BUGGLES: THE AGE OF PLASTIC (1980)
1) Living In The Plastic Age;
2) Video Killed The Radio Star; 3) Kid Dynamo; 4) I Love You (Miss Robot); 5)
Clean, Clean; 6) Elstree; 7) Astroboy (And The Proles On Parade); 8) Johnny On
The Monorail.
The very name «Buggles» should probably
indicate that you are getting into something quirky at best, and stupidly
irritating at worst. «The Bugs», as Trevor Horn and Geoff Downes originally wanted to call themselves, is bad enough, but
Buggles? Wouldn't that kinda sorta suggest a general trajectory where pop music begins
with the Beatles and ends, that is, reaches its triumphant culmination with
ʽVideo Killed The Radio Starʼ?
Well, in a way, it does. The
Buggles were arguably the first successful pop band that achieved its success
by refusing to be a band, and preferring to be a techno-mechanical unit
instead. Trevor Horn, who took on the responsibilities of producing the album,
took his major inspiration from Kraftwerk: total de-personalisation of the
proceedings, a «robotic» attitude in all respects, beginning with
instrumentation and ending with the lyrics and the personal image, but at the
same time, with a far more poppy sound than Kraftwerk — the melodies here
are inspired by ska, disco, Foreigner, and ABBA rather than stern Teutonic
minimalism.
To say that The Age Of Plastic
is «kitschy» or «gimmicky» does not even begin to do justice to these songs,
which anyone with a mouth trashier than mine would most likely describe with
the infamous appellation «faggy». They are so absurdly over the top, so
reckless with their hooks and so arrogant with their production that Lady Gaga
these days has nothing on these guys (well, at least if you adjust the
comparison basis for the standards of 1980). Reviews of the album, both
contemporary and retrospective, were about as split as the press used to be on
Black Sabbath — some loved them openly, some hated them in public but stashed
copies away in the basement anyway, until the time came when not loving
Sabbath became poor taste. Yes, The Age Of Plastic leads you indeed
into double temptation — on an intellectual level, it is tempting to trash it
as an exercise in flashy stupidity, but on that damn gut level, it is just as
tempting to put it on again... and again... and again...
Okay, the facts are simple: the
eight songs that constitute this album represent some of the decade's
catchiest pop music — all of them, not a single exception. Upon first
listen, you're hooked even if you are disgusted. Upon second listen, you are
entranced by the choruses. Third listen, and you pretty much got all these
songs by heart. This does not mean that Trevor Horn and Geoff Downes are
natural-born geniuses: the tunes were slowly and meticulously crafted over a
period of several years, and never again would these guys approach this level
of pop craft — neither in Yes, nor on their second album, nor in their subsequent
projects (like Art of Noise or Asia). But then again, the ideology of the
Buggles supposes that there are no «Trevor Horn» or «Geoff Downes»:
there's only the music, and whoever is standing behind it is totally
insignificant.
Not that this «whoever» is totally
dehumanized — yet. Like Kraftwerk, Horn and Downes are fascinated with the
conflict between technology and human spirit, and much, if not most, of the
album relates to this idea one way or another. This is one of these self-ironic
recordings where the musicians use the latest and trendiest technologies to
complain about the relentless onslaught of technology: "Could this be the
plastic age?", Horn asks us in desperation on the title track while at the
same time ensuring, with his production, that this verily and truly be
the plastic age. But where Ralf and Florian spooked people away by almost
literally turning into robots, the Buggles still retain their human side — and
thus give the layman a better chance to identify with their issues, seducing
him with their hooks and ensuring a good source of revenue in the process.
And the hooks are
unbeatable. Let's face it, we don't care that much about the saga of merciless
human progress — we just love those happy-sad female vocals chanting
"video killed the radio star, video killed the radio star" to that
tight-as-heck bass-drum pattern that could just as well have been lifted off a
Ramones song and adapted to the new realities of the synth-pop era. And does
anyone realize that in between ʽEchoesʼ and Phantom Of The Opera there
was ʽKid Dynamoʼ, which uses the same descending-ascending pattern to create
an atmosphere of tension and paranoia? Or that ʽI Love You (Miss Robot)ʼ already
writes the book on a large part of what would later constitute the bulk of the
Art of Noise legend — the techno-funk sound, the treated vocals, the
multi-tracked vocal harmonies, the «cloudy» synthesizers?
