Heaven 17 – The Luxury Gap

“Work hard.” That’s what I think he’s saying, anyway.

Thirty-five years ago this week, Heaven 17‘s finest album The Luxury Gap first appeared in the shops. Having seen some initial fleeting visions of success a few years earlier with The Human League and previously with the frankly awful debut album Penthouse and Pavement (1981), Let Me Go had hinted at the new sound in late 1982, and then suddenly Temptation took the charts by storm, and history was made.

It opens with Crushed by the Wheels of Industry, an entertaining mix of steelwork-inspired sounds with soulful vocal delivery, daft lyrics, and a whole load of other things. It’s a representative way to open the album, and somehow manages to be both awful and brilliant at the same time. It’s a line that Heaven 17 have always trodden that line with care, and in this instance it works rather well. This was released as the fourth and final single in September 1983.

Who’ll Stop the Rain is next, with its punchy funk bass line. It isn’t really single material (although they were big enough at the time that the US saw a promo version), but it’s a good album track. It does pale into insignificance next to the brilliant Let Me Go, though.

If you need a reason to buy this album, Let Me Go should be it. For the first time, Heaven 17 had recorded a catchy, beautiful, brilliant song that really allowed Glenn Gregory to show off his full vocal prowess. It’s an odd electronic hit, sounding now more like something from 1987 than 1982, and perhaps it’s that out-of-time quality that makes it so special. It deserved to be an enormous hit, but never even scraped the top 40 in the UK. In the US, it’s pretty much their only hit single.

Nothing was ever really going to stand out after that, but Key to the World is a decent, if somewhat generic attempt. In general, this album is all good pop music, and this track closes Side A in an understated but upbeat way.

Side B opens with the number 2 hit and second single Temptation. Broken down into its constituent pieces, it’s an odd track with a very loud screechy female vocal, but somehow it’s also catchy, wonderfully delivered as a duet, and really rather brilliant. If you have any doubts about this song, picture yourself in early 1980s Thatcherite Britain just a matter of months after the end of the Falklands War, and it might make a lot more sense. Or maybe not.

Either way, the downbeat charm of third single Come Live with Me is welcome at this point. Definitely among the three exceptional tracks (alongside Let Me Go and Temptation), the lyrics are definitely a bit unnerving at the start (“I was 37, you were 17”) – it’s hard to imaging a statement like that making the top ten now. But then there’s that great lyric about “If half the things they say / Are quarter true of me,” which absolutely can’t be faulted, and if you disagree, you’re wrong.

Lady Ice and Mr. Hex is the one track on here that I really don’t understand. At best, I try to view it as a comment on early 1980s consumerism, but even that seems a bit stretched. Maybe they just thought the album needed a funky showtune at this point.

We Live So Fast is next, a brilliantly daft-speed track which would have probably been the best track on several of Heaven 17‘s less successful works. Here, it’s pedestrian, but that’s far from a bad thing. It’s far from perfect, but the standard on this album really is pretty high.

One thing that’s clever is only having nine tracks over a 37 minute duration, so it really grabs you by the throat and keeps you listening. We’re on to the final track already, the atmospheric The Best Kept Secret, which cleverly if unsubtly echoes Let Me Go to loop things back to the hit that got this album started. It’s a great closing piece for what really is a great album.

So all in all, The Luxury Gap may not be the best album ever recorded, unless perhaps you were there to hear it in context at the time, but it’s close. Even if you weren’t there or fully paying attention at the time, there’s plenty to enjoy here. Highly recommended.

You can still find the 2006 remastered version of The Luxury Gap at all major retailers.


Honeyroot – The Sun Will Come

A decade ago this week saw the release of the second of two Honeyroot albums, The Sun Will Come. Founded by Heaven 17‘s Glenn Gregory in the twilight of their career, the Honeyroot project saw him and Keith Lowndes working together on beautiful, relaxed pop music. The less accomplished Sound Echo Location had kickstarted the project in 2003, and with The Sun WIll Come, they truly managed to create something magnificent.

Confusingly, it opens with the triumphant instrumental Goodbye, before introducing the first of several fantastic guest vocalists for the quite brilliant Nobody Loves You (The Way I Do), a minor single release that appeared the same year as the album. With its enormous pads, chilled piano, and warping bass, as well as a very familiar lyrical message, it may be fair to say that nothing here is entirely new, but it is delivered in a quite exceptional manner.

The adorable instrumental Heavy Drops comes next, also the other side of the double a-side with the preceding track. There’s a gentle, soft arpeggio running through most of the track, with a soft melody line, that sounds absolutely fantastic. The vocal samples I’m less sure about, but it would be hard to spoil anything this good.

I got to know this album on a five-day train journey across Canada in 2008, and one of the most evocative tracks is the adorable single Where I Belong, almost an electro-country track with its slide guitar and melancholic vocal. Imagine the rhythmic chugging percolated by the occasional train horn as the miles go past, and you’ll have a pretty good idea of why this song means so much to me.

As with the version of Love Will Tear Us Apart on the first album, the cover of A Change is Gonna Come here is very brave. It’s a song with a lot of meaning for a lot of people, and it would be very easy to dilute or disrespect that, but I think this pulls it off, as a soft and beautiful piano piece.

Drifter is a sweet gospel-piano pop song, and then People Say is a glorious, simple pop track. By the middle of this album, its form is holding up well, although Every Single Day is probably the one moment on here that I think doesn’t stand up quite as well as the rest.

Then comes Waves, a beautiful pop song, with more rippling pads and acoustic-inspired sounds, as well as an enormous grumbly bass sound. Freeway is another great instrumental.

But the best has definitely been saved till the end – my favourite track on here is the adorable, lullaby-like The Stars, full of cascading arpeggios and huge reverb. If there’s a better album closing track then I would very much like to know what it is. Indeed, The Sun WIll Come surely must be one of the best albums of its era. If only anybody had heard it – their only foray into the charts was a minor scrape at the bottom end of the singles with Love Will Tear Us Apart.

Unfortunately the Honeyroot project was not destined to last much longer. A one-off single It’s All Good followed in 2008, and then Heaven 17 started doing stuff again, and its time was through. Which is a very great shame – I do like Heaven 17 a lot, but I’m not convinced they ever created anything quite as beautiful as The Sun Will Come.

You can still find The Sun Will Come at their own Bandcamp page for just a fiver.