Stateless, US & UK versions compared

THE OVERVIEW

Toy Box: The Stiff Years is a four-CD box set covering everything (or nearly so) Lene and her band recorded for Stiff Records, which amounts to three albums, two “mini-LPs,” and some odds and sods, all of which have been gathered up together. For me, who has collected Lene faithfully for decades (and once did a lovely interview with her and Les in Atlanta), there’s not a lot here I hadn’t already heard or own, except for one pretty significant thing (which we’ll get to shortly).

From her 70s and 80s peak years, most everything is here apart from the brilliant 1989 album March, but of course it wouldn’t be — it didn’t come out on Stiff. Each of the albums are supplanted with bonus tracks, including a lot of “early versions” (home studio demos), instrumental versions, variations, remixes, live versions, and promo or b-side type stuff.

As with these sorts of “everything boxes,” as I like to call them, it’s really great having this all in one place (super handy when storage is tight, eh, fellow collectors?), and while I’m sure there’s a few oddities missing — for example I have the full Lene “Interview Disc” on vinyl where the DJ would ask questions and “Lene” (on the included record) would respond — but this is as complete a catalog of the Stiff music from her as we’re likely to get. Plus, it’s Cherry Red — there’s a fabulous booklet that includes Lene’s own memories and comments, plus some supplemental information from Scott Davies (of Rubellan Remasters, who handled the audio remastering for this project) and Michael Robson (who sheparded the project and designed the booklet and box).

One last thing before we dive in: It wasn’t originally my intention to do another artist who rose to full prominance in 1979 this soon, I had actually picked out another quite different artist boxset to do; but I was joking to some friends one day last month that it would be ironic if I covered three of Lene’s four 70s/80s albums in … wait for it … March, and so here we are.

STATELESS — BACKGROUND

A two-CD version of Lene’s debut album, you ask? How can this be, even with bonus tracks? The original album was barely longer than 30 minutes! This is the “pretty significant thing” I alluded to earlier — both the US and UK versions of Stateless are present here, and as I’m embarrassed to admit (having owned a vinyl UK copy of the album for decades but never actually listened to it because I also had the US version) — I was unaware of just how different the two versions were/are until now. So, for me at least, there’s a brand-new record in here.

Consequently, this calls for a side-by-side comparison of each album track. We’ll also review the non-album bonus tracks — all 21 of them! — and pick out the gems.

The short story on the two versions is that after the record originally came out in the UK (with the pre-release hit single of “I Think We’re Alone Now”) in October of ’78, the US label felt it needed some further cooking, and had Roger Bechirian (well known among New Wave et al album collectors) remix and re-record some parts for the US release, which made “Lucky Number” a minor hit in the States as well.

The US version used a different — and frankly better — cover shot as well, though I like the way Lene (in the booklet) refers to the UK cover as “like ‘The Scream’ by Edvard Munch.” When the album was re-issued in the UK in ’79, some (but not all) of the Bechirian versions were included, so getting to hear the original mix is a treat.

The Bechirian version of most of the songs was then used for the subsequent rest of world versions, which along with the US version came out in April of ’79. The full story on this is a bit more complicated (variations on how many Bechirian remixes were used on different countries’ album version, plus a couple of mis-stamped pressings), but to consolidate matters Cherry Red has Disc 1 as the original LP mix (only a little Bechirian) and Disc 2 as the “US/UK remix” version (tracks 1-8 and 11 were “Bechirian’d”). For the bonus tracks it is not spelled out, but our Roger is also credited with production as well as backing vocals (for “Trixi,” meaning that song was likely created during the re-record sessions).

The album did pretty well: while it didn’t chart in the US, it went Silver in the UK (250,000 sold) and did well all over Europe, Australia, and New Zealand. The first single, a remake of Tommy James and the Shondells’ “I Think We’re Alone Now,” reached #3 in the UK. It had the “early version” of “Lucky Number” as the b-side.

The subsequent single, the revamped “Lucky Number,” went to #2 in Australia and #3 in New Zealand, and also charted elsewhere. In the US, the song was a sleeper success, never hitting the Top 40 but it was an early video and club hit.

Before we get to the UK vs US compare, I do want to mention my general feelings for this album: obviously I liked it at the time, but this revisit has reminded me of how much I adore this record. It’s a rare album where 100 percent of the songs are strong, polished, and timelessly enjoyable, and of course Les and Lene’s talents mesh so beautifully here that the whole thing — UK or US version — is just a joy. It’s one of the very best albums Stiff ever put out, and was by no means a one-shot wonder.

