor House in London host the 37th Ivor Novello Awards ceremony.

  • Best Contemporary Song: Crazy, written by Seal. Also nominated: Walking Down Madison, written by Kirsty MacColl and Johnny Marr; Sit Down, written by Timothy Booth, Lawrence Gott, James Glennie and Gavan Whelan
  • Best Song Musically and Lyrically: The Whole of the Moon, performed by The Waterboys, written by Mike Scott. Also nominated: The Show Must Go On, performed by Queen, written by Freddie Mercury, Brian May, Roger Taylor and John Deacon; Stars, performed by Simply Red, written by Mick Hucknall
  • Best Theme from a TV/Radio Production: The Darling Buds of May, written by Philip Burley and Barrie Guard. Also nominated: Clarissa, written by Colin Towns; A Question of Attribution, written by Gerald Gouriet
  • Best Theme from a TV/Radio Commercial: Driven By You (Ford Motor Company), written by Brian May. Also nominated: Eagle Star – Reflections (Eagle Star Insurance), written by RAF Ravenscroft and Kevin Dillon-LambExcaliber (Carling Black Label), written by Rachel Portman
  • The Jimmy Kennedy Award: Tony Hatch and Jackie Trent
  • Best Selling ‘A’ Side: Bohemian Rhapsody / These are the Days of Our Lives, performed by Queen, written by Freddie Mercury, Brian May, Roger Taylor and John Deacon. Also nominated: Any Dream Will Do, performed by Jason Donovan, written by Andrew Lloyd Webber and Tim Rice; I’m Too Sexy, performed by Right Said Fred, written by Fred Fairbrass, Rob Manzoli and Richard Fairbrass
  • Best Film Theme or Song: Under Suspicion, written by Christopher Gunning. Also nominated: Dances with Wolves, written by John Barry; The One and Only, written by Nik Kershaw
  • International Hit of the Year: Crazy, written by Seal. Also nominated: Unbelievable; 3 AM Eternal, performed by The KLF, written by Bill Drummond, Jimmy Cauty and Ricky Lyte
  • Award in Recognition of the Exceptional Success of a Single Song: Everything I Do (I Do It For You), written by: Bryan Adams, Michael Kamen and Robert John ‘Mutt’ Lange
  • Best British Musical: Joseph and the Amazing Technicolor Dreamcoat, written by: Andrew Lloyd Webber and Tim Rice
  • PRS Most Performed Work: I’m Too Sexy. Also nominated: The One and Only, performed by Curtis Stigers, written by Nik Kershaw; Any Dream Will Do, written by Andrew Lloyd Webber and Tim Rice
  • Outstanding Contribution to British Music: David Gilmour, Nick Mason, Roger Waters and Richard Wright
  • Songwriter of the Year: Mick Hucknall
  • Special Award for International Achievement: Bernie Taupin
  • Lifetime Achievement Award: Eric Clapton

Ivor Novello Awards 1993

26th May 1993 saw Grosvenor House in London host the Ivor Novello Awards.