However, in my opinion, the album
does not properly begin to hit its stride until the second side, when the
satirical and even snappy side of the Buggles starts to show up. ʽClean
Cleanʼ, rocking out like a technofied version of Elton John's ʽSaturday Night's
Alrightʼ, is actually a serious anti-violence statement, and the synthesizers
on it sound as alive, angry, and punkish as any aggressive guitar part on any
contemporary punk (even hardcore punk) record. ʽElstreeʼ, using the idea of
starring in B movies as an allegory for an originally meaningless life made
even more meaningless, is the album's saddest track — Ray Davies in the robot
age. ʽAstroboy (And The Proles On Parade)ʼ is hard to decode, but seems fairly
misanthropic to me — I would imagine that some people might want to slap Horn
in the face for his sneering intonation on the "let them be lonely and say
you don't care" line, and who exactly are "the proles on the
parade", I wonder? Even so, the intonation change from
"romantic" to "sneery" on that bridge is priceless.
The best is saved for last: if
you thought you knew everything about the Buggles after watching the ʽVideo Killed
The Radio Starʼ video, think again after hearing ʽJohnny On The Monorailʼ, a
song that combines nervous tension with a fast pulse, a slight touch of
country-western, some melancholic romanticism, and a general feel of being
pulled somewhere from where there is no return, as Tina Charles plays the part
of «the siren of doom» with her haunting background vocals and the song
stubbornly defies a straightforward explanation, all for the better. Amazingly,
you begin to understand that by the end of the album, the Buggles have broken
out of the «kitsch» mode and put a more serious face on their collective robot
— then again, maybe Side A was the robot in his childhood, but even plastic
matures with age, and sometimes becomes aware of the dark side on its own,
without outside help.
Ultimately, repeated listens to The
Age Of Plastic do not make its material seem any more catchy than first
time around — but they might help one understand that the integration of Horn
and Downes into Yes, which took place right after they released this, was not
such a thoroughly absurd move as one could think of it just by being exposed to
ʽVideo Killed The Radio Starʼ. Of course, the idea was that Horn and
Downes could help the failing band regain commercial success, but they weren't
hired just because they were catchy pop hitmakers — behind the flashy imagery
and the production gimmicks there is a complete and largely original artistic
vision, and plenty of intelligence and feeling. As of today, some of the
gimmicks have become dated — in particular, Horn's passion for silly-sounding
vocal overdubs (like the who-oh-oh's on ʽElstreeʼ or the chipmunkish uh-ohs on
ʽVideoʼ that you usually get these days on messenger software) — but who knows,
maybe I'm the only one to worry about that in the first place. In any case, a
big thumbs up and a request: do not
miss the perfectly human soul in this album. When I say «catchy hooks», I mean real
catchy hooks here, big emotional ones. It's easy to misinterpret them or fail
to grasp their meaning, but it's there alright.
Like I a lot of prog fans, I eventually came to this album backwards, through Yes. And “Video Killed the Radio Star” (which actually wasn’t a very big hit here in the USA) wasn’t the first song that I heard on the radio. A few months before “Drama” was released, I heard a Philadelphia DJ announce that the Buggles had joined Yes, and played the title track to show “what the new band might sound like”. I thought that this New Wave-disco stuff could NOT possibly done by Yes (I was even more wrong about that than I knew at the time!).
ReplyDeleteBut I always did like “VKtRS”, so I got around to this. I must say that I’m also intrigued by the use of the most advanced technology available at the time for the music and the accompanying lyrics warning against dehumanization BY technology. I’m still not sure what to make of it, but it was very deliberate -- Horn said at one point that he used a live drummer because good drum machines hadn’t been invented yet. Nowadays, I think the songs are very catchy, danceable in some cases and very smart.
It still amazes me that their manager was able to talk them into joining Yes, because this music still doesn’t seem compatible with theirs. And it wasn’t 100% compatible, either. For all the complaints that prog rockers were out of touch in outer space, I think Horn sounds more human and real on “Drama” than he does here, even if his Yes lyrics were more abstract. The Buggles were ready to move on from the sound here already, whether or not they joined Yes. It was left to other people to use this album as a prototype for the rising British New Wave/MTV pop scene.
>Horn said at one point that he used a live drummer because good drum machines hadn’t been invented yet.
DeleteTechnically, one had - you just needed to be Donald Fagen or Walter Becker to get your hands on it.
Haven't heard the rest of this album yet, but I've always loved "Video Killed the Radio Star", so I'll get to it soon. One thing I'd like to commend in particular is the tiny guitar "break" in "Video" -- nothing of interest on its own, but it comes at the perfect time, cutting through the synths for a brief moment. I don't know if it was part of Horn's concept of maintaining the human element of music in the face of increasing technological dependence, or if it simply sounded like a good addition -- whatever the case, it was the right choice for the song.
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ReplyDeleteThis album is my pick for the most underrated album of all time.
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