Stowaway World Cup – The Draw

OK, time for the all-important draw. Pot A consists of the top 8 artists by mentions on this blog:

  • Pet Shop Boys
  • Depeche Mode
  • Jean-Michel Jarre
  • Röyksopp
  • Erasure
  • New Order
  • David Bowie
  • Goldfrapp

Pot B consists of the next eight, except that Moby is busy getting vegan tattoos, so won’t be taking part this year. Delerium, Front Line Assembly, and Conjure One are pretty much the same people anyway, so they have formed a single team together.

  • Saint Etienne
  • Kraftwerk
  • Sparks
  • Delerium / Front Line Assembly / Conjure One
  • The Human League
  • Orchestral Manoeuvres in the Dark
  • The Future Sound of London
  • The Beloved

Pot C sees a few disqualifications, with Vince Clarke taking part as part of Erasure, and Martin L. Gore playing for Depeche Mode:

  • Air
  • Little Boots
  • Massive Attack
  • Kylie Minogue
  • I Monster
  • William Orbit
  • Ladytron
  • Hot Chip

Finally, Pot D sees Dave Gahan disqualified for being part of Depeche Mode, plus U2 and Coldplay disqualified for not being very good. Yazoo formed a team with Madonna, for no particularly good reason.

  • Madonna and Yazoo
  • The Radiophonic Workshop
  • Leftfield
  • Everything But The Girl
  • Shit Robot
  • Client
  • Enigma
  • Bent

After the draw, the eight groups look like this:

  • Group A: Jean-Michel Jarre, Delerium / Front Line Assembly / Conjure One, Little Boots, Madonna and Yazoo
  • Group B: Depeche Mode, Sparks, Kylie Minogue, Everything But The Girl
  • Group C: Erasure, Saint Etienne, Massive Attack, Shit Robot
  • Group D: Goldfrapp, Kraftwerk, Hot Chip, Bent
  • Group E: Pet Shop Boys, The Beloved, I Monster, Client
  • Group F: Röyksopp, Orchestral Manoeuvres in the Dark, Air, Enigma
  • Group G: David Bowie, The Human League, Ladytron, Leftfield
  • Group H: New Order, The Future Sound of London, William Orbit, The Radiophonic Workshop

So the first game will be Jean-Michel Jarre versus Madonna and Yazoo, in a couple of days’ time.


Depeche Mode – Ben Hillier Trilogy

Trilogies of albums with a single producer seem to be somewhat en vogue in recent years, and since the release schedule is so much slower for most artists than it used to be, that can mean an ongoing collaboration lasting more than a decade. So it is with Depeche Mode‘s recent trilogy of albums with Ben Hillier.

The story began in late 2004 or early 2005 with the sessions to record Playing the Angel (released 2005). Depeche Mode were back in their stride by now, perhaps the most comfortable they had ever been with who they were. A decade earlier, the end of the Songs of Faith and Devotion tour saw the band in turmoil, with drug and alcohol abuse, Dave Gahan close to death, and the permanent departure of Alan Wilder. Ultra (1997), although undeniably dark in character, saw the first step of their rebirth, and the lighter Exciter (2001) saw them celebrating the pop and dark sides of their past.

This must have left them in a difficult place, in terms of the style they wanted to hit with the next album, but Playing the Angel finds them still comfortable with their sound. There’s nothing really weak about this album – it hops between exceptional (such as lead single Precious and follow-up A Pain That I’m Used to) and fair (tracks such as I Want it All and Macro may not be the band’s most memorable, but are far from their worst).

After the inevitable tour, they filled their time off with a good but unnecessary compilation, The Best of Depeche Mode – Volume 1, led by the lovely Martyr, an outtake from the previous album, and then some solo work including Gahan’s lovely second album Hourglass, before returning with Sounds of the Universe (2009).

This is where the idea of a producer-based trilogy starts to cause problems. Depeche Mode have always suffered badly from loudness, and all three of these albums are particularly bad examples, which would benefit from remastering despite not being particularly old. So that’s one problem, and the lack of change seems to have impacted creativity somewhat too.

It’s not that Sounds of the Universe is particularly badWrong is a great, beautifully dark, first single, and there are other great tracks on here too, such as Peace and Perfect. It’s just that a lot of it is very average, by Depeche Mode standards. Dave Gahan‘s songwriting contributions are fair at best, and a lot of Martin L. Gore‘s seem a little uninspired. Possibly the finest track of all on here is the Gahan/Gore songwriting collaboration Oh Well, which was inexplicably disposed of on the b-side of Wrong and the bonus disc of the album.