  • Best Contemporary Song: Would I Lie to You, performed by Charles and Eddie, written by Peter Vale and Mick Leeson. Also nominated: Stay, performed by Shakespears Sister, written by Marcella Detroit, Siobhan Fahey and Dave Stewart; Friday I’m In Love, performed by The Cure, written by Robert Smith, Simon Gallup, Porl Thompson, Boris Williams and Perry Bamonte
  • Best Song Musically and Lyrically: Why, written by Annie Lennox. Also nominated: The Disappointed, performed by XTC, written by Andy Partridge; Tears in Heaven, written by Eric Clapton and Will Jennings
  • Best Theme from a TV / Radio Production: Civvies, composed by Michael Storey. Also nominated: Blackheath Poisonings, written by Colin Towns; Kyrie Eleison, written by Christopher Gunning
  • Best Film Theme or Song: Tears in Heaven, written by Eric Clapton and Will Jennings. Also nominated: Final Analysis, written by George Fenton; Chaplin, written by John Barry
  • Songwriters of the Year: Colin Angus and Richard West
  • PRS Most Performed Work: Deeply Dippy, performed by Right Said Fred, written by Fred Fairbrass, Rob Manzoli and Richard Fairbrass. Also nominated: Would I Lie to You; Stay
  • Best Selling Song: Would I Lie to You. Also nominated: Goodnight Girl, performed by Wet Wet Wet, written by Marti Pellow, Neil Mitchell, Tom Cunningham and Graeme Clark; Ain’t No Doubt, written by Jimmy Nail, Danny Schogger, Charlie Dore and Guy Pratt; Stay
  • International Hit of the Year: Would I Lie to You. Also nominated: Stay; Tears in Heaven; Why
  • The Jimmy Kennedy Award: Les Reed
  • Outstanding Contemporary Song Collection: Marcella Detroit, Siobhan Fahey and Dave Stewart
  • Outstanding Contribution to British Music: Bernie Calvert, Allan Clarke, Bobby Elliott, Tony Hicks, Graham Nash and Terry Sylvester
  • Lifetime Achievement Award: George Shearing
  • Special Award for International Achievement: Rod Temperton

Ivor Novello Awards 1994

The 1994 ceremony took place at Grosvenor House on 25th May.

  • Best Contemporary Song: Pray, performed by Take That, written by Gary Barlow. Also nominated: Moving On Up, performed by M People, written by Paul Heard and Mike Pickering; Arranged Marriage, performed by Apache Indian, written by Stephen Kapur, Simon Duggal and Diamond Duggal
  • Best Song Musically and Lyrically: If I Ever Lose My Faith in You, written by Sting. Also nominated: Ordinary World, performed by Duran Duran, written by Simon Le Bon, Nick Rhodes, John Taylor and Warren Cuccurullo; I Don’t Wanna Fight, performed by Tina Turner, written by Steve Duberry, Billy Lawrie and Lulu
  • Best Theme from a TV/Radio Production: Stalag Luft, written by Stanley Myers. Also nominated: Harnessing Peacocks, written by Richard Holmes; Unnatural Causes, written by Richard Harvey
  • Best Film Theme or Song: The Piano, written by Michael Nyman. Also nominated: Into the West, written by Patrick Doyle; Indochine, written by Patrick Doyle
  • The PRS Most Performed Work: Ordinary World. Also nominated: Little Bird, written by Annie Lennox; Tears in Heaven
  • Best Selling Song: Mr Blobby, written by David Rogers and Paul Shaw. Also nominated: Dreams, written by Timothy Laws and Gabrielle; Babe, performed by Take That, written by Gary Barlow
  • The International Hit of the Year: Living on My Own, written by Freddie Mercury. Also nominated: I Feel You, performed by Depeche Mode, written by Martin Gore; Ordinary World, written by Simon Le Bon, Nick Rhodes, John Taylor and Warren Cuccurullo
  • The Outstanding Contemporary Song Collection: Paul Weller
  • The Jimmy Kennedy Award: Roger Cook and Roger Greenaway
  • Lifetime Achievement Award: Ron Goodwin
  • Outstanding Contribution to British Music: Tim Rice
  • Special Award for International Achievement: Bono, Adam Clayton, Larry Mullen Jnr and The Edge
  • Outstanding Contribution to British Musical Theatre: Andrew Lloyd Webber
  • Songwriter of the Year: Gary Barlow

Ivor Novello Awards 1995

Forty years into its history, the 1995 ceremony took place at Grosvenor House on 23rd May.

