This morning I saw Steve For The Deaf’s posting on The Tornadoes iconic “Telstar” single from 1962 and immediately got pulled into its orbit. It reminded me that the conic instrumental came into my Record Cell a few years back in an unlikely cover version helmed by Peter Hook of New Order and Lindsay Reade who worked at Factory Records. All under the nom-du-disque of Ad Infinitum. But before we discuss the re-make, let’s have Steve For The Deaf wax eloquent on the many merits of the ahead-of-its-time single from 1962. Click his avatar then come back for the counterpoint.

Ad Infinitum: Telstar – UK – 7″ [1984]

1. Telstar
2. Telstar In A Piano Bar

The track began with an upward creeping synth pulse before a clattering drum machine set the foundation for that soaring melody to appear on less primitive synthesizers that still don’t have the pull of the original’s clavioline [or Univox organ if the counter rumor was true]†. But where the original let the melody prevail, the rhythm track hobbled this version from the very start. Speaking of hobbling, there were also the new lyrics written [and sung] by Ms. Reade. Songwriter Joe Meek’s publisher would not allow the new lyrics over the music, so that’s when Peter Hook was brought in to salvage the track by mixing the vocal out and upping the dancefloor factor.

† – I actually prefer the theory that Mr. Meek mixed the clavioline and the Univox together for the unique sensations that “Telstar” offered.

For Hooky’s involvement, his deep gravitational bass was nowhere to be found here with only bass sequences on synth to be found. And the melody, so similar to that which would be used in four years as the Star Trek original series theme, should have been the star here. But this remained a cover version where the details got in the way of the song’s point. Other Factory personnel aiding here were Andy McConnell then of A Certain Ratio [but not for much longer] and Tim Kellett of The Durutti Column. The seemingly incongruous trumpet solo was down to Lindsay Anderson of the Stockholm Monsters.

I have to say that the B-side, “Telstar In A Piano Bar,” was far more interesting! This was strictly a showcase for McConnell and Anderson hitting a perfect late night Jazz Club vibe on the song. Transporting it to the other side of the 1962 milieu from which it originally sprang into the world. The liberties taken by McConnell with the melody were all worth our time and the mournful trumpet from Anderson hit a smoky Chet Baker target!

I had to think that the unique holographic sticker on the sleeve of Ad Infinitum’s “Telstar” must have been a wholesale item that Tony Wilson bought in bulk to apply to the record sleeves. I can’t believe that any record would otherwise have a bleeding edge holographic image custom made for a sleeve as these images were still exotic in the 1984 environment of this record. The generic quality of the image was perhaps the most telling thing. Other than the inner groove etching on the record, which simply stated “INCLUDE ME OUT.” Still, it was worth it for the B-side.

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