That bonus disc – and the box set of other discs – is this album’s saving grace. This was an age where Depeche Mode remixes were generally of high calibre, and the disc of historic demos is very welcome too. The album was still hugely successful, hitting number 2 in the UK and number 1 in many countries, so it was far from a failure – just perhaps a little disappointing.

Depeche Mode albums seem to take a four-year pattern, with an album (2009) followed by a tour (Tour of the Universe, 2009-2010), a DVD (Tour of the Universe: Barcelona 20/21.11.09, 2010), some side projects (Remixes 2: 81–11, 2011, and the adorable The Light the Dead See by Dave Gahan and Soulsavers, 2012), all of which kept the band more than busy enough before they needed to start work on the final release in the trilogy in 2012.

Delta Machine (2013) is the real disappointment in the trilogy. It’s worthy – there’s more real instrumentation here, and some great moments, including – as always, the lead single Heaven. Final single Should Be Higher is great too. But there’s a lot that isn’t, particularly Angel and Secret to the End, and the overriding impression you get is just how loud everything is. In the charts, Depeche Mode can do very little wrong, so maybe none of this matters particularly, but the final piece of this trilogy was not their best work.

Their fans never seem particularly keen whenever a new album lands, but enough time has passed now that the popular opinion on Delta Machine should have mellowed. Maybe it has, but I have to say, I’m still struggling.

However, this trilogy showed us that Depeche Mode have plenty more to offer the world of music, even if they only do it together once between each Olympics and World Cup. It showed us that they were capable of being very loud, even if that came at the cost of sound quality. And it showed us that maybe they benefit from having a new producer for each album, or perhaps this trilogy coincided with a wane in their creativity. Either way, they definitely still have it, and their time with Ben Hillier produced some of their best material. But it also produced some less notable works too.

See here for another summary of a producer trilogy.

Depeche Mode – Sounds of the Universe (Bonus Tracks & Remixes)

Depeche Mode don’t release a lot of b-sides, and when they do, they are a little intriguing. On the back of their 2009 comeback single Wrong, they included the jaunty and intriguing Oh Well, and then proceeded to follow it up with a whole album of b-sides and remixes as the second disc of Sounds of the Universe. It appeared ten years ago this week, and we reviewed the first disc exactly five years ago this week.

It opens with Light, which is pretty good. Definitely b-side material, but good nonetheless. It’s a catchy song, but I don’t think anyone would argue that it should have been on an album. The Sun and the Moon and the Stars is nice, though, and sees principle songwriter Martin L. Gore delivering the lead vocal. In many ways, with the bleak electro backing, it sounds like something from his solo back catalogue, and again, I’m not sure it’s really Depeche Mode album material, but it’s a nice song, and it’s always good to get another Gore vocal.

This was, of course, the era when Dave Gahan, coming back from his solo material, was now able to contribute to the songwriting progress as well. So, having contributed three tracks to the main album (Hole to Feed, Come Back, and Miles Away / The Truth Is), there wasn’t quite as much space for Gore’s material. So most of what’s on the second disc is his, and normally with a Gahan vocal.

Ghost is another of these, with a catchy vocal and some wonderfully dark electronic backing. You can tell the quality is high here though – again, while Sounds of the Universe is far from Depeche Mode‘s finest hour, the standard is actually pretty high – and Ghost isn’t quite up there.

But we do get a decent range of Depeche Mode‘s signature sounds here – and one of the less well known of those is Martin L. Gore‘s abstract instrumentals, of which Esque is one. Running at just over two minutes, it’s a pleasant interlude, which tends to be pretty much all they’re ever used for, but it’s a good example of the style.

Let’s face it, though – Oh Well is the reason you’re interested in this bonus disc. Frankly, why this wasn’t on the main album is a bit of a mystery to me – maybe they just didn’t quite feel it fit somehow. This is, though, the first ever songwriting collaboration between Dave Gahan and Martin L. Gore, and it also features a joint vocal from the two of them, alongside some gloriously dirty electronics. It’s brilliant – better, actually, than several of the tracks on the main release.

That’s it for the bonus tracks – the remaining tracks are all remixes, and of an odd selection of tracks. First up, Efdemin turn up for a dubby (but full-vocal) mix of Corrupt. It’s alright, but Depeche Mode remixes are often pretty inscrutable, and this is a good example of that. It’s fairly relaxed, fully of soft beats and vocal samples, and not a huge amount else.

Minilogue‘s Earth mix of In Chains is easier to understand, reworking the opening track from the main album. While it was reasonable as an opening track, it isn’t the best source material that Depeche Mode have ever provided, but this turns out to be a spacey house mix, with huge amounts of reverb and some more dub influence on the vocals, but it bounces along pleasantly for eight minutes or so.