  • Outstanding Contribution to British Music: Lonnie Donegan
  • Best Contemporary Song: You Gotta Be, written by Des’ree Weekes and Ashley Ingram. Also nominated: Parklife, performed by Blurwritten by Damon Albarn, Graham Coxon, Alex James and Dave RowntreeZombieperformed by The Cranberrieswritten by Delores O’Riordan
  • Best Song Musically & Lyrically: Think Twice, performed by Celine Dion, written by Andy Hill and Peter Sinfield. Also nominated: Patience of Angels, performed by Eddi Reader, written by Boo Hewerdine; Dear John, written by Mark Nevin and Kirsty McColl
  • Best Theme from a TV/Radio Production: Middlemarch, written by Stanley Myers. Also nominated: Crocodile Shoes, written by Tony McAnaney; Beyond the Clouds, written by George Fenton
  • Best Commissioned Film Score: Shadowlands, written by George Fenton. Also nominated: Deadly Advice, written by Richard HarveyThe Joy Luck Club, written by Rachel Portman
  • Best Song Included in a Film: Circle of Life, written by Elton John and Tim Rice. Also nominated: Love is All Around, performed by Wet Wet Wet, written by Reg Presley; In the Name of Our Father, performed by U2, written by Bono, Gavin Friday and Maurice Roycroft
  • The Radio 1 Award for Continuing Innovation in Music: Brian Eno
  • The Best Selling Song: Love is All Around. Also nominated: Baby Come Back, performed by Pato Banton, written by Eddy GrantStay Another Day, performed by East 17, written by Tony Mortimer, Dominic Hawken and Robert Kean
  • International Hit of the Year: Love is All Around. Also nominated: 7 Seconds, written by Cameron McVey, Jonathan Peter Sharp, Youssou N’Dour and Neneh Cherry; Baby I Love Your Way, performed by Big Mountain, written by Peter Frampton; Without You, performed by Mariah Carey, written by Pete Ham and Tom Evans
  • The PRS Most Performed Work: Love is All Around. Also nominated: Stay Another DayBaby Come Back
  • The Jimmy Kennedy Award: Don Black
  • Lifetime Achievement Award: Van Morrison
  • The Outstanding Contemporary Song Collection: Elvis Costello
  • Songwriter of the Year: Tony Mortimer

Ivor Novello Awards 1996

Grosvenor House in London hosted the Ivor Novello Awards on 30th May 1996.

  • The PRS Most Performed Work: Back for Good, performed by Take That, written by Gary Barlow. Also nominated: No More I Love Yous, performed by Annie Lennox, written by David Freeman and Joseph Hughes; A Girl Like You, written by Edwyn Collins
  • The Best Selling Song: Back for Good. Also nominated: Fairground, performed by Simply Red, written by Mick Hucknall; Missing, performed by Everything But The Girl, written by Tracey Thorn and Ben Watt
  • International Hit of the Year: Kiss from a Rose, written by Seal. Also nominated: Back for Good; No More I Love Yous
  • Best Contemporary Song: Alright, performed by Supergrass, written by Danny Goffrey, Gaz Coombes and Michael Quinn. Also nominated: Wonderwall, performed by Oasis, written by Noel Gallagher; A Girl Like You, written by Edwyn Collins
  • Best Song Musically and Lyrically: Common People, performed by Pulp, written by Jarvis Cocker, Nick Banks, Candida Doyle, Steve Mackey and Russell Senior. Also nominated: No More I Love Yous; Back for Good
  • Best Commissioned Film Score: Don Juan De Marco, composed by Michael Kamen. Also nominated: Pin for the Butterfly, composed by Ilona SekaczNostradamus, composed by Barrington Pheloung
  • Best Commissioned Score from a TV/Radio Production: The Hanging Gale, written by Shaun Davey. Also nominated: Pride & Prejudice, written by Carl Davis; Yugoslavia, written by Debbie Wiseman
  • Best Song Included in a Film or Television Programme: Have You Ever Really Loved a Woman, composed by Robert John ‘Mutt’ Lange, Michael Kamen and Bryan Adams. Also nominated: Kiss from a Rose, composed by SealGoldeneye, performed by Tina Turner, composed by Bono and The Edge
  • The Jimmy Kennedy Award: Tony Macaulay
  • Outstanding Contribution to British Musical Theatre: Cameron Mackintosh
  • An Outstanding Contemporary Song Collection: Joan Armatrading
  • Songwriters of the Year: Blur (Damon Albarn, Graham Coxon, Alex James, Dave Rowntree) and Noel Gallagher (presented jointly)
  • PRS Outstanding Contribution to British Music: Small Faces (Kenney Jones, Ronnie Lane, Steve Marriott and Ian McLagan)
  • Outstanding Services to British Music: Jeff Lynne

Ivor Novello Awards 1997

London’s Grosvenor House hosted the 1997 ceremony on 19th May.

