[continued from previous post…]
Yesterday we cast an ear towards the original 1983 album. Today, we examine the singles with the bonus tracks that made it onto this DLX RM.
Dalek i Love You: Holiday In Disneyland UK 12″ 
- Holiday In Disneyland
- Masks + Licenses
- Heaven Was Bought For Me
- Holiday In Disneyland [alt. ver.]
The deeply eccentric “Holiday In Disneyland was not perhaps the most commercial pick for a lead single from this album. Especially since Dalek i Love You had moved from obscure UK indie Back Door to Korova; Echo + The Bunnymen’s boutique label as distributed through WEA. The 12” single of said release contained two non-LP B-sides, as well as an alternate version of the A-side as produced in a session with Steven Short. The latter is missing from this disc, but the two B-sides are in place. Thankfully, that insanely brilliant single cover painting is in the booklet to this CD.
“Masks + Licenses” is a boppy slice of clockwork-driven New Wave with organ chords and ringing guitars driving the tune. Alan Gill sang lead to charming effect. It sort of recalls The The’s “This Is The Day” in feel, though less melancholy. “Heaven Was Bought For Me” was a darker, more complex piece that opened with a backwards vocal loop cross faded to forward while crystalline synths and lurching rhythms set the stage for Keith Hartley’s crooning. The coda reversed the vocal loop gambit and fades out from forwards cross faded to backwards. With computers, we could edit the song into an endless loop today.
Dalek i Love You: Ambition UK 12″ 
- Ambition [ext. ver.]
- I Am Hot Person [ext. ver.]
- Would You Still Love Me
The “Ambition” 12″ featured an extended A/B side [!] but only the bonus 12″ only-B-side was accounted for on this CD. I am so up for getting this 12″ since “Ambition” was a very interesting single that, unlike the first single release, sounded like it could make room for itself on the radio. As fascinating as “Holiday In Disneyland” was, it had the whiff of a deep cut, not a single. “I Am Hot Person” also appeared on the 7″ of “Ambition” in a shorter version. “Would You Still Love Me” was a Keith Hartley song with a “sermonette” vibe of long, sustained organ chords over a shuffling, tribal beat that increased in power until at the middle eight it took the song into the jungle.
Dalek i Love You: Horrorscope UK 12″ 
- Heap Big Pow Wow
- Horrorscope [inst.]
- The Angel + The Clown
The third single was the also infectious “Horrorscope.”There were two non-LP B-sides and an instrumental version, that was also extended from the LP track. “Heap Big Pow Wow” was not included, but the instrumental remix of “Horrorscope” was, and it’s a robust 6:00 long as opposed to the 4:00 album track. Near the halfway mark, the drum track began getting more echoey and complex; almost dubbed. Tasty stuff and I would not have looked askance at a vocal 12″ remix using this backing track, but no one asked me. “The Angel + The Clown” was a fantastic instrumental featuring a very Frippy, sustained modal line on guitar over the gentle technopop backing. It sounded for all the world like a concurrent slice of Bill Nelson solo instrumental very much in the vein of “Conny Buys A Kodak.” Fans of Nelson would absolutely love this track!
Dalek i Love You: Horrorscope UK 7″ 
- These Walls We Build
The “Horrorscope” 7″ featured a third non-LP B-side only on that format. “These Walls We Build” was a long, busy, Alan Gill sung number with a cinematic line in synths and booming tribal drums juxtaposed against it all. Finally, the DLX RM contained a dub version of “12 Hours Of Blues” that performed honorable dub magic on the album track. Thankfully, this was rescued from obscurity by Gill on this reissue, but at the cost of B-side material and even the 12″ version of “Ambition.”
I have to admit that after all is said and done, I understand why this CD quickly was selling for three figures in just months after its first release in 2007! This was a superb example of obscure, yet supremely worthy Post-Punk ca 1983. It sounds like the vigorous offspring of Kissing The Pink’s “Naked” and Shriekback during the same era. I especially point to “Kissing The Pink” in that it posits a dynamically eclectic package of material that doesn’t shy from either extreme catchiness nor left-field excursions. In fact, like Kissing The Pink, it frequently lunges at either target at the same time. Fans of “Naked” simply must own this CD. While it lacks a transcendently perfect track as that album’s “Desert Song,” it contains every other trait that brings this album up to the standard of greatness in Post-Punk.
I will admit, that while I had heard of the name Dalek i Love You, back in the day, I had never seen any actual releases by the band until visiting Tower Records in Atlanta in 1990, where I bought the DLX RM CD of “Compass Kum’pas” that I had absolutely no compunction selling off for a healthy three figures in 2007 when in need of extra cash. My only regret was that I lacked further copies to sell, since now it sells for three extremely healthy figures ten years later. But that illuminates the differences in the two very different Dalek i Love You albums for me. The first one, largely Alan Gill and drummer Chris “Merrick” Hughes, played a game that meant little to my ears. Too polite by half, with a twee line in Enoesque whimsey as barely sung by Alan Gill; it deeply failed to convince.
This album roped in the songwriting and production DNA of two other members that contributed exactly the sort of dynamic Post-Punk that I enjoyed the most. Music that resembled “pop” while being largely at odds with pop values. Music where numerous odd ideas were juxtaposed in the service of creating something new and almost startling. I have to say that this album was a powerful experience to finally hear after only becoming aware of it when the first reissue hit the web in 2007. Again, I had never seen this album or its singles in record stores the whole time period from its release until now. But the album in evidence sits comfortably on a rack with other late-in-the-day discoveries like The Associates, who collectively conspire to drive me towards the Monastic Ideal of uncovering the best, and most valuable Post-Punk music that I had missed the first time around. This DLX RM certainly plays that game like the pro that it is. Had I actually paid $100 in 2012 for a copy of this, it would have been worth it.
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