Peter Godwin — The Polydor Years

The Polydor Years is a two-CD set bringing together one EP and one album released by British new wave artist Peter Godwind, with each disc also taking in a fair few bonus tracks be they single mixes, remixers, or instrumental takes on album tracks. Mr Godwind’s take on the New Wave is fairly moody/dramatic, though the steady snaping ‘n’ bounding electro beats and jaunting synths are never too far away.

The CDs come presented in a slimline double jewel case- with a glossy twenty-eight-page inlay booklet, which takes in a page-and-a-half write-up about the albums/ his time at Polydor by Peter himself. Full lyrics/ credits, good selection of pictures, and brief write-ups, again by Peter regarding the bonus tracks.

Mr Godwin started his musical career in the three-piece band Metro- which ran between 1976 and 1980, with their sound shifting through the genres of  Glam/ Art Rock, power pop, and new wave. The band released three albums in all- 1977’s Metro, 1979’s New Love, and 1980’s Future Prefect.  The band's most-known track was "Criminal World", which went on to be covered by none other than David Bowie on his 1983 album, Let's Dance.

As a solo artist, Peter released one solo album 1983’s Correspondence, and two EPs-  Dance Emotions, and  Images of Heaven- both from 1982.  The second EP repeats tracks from the first so it’s not here to save repetition, though as you can imagine with the remixes there is a bit of repetition here.

So on the first CD, we find the Dance Emotions EP- which took in six tracks. It opens with “Emotional Disguise” which brings together an urgent synth bass, stabbing/ waltzing synthetic horn work, brightly jaunting keyboards, and Peter’s wailing vocals. We have “French Emotions” which is basically the first track, but with French more spoken vocals- and maybe a slightly smooth/pared-back musical undercarriage. There is the very synth-pop bound “Images Of Heaven” with its catchy bass line throb, rising-to-pulsing bright keyboard lines,  and Peters warbling vocals. The album plays out with “Luxury” which had a rather latter-pop bound Roxy Music- meets- Duran Duran vibe with its bound funk bass, jaunting synth horn tones, & light funking guitar. The CD is finished off with nine bonus tracks- which are largely just remixes/alternative versions of tracks. As New Wave releases go Dance Emotions is fine, yet some of the tracks do outstay their welcome, and it’s not the most sonic varied/ creative of albums- but Peter had a good enough ear from dramatic/ memorable songcraft. The CD is finished off with ten tracks- they are largely remixes/ different versions of album tracks, some of these are fine- though I’m not the biggest remix fan.

Moving on to the CD  we have 1983’s Correspondence- plus eight remixes. This was Peter's one & only album, which took in nine tracks. We move from “Art Of Love” with its blend of urgently strummed rock guitar, steady bounding bass, sassy beats, and male/sometimes female-laced backing vocals. There’s the AOR meets white soul of  “Soul To Soul”- which sounds like it could have come off an 80’s Don Henly album. We have steady tick-tocking synth drums, moody rock guitar chugs/ strikes, and rather  Brain Ferry-like vocals of “The Dancer”.  Or the steadily galloping synth-pop ballad of “Over Twenty-One” with choppy/ moody keyboard lines, hissing/ pulsing beats, and light edging of female vocals. There