  • PRS Award for Most Performed Work of 1996: Fast Love, written by George Michael. Also nominated: Give Me a Little More Time, written by Gabrielle, Benjamin Wolff, Andrew Dean, Ben BarsonDon’t Look Back in Anger, performed by Oasis, written by Noel Gallagher
  • Best Commissioned Film Score: 101 Dalmatians, composed by Michael Kamen. Also nominated: Independence Day, composed by David ArnoldTwelfth Night, composed by Shaun Davey
  • Best Selling British Written Single in the UK: Hetty Wainthropp Investigates, composed by Nigel Hess. Also nominated: Wannabe, performed by Spice Girls, written by Victoria Adams, Melanie Brown, Emma Bunton, Melanie Chisholm, Geri Halliwell, Matt Rowe and Richard Stannard
  • Best Music Commissioned for a Broadcast Production: Cold Lazurus, composed by Christopher GunningRhodes, composed by Alan Parker
  • Best Contemporary Song: A Design for Life, performed by Manic Street Preachers, written by James Dean Bradfield, Sean Moore and Nicky Wire. Also nominated: Lifted, performed by Lighthouse Family, written by Paul Tucker, Martin Brammer and Tunde BaiyewuFirestarter, performed by The Prodigy, written by Liam Howlett and Keith Flint
  • Outstanding Song Collection: Richard Thompson
  • Best Song Musically and Lyrically: Too Much Love Will Kill You, performed by Queen, written by Brian May, Frank Musker and Elizabeth Lamers. Also nominated: I Am I Feel, performed by Alisha’s Attic, written by Terence Martin, Karen Poole and Michelle PooleNeighbourhood, performed by Space, written by Thomas Scott, Andrew Parle, James Edwards and Francis Griffiths
  • International Achievement: The Cranberries (Noel Hogan and Dolores O’Riordan)
  • The Jimmy Kennedy Award: Mike Chapman and Nicky Chinn
  • International Hit of the Year: Wannabe
  • Songwriter of the Year: George Michael
  • PRS Outstanding Contribution to British Music Award: Elvis Costello
  • Lifetime Achievement: Led Zeppelin (John Bonham, John Paul Jones, Jimmy Page and Robert Plant)

Ivor Novello Awards 1998

The 1998 Ivor Novello ceremony took place on 28th May 1998 at Grosvenor House, London.