But while some of their remixes may be particularly challenging, others do hit their mark, and you can trust The Orb‘s Thomas Fehlmann to be the first to do that here, with his excellent Flowing Ambient Mix of Little Soul. It retains large chunks of the original, but adds a huge throbbing synth line that just chugs along gently for nine and a half minutes. It’s pure brilliance, of a sort that only seems to happen once in a while with Depeche Mode‘s remixes.

The remaining remixes are good, but don’t really break new ground. SixToes‘ somewhat anarchic string version of Jezebel is enjoyable, and it’s definitely an odd definition of the “remix”, as it’s difficult to figure out exactly who would play this and where, but it’s also very pleasant. Electronic Periodic‘s Dark Drone Mix of Perfect is an odd combination of electro and house, but works well too.

Finally, Caspa turns up to rework lead single Wrong. This is a pretty good glitchy version, although probably not quite up to the standard of some of the versions on the single, such as Trentemøller‘s take. But it closes out a decent collection in appropriate fashion – there’s not much special here, but there’s nothing really bad either.

All in all, the bonus tracks and remixes from Sounds of the Universe are pretty good. There were some better remixes spread across the singles, but this isn’t a bad collection. Both the bonus tracks and the remixes have plenty of sounds from Depeche Mode‘s universe (excuse the pun) to offer, and so it’s definitely worth hearing. Above all, this is where you can find Oh Well.

You can find all of these tracks on Sounds of the Universe (Deluxe), which is still available from major retailers, including the original album and also the demos, which we reviewed previously here.

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

Stowaway Heroes – Vince Clarke

One of the most prolific names in music is Vince Clarke. After a couple of excellent false starts including Yazoo and The Assembly, he’s spent most of his career as the knob-twiddling genius responsible for Erasure‘s backing tracks.

Things started out, of course, with Depeche Mode, and we can’t really overlook his sunglasses and designer stubble in their breakthrough hit Just Can’t Get Enough:

Of course, Erasure is where he’s spent most of the last thirty years, and it would be difficult not to give him credit where it’s due for his exquisite performance in the video to Abba‘s Take a Chance on Me:

In recent years, he has branched out, working again with his old bandmate Martin L. Gore as well as half of Orbital, all of Jean-Michel Jarre, and others. From 2Square, his project with Paul Hartnoll, here’s Better Have a Drink to Think:

Genius is an over-used word without a doubt, but it’s absolutely fair to say that Clarke should be one of our stowaway heroes.

Retro chart for stowaways – 24 January 2004

Here are the top ten singles from fourteen years ago this week:

  1. Liberty X – Everybody Cries
  2. Sugababes – Too Lost in You
  3. Pet Shop Boys – Miracles
  4. Girls Aloud – Jump
  5. Martin L. Gore – Loverman
  6. Madonna – Love Profusion
  7. Goldfrapp – Twist
  8. Dave Gahan – Bottle Living
  9. Kylie Minogue – Slow
  10. Sugababes – Hole in the Head

Depeche Mode – Music for the Masses

“Taking a ride with my best friend,” could very easily be a description of Depeche Mode‘s sixth album Music for the Masses, released thirty years ago this week. Now, thirty years on, it all seems very familiar from the singles and the fantastic live album 101, but at the time in the UK, this was actually Depeche Mode‘s lowest selling album yet.

It opens with the second single Never Let Me Down Again, surprisingly only a moderate hit a month or so before the album came out. It’s strange, as it seems such an iconic piece for its time now, but apparently it didn’t seem so back then.

The haunting The Things You Said is next, with a Martin L. Gore lead vocal. Whereas the previous album Black Celebration had purposely tried to challenge listeners, Music for the Masses is, as its title suggests, very much about pop music – and although apparently at the time they thought of the title as a bit of a pun, I think it’s truer than they might have realised. Typically dark Depeche Mode pop music, but pop nonetheless. The Things You Said is slower and more mellow than most of the things on here, but it has a wonderfully soulful side too.

Opening single Strangelove is next, a curiously twisted piece about either hidden fetishes or accepting people for who they are. Towards the end there’s a hint of a bit of the late 1980s 12″ mix, before it mixes into the gloriously sacrilegious Sacred. There’s something beautifully ecclesiastical about it, although ultimately it grows into a fairly traditional Depeche Mode production. It’s a great song.

The France-only single Little 15 completes Side A of the album, an odd but beautiful choice for a single, full of warped strings and mournful piano and vocal samples, without a single drum. It’s difficult to know what could be done to improve it – this is complete perfection.

Side B opens with the other single, the fantastic Behind the Wheel. Again, this didn’t even scrape the top twenty in the UK (although it did make the top ten across Europe), but surely it has to be one of the finest road trip songs you can name.

Depeche Mode produced this album pretty much by themselves, with some help from Dave Bascombe, and this might explain how I Want You Now came to pass. It’s almost all built around vocal samples, which could have worked very badly, but instead it sounds fantastic, and turns what could have been an unusually mundane lyric into something quite fascinating.

Even more experimental is To Have and To Hold, a sweet track that’s built around enormous drums. It’s short, and at the end it slightly uncomfortably mixes into Nothing, a rocky track which here is built around digital synthesisers, but the later remix that replaced them with guitars was none the worse for the change.

Finally, we get Pimpf, the pleasant instrumental that still turns up from time to time as an interlude for TV programmes, and its miniature companion Mission Impossible, which appears right at the end as a hidden track. Honestly and without irony, this is probably as close as Depeche Mode had come to “music for the masses” since their first album.

The original CD release gave you a few extra b-sides, but these were relegated to the bonus DVD for the reissue, and honestly, good though they are, the album feels better without them. Music for the Masses marked a turning point for Depeche Mode, a point where they could pull off a massive 101-date tour closing at the Rose Bowl in Pasadena, and one which would lay the foundations for the fantastic Violator.

If you can’t find the reissue with the bonus disc, try not to be tempted by the original CD with its bonus tracks, as the sound quality is markedly worse than this 2013 reissue.

Depeche Mode – Ultra

In the four years since Songs of Faith and Devotion (1993), Depeche Mode had shed a member and come dangerously close to losing another permanently, as Dave Gahan hit an extremely low point and nearly died of an overdose.

So it’s hardly surprising that Ultra, released twenty years ago this week, is a dark album. From the very first opening sounds of first single Barrel of a Gun, you can tell they’re exploring grimey territory. But there’s also something overwhelmingly positive about it – the delivery is punctuated by a confidence and force that I’m not sure we had really heard before.

It is said that they only went back into the studio to record a couple of new tracks for a best of album, but discovered a new energy and ended up with an entire studio album – and it’s easy to believe. Working with Tim Simenon of Bomb the Bass as producer, they seem to have re-emerged from their life-changing four year hiatus with something quite extraordinary.

In a way, the album tracks are more interesting than the singles – The Love Thieves is a soft and uneventful track which is elevated to something beautiful by its production. Then comes Home – and remember that some of Martin L. Gore‘s more introspective songs in the past have taken an under-produced approach. Home definitely isn’t one of those; instead, it’s full of huge orchestral flair, making it one of Depeche Mode‘s most beautiful songs.

This leads us to It’s No Good, the second single and without a doubt the most commercial track on here. There’s still a definite air of darkness, but this is also a great pop song, and was deservedly a significant hit.

What makes this album stand out so many years later is its sense of spaciousness. Pretty much nothing on here is less than four minutes long, and everything has been expanded, so there are huge gaps between vocal lines and verses. The miniature instrumentals, like Uselink, had for many years been key to Depeche Mode‘s sound, but here they add to the experience on a basic level.

This makes it all the odder that when you first listen to Ultra, there’s a decent chance that you won’t like it very much. This is an album that demands at least four or five listens before it starts to get under your skin, but as soon as it does, it really won’t leave you alone.

Useless was the last of the singles from this album, and it’s with this track that you really find Depeche Mode‘s new sound – it’s rhythmic and danceable, but it’s very definitely rock. There are elements of many of their previous guises hidden in here, but it also sounds quite new. Honestly, even twenty years on, this wouldn’t sound too out of place today either.

Then we get Sister of Night, which could have easily kept its head down and just been another album track, but the huge, effect-laden melody that opens the track and reappears from time to time throughout really grabs you and makes you pay attention, and as you do, you realise that this is an incredibly beautiful song.

After Jazz Thieves, another of the little instrumentals, comes Freestate, an excellent opportunity for Dave Gahan to demonstrate himself to be a truly amazing vocalist, which might have been obvious to some a few albums earlier, but then the UK had never really given Depeche Mode the attention they deserved.

After that comes the daft but sweet The Bottom Line, starting off sounding as though it might be about a cat and punctuated by cat-like synth wails, and then the last proper track Insight, which echoes It’s No Good somewhat, but is otherwise a sweet and uplifting closer. Apart, of course, from the hidden bonus track, an instrumental colloquially named Junior Painkiller, which turns up a few minutes after the end.

Ultra was always emotional but mature, and every bit as good as Depeche Mode needed to be at that stage in their career, but it’s encouraging to see that it has aged so well, and it’s a relief that the three remaining members were all present and correct.

The 200x double CD reissue is the definitive version of Ultra, but if this is no longer available, go for the remastered reissue instead.