STATELESS — SONGS SIDE-BY-SIDE

These will be comparisons of the “UK original” and “US/remixed” versions of each song, acknowledging that having an experienced engineer remix/redo some stuff is bound to sound better a lot of the time. We’ll use the original UK running order for the album.

Lucky Number
Winner: US/remixed
Bechirian knows what he’s doing when it comes to mixing: this has a brighter tone and a more swinging tempo; beefier drum fills; more manly background vocals; a slightly more “quirky” lead vocal, and the brilliant addition of the monk-like “number” chant for the outro.

Sleeping Beauty
Winner: US/remixed
The US version has a new vocal (this will be a theme in many of the US/remix wins), but the UK original is clearer and more natural — Lene doesn’t fight the instruments to be heard as much. That said, the US version is better mixed throughout, and adds more bv’s and stronger bell sounds. It also has a new guitar solo, and the song cuts to the ending much quicker, losing 30 seconds of repetitive vamping from the original version, which gives it the win.

Home
Winner: UK original
Some may disagree, but I think the UK original mix retains more of that surfer/psychedelic feel. This seems like the first song were Lene’s vocal wasn’t re-recorded in the US version, but then again, the US mix adds some new guitar twang and louder FX during the middle eight.

Too Tender (to Touch)
Winner: UK original
The US version features the bells much more prominently, which is an improvement on the UK version, but oddly tries to bury Lene’s vocal under a significantly louder piano (excellent work by Don Snow) and some organ bits. Again, it’s the same vocal on both versions, but Lene never really comes to the fore in the US version until the bridge, and even then a new and different piano solo gets thrown in for no clear reason.

Say When
Winner: US/remixed
Conversely, on this one it’s not even close: Bechirian’s significantly re-mixed and re-recorded version is just vastly superior. It’s a fun song either way, but Lene’s terrific new vocal contrasted with more male bv humming, and a far more prominent organ, some nicely-placed reverb and other touches just make this one the definitive version (plus an extra count-up!).

Tonight
Winner: tie
Nick Lowe’s “Tonight” gets a really nice 1950s treatment in both versions, but each one drops the ball in one way or another. The UK version puts Lene front and center vocally throughout, as it should, but it criminally dwells on the sax (which is very good, don’t get me wrong) at the expense of not bringing in the crucial supporting background “echo” bv’s until the song is more than half over. While the US version corrects that mistake, Bechirian piles on all the instruments too much, frequently drowning out Lene’s climatic vocals in the choruses.

Writing on the Wall
Winner: US/remixed
Another 50’s influenced number, this time the tragic story-song that skirts doo-wop territory at times. The US version brings in sax, better mixing for the organ, and adds more male bv’s to give the song more atmosphere.

Telepathy
Winner: US/remixed
A very funny song, which backs off the 50s influence somewhat but still has an echo of it. Once again, the US version brings in the background vocals right away and keeps them around throughout, and Lene’s re-recorded vocal actually improves on the UK original. The better mixing and more vocal power wins the day.

Momentary Breakdown
Winner: UK original
We’ve now moved firmly (with “Telepathy” and now this one) into early 60’s (fake) girl group sound. This time it’s the UK version that gives the “girls” plenty of spotlight, and Lene’s incredible, four-octave finale is just … (chef’s kiss). The US version mostly buries the bv’s until the middle eight, but does offer better separation for the instruments, and the end of Lene’s octave stunt isn’t the end of the song this time, she just descends and starts over (briefly).

One in a 1.000.000
Winner: UK original
This song always reminds me of “Say When” in its franticness, strong vocal, and playful arrangement — you could image a chorus line of western burlesque dancers high-stepping this number at an old west saloon. The US version again puts Lene back a little in the mix (with bv’s more prominent, but to be fair they’re very good), but the two versions are by far the most similar between the two releases, with only a slight change to the sonic staging on this one.

I Think We’re Alone Now
Winner: tie
Bewilderingly, the US version on this song flips the typical script on the way it’s mixed, with the instruments nicely separated from Lene’s vocal, with the bv’s a little less prominent and her own background sounds getting some of that spotlight also. The difference between the US version and UK version is still a little subtle and for me, either one is the best version of this song I’ve ever heard.

Next time: Discs 1 & 2 bonus tracks!