  • PRS Most Performed Work: I’ll Be Missing You (Every Breath You Take), performed by Puff Daddy, written by Sting. Also nominated: Say What you Want, performed by Texas, written by Sharleen Spiteri and Johnny McElhoneBlack Eyed Boy, performed by Texas, written by Sharleen Spiteri, Johnny McElhone, Edward Campbell, Richard Hynd and Robert Hodgens
  • Best Original Film Score: William Shakespeare’s Romeo + Juliet, composed by Craig Armstrong, Marius De Vries and Nellee Hooper. Also nominated: Tomorrow Never Dies, composed by David ArnoldWilde, composed by Debbie Wiseman
  • Best Selling UK Single: Candle in the Wind 1997, written by Elton John and Bernie Taupin. Also nominated: Teletubbies Say Eh-Oh!, written by Andrew McCrorie-Shand; I’ll Be Missing You (Every Breath You Take)
  • Best Original Music For A Broadcast: Rebecca, composed by Christopher Gunning. Also nominated: Melissa, composed by Richard Harvey and Steve BakerCrime Traveller, composed by Anne Dudley
  • Best Contemporary Song: Karma Police, written by Thom Yorke, Jonny Greenwood, Phil Selway, Colin Greenwood and Ed O’Brien. Also nominated: Smile, written by James McColl, Ken McAlpine and Alan TilstonThe Drugs Don’t Work, written by Richard Ashcroft
  • Best Song Collection: Johnny McElhone and Sharleen Spiteri
  • Best Original Song for a Film or Broadcast: Picture of You, written by Paul Wilson, Andy Watkins, Ronan Keating and Eliot Kennedy. Also nominated: Step By Step, written by Annie LennoxSurrender, written by David Arnold, David McAlmont and Don Black
  • Best Song Musically and Lyrically: Paranoid Android, performed by Radiohead, written by Thom Yorke, Jonny Greenwood, Phil Selway, Colin Greenwood and Ed O’Brien. Also nominated: Brimful of Asha, written by Tjinder Singh; Angels, written by Robbie Williams and Guy Chambers
  • International Achievement: Enya, Nicky Ryan and Roma Ryan
  • Best Dance Music: You’re Not Alone, performed by Olive, written by Tim Kellett and Robin Taylor-Firth. Also nominated: Gunman, performed by 187 Lockdown, written by Julian Jonah and Danny HarrisonSunchyme, performed by Dario G, written by Gilbert Gabriel, Nick Laird Clowes, Stephen Spencer, Paul Spencer and Scott Rosser
  • PRS Outstanding Contribution to British Music: Morrissey
  • International Hit of the Year: Candle in the Wind 1997. Also nominated: I’ll Be Missing You (Every Breath You Take); Spice Up Your Life, performed by Spice Girls, written by Richard Stannard, Matt Rowe, Melanie Brown, Victoria Adams, Geri Halliwell, Emma Bunton and Melanie Chisholm
  • Songwriter of the Year: Richard Ashcroft
  • The Jimmy Kennedy Award: Barry Mason

Ivor Novello Awards 1999

The 1999 Ivor Novello Awards were presented on 27th May 1999 at Grosvenor House, London.

  • PRS Most Performed Work: Angels, written by Robbie Williams and Guy Chambers. Also nominated: High, performed by Lighthouse Family, written by Paul Tucker and Tunde BaiyewuNever Ever, performed by All Saints, written by Shaznay Lewis, Sean Mather and Esmail Jazayeri
  • Best Selling UK Single: Believe, performed by Cher, written by Brian Higgins, Steve Torch, Paul Barry, Stuart McLennan, Tim Powell and Matt Gray. Also nominated: No Matter What, performed by Boyzone, written by Andrew Lloyd Webber and Jim SteinmanC’est La Vie, performed by B*Witched, written by Tracy Ackerman, Ray Hedges, Martin Brannigan, Edele Lynch, Keavy Lynch, Lindsay Armaou and Sinéad O’Carroll
  • Best Original Film Score: Firelight, composed by Christopher Gunning. Also nominated: Dancing at Lughnasa, composed by Bill WhelanEver After, composed by George Fenton
  • Best Contemporary Song: Here’s Where the Story Ends, performed by Tin Tin Out, written by Harriet Wheeler and David Gavurin. Also nominated: Road Rage, performed by Catatonia, written by Mark Roberts, Cerys Matthews, David Jones, Aled Richards and Owen PowellWhat Can I Do, performed by The Corrs, written by Andrea Corr, Caroline Corr, Sharon Corr and James Corr
  • Best Original Music for a Television / Radio Broadcast: Close Relations, composed by Rob Lane. Also nominated: Life of Birds, composed by Steven Faux and Ian ButcherSelfridges: The Shop, composed by Barrie Bignold
  • Best Song Commissioned for a Film or Broadcast: The Flame Still Burns, written by Chris Difford, Marti Frederiksen and Mick Jones. Also nominated: Why Won’t You Shag Me, written by Owen Vyse and Guy PrattKipper, written by Robert Heatlie
  • Best Song Musically and Lyrically: Believe. Also nominated: C’est La Vie; A Little Soul, performed by Pulp, written by Jarvis Cocker, Nick Banks, Candida Doyle, Steve Mackey and Mark Webber
  • Outstanding Song Collection: Jamiroquai (Wallis Buchanan, Simon Katz, Jay Kay, Derrick McKenzie, Toby Smith and Stuart Zender)
  • The Ivors Dance Award: Horny, written by Mousse T and Errol Rennalls. Also nominated: Sing It Back, performed by Moloko, written by Mark Brydon and Róisín Murphy; I Can’t Help Myself, performed by Lucid, written by Mark Hadfield and Adam Ryan Carter
  • International Achievement: Martin Gore
  • The Jimmy Kennedy Award: Peter Callander and Mitch Murray
  • International Hit of the Year: Believe, written by Brian Higgins, Stuart McLennan, Paul Barry, Steve Torch, Matt Gray and Tim Powell. Also nominated: Life, written by Des’ree Weekes and Prince Sampson; No Matter What, written by Andrew Lloyd Webber and Jim Steinman
  • PRS Outstanding Contribution to British Music: Chrissie Hynde
  • The Special International Award: Hal David
  • Songwriters of the Year: Guy Chambers and Robbie Williams
  • Lifetime Achievement: Rod Stewart

Further Reading

New Order – Lost Sirens

As used to be customary after major New Order albums, they basically imploded after Waiting for the Sirens’ Call. They had had a pretty good year, closing it out with their brilliantly comprehensive Singles compilation, and there was an extensive tour, but then in May 2007, things got very confusing. As you probably remember, Peter Hook appeared in an interview and said that New Order had split up, to which the rest of the band responded, “no we didn’t,” and we’ve now been treated to a decade or so of Hook moaning about how badly he was treated while the rest of them seem to put their fingers in their ears and sing “la la la, I’m not listening”. There are some real issues there, but it all comes across as very childish.

It took another six years for Lost Sirens to appear, but it’s pretty amazing that it did. Plugging the gap firmly between Waiting for the Sirens’ Call, when they had Peter Hook, and Music Complete, when they no longer did, you get this. It opens with I’ll Stay with You, which is comfortably better than most of the tracks on the preceding album. It’s a great, catchy song, with some great contributions from Hook.

Even Sugarcane, hinting somewhat at some of Bernard Sumner‘s dafter lyrical moments, is still another catchy and memorable song. What’s notable here is that whereas the parent album was gloomy and rock-infused, this is positively chirpy.

Recoil gives us a more acoustically-focused piece, with some great (electric?) piano work alongside Hook’s unforgettable bass lines. If this had been the last album New Order ever recorded together, it would have been an excellent way to leave – think what you like of Music Complete, the end of the Peter Hook era definitely left listeners on a high. You just have to put emotions to one side – a bit like being in a band, really.

I think California Grass is probably my favourite track on here. It’s also the most rock-sounding, with some relatively big guitars, but they stay subdued and hold back on too much extreme wankery. It just feels like an epic coastal road trip song, somehow.

This is a compilation at heart though, and the track listing is appropriately odd. Hellbent, which snuck out on a compilation a couple of years earlier, is good, but it’s not great. Shake it Up starts off sounding like one of Electronic‘s better moments, but ultimately fails to deliver, particularly once the wah-wah turns up. “I read your book from front to cover,” must surely be up there among Sumner’s worst lyrics ever?

I’ve Got a Feeling is better – it starts off particularly promisingly, although things fall apart quickly during the verse, and despite a catchy chorus, it still sounds a bit generic. The first half of this mini-album was definitely better than the second. To close things out, I Told You So was up there with Jetstream as one of the best tracks on the last album, and now we get a remix of it, the Crazy World mix. It’s huge, epic, and… well, very disappointing. In this century, the guitar-based version of New Order simply isn’t as good as the electronic version. So roll on Music Complete, the album where for the first time in a long time, they really understood who they were, and did it well.

For all my misgivings, Lost Sirens is a pretty good release, and I’m glad we got it, even somewhat belatedly. Is it better than Waiting for the Sirens’ Call? Well, they’re probably about the same, but this does at least have a nice stack of uplifting tracks at the start, which can’t be said for its predecessor.

You can find Lost Sirens at all major retailers.

New Order – Substance

Released thirty years ago this week, New Order‘s first compilation, the companion album for Joy Division‘s slightly later album of the same name, is widely celebrated as one of the best compilations of its era. Uniquely, thanks to their habit of releasing non-album singles, more than half of the tracks had never appeared on another New Order album.

The singles are presented here in relatively simple, chronological form, and so it opens with one of two versions of Ceremony, the Joy Division track that New Order recorded after Ian Curtis‘s suicide. It’s a great track, if somewhat poignant.

Continuing with their early works with producer Martin Hannett, we then get Everything’s Gone Green, representing their second single from late 1981. I’ve never been hugely fond of either this or Procession, which makes up the other half of the single. As a minimum it’s an interesting period piece, but it’s noticeably lower quality than Ceremony, and to me seems to show a group struggling to find its way after the death of its guiding light.

By Temptation (1982), they seemed to be starting to find their way. It could have been a lot more polished, but you could definitely see what their sound was starting to become. This version was slightly re-edited for Substance.

What can you say about Blue Monday that hasn’t been said before? Not much. Let’s just say it’s fantastic, groundbreaking, and unforgettable, and leave it at that. However good anything else on here might be, it’s never going to be as good as this.

A tweaked version of Confusion is next, unsurprisingly a sizeable hit after Blue Monday, just missing out on a top ten placing. Written with Arthur Baker, it’s an oddly experimental track, full of huge eighties snares and orchestral hits, but somehow it also displays a certain brilliance. Five tracks in, and New Order are firmly and consistently producing great music.

Thieves Like Us is probably the most “pop” of the earlier tracks. From the traditional New Order instrumental introduction that lasts over two minutes – more than a third of the song – despite being challenging and unusual, is already accessible, and Bernard Sumner‘s vocal, when it finally arrives, is unusually well delivered.

The eight-minute 12″ version of The Perfect Kiss is an odd inclusion in a way – it just seems a bit too long among the other singles. Which is only ironic because due to limited playing time on the CD, this is actually slightly edited from the original release. Still, it’s a great piece of music, and speaking personally, I’m all for frog and sheep samples in my music.

Also from Low-Life is Sub-culture, which follows, also in the form of a slightly obscure edited remix, which apparently led to sleeve designer Peter Saville refusing to design a sleeve for the single. Then comes the brilliant Shellshock, again an edited 12″ version, but sounding every bit as resonant as any of the single versions on here.

There are then two tracks from 1986’s Brotherhood – firstly, State of the Nation, a number 30 hit in September of that year. Honestly, by this stage it would be hard for New Order to do anything wrong – particularly not with their singles. Truly brilliant. But not, honestly, quite as good as Bizarre Love Triangle, which appears here remixed by Shep Pettibone in typically extravagant form. It’s perplexing and confusing that this only reached number 56 on its original release.

Finally, promoting the album was the fantastic one-off single True Faith. If you were forced to name a New Order track, the chances are good that you would pick either this or Blue Monday – it’s utterly fantastic, and unusually (at least as far as I’m concerned) the title actually seems to fit the song. Everything just seems to come together perfectly.

So Substance is an unusual compilation, focusing generally on the 12″ versions rather than the ones you might have heard on the radio, but as a companion to New Order‘s first four albums, it’s rather fantastic. The second disc gets you a whole load of b-sides and alternative mixes. You would probably have to be an established fan these days to buy this instead of the more recent Singles, but it’s definitely an essential purchase for completists.

You can still find Substance at all major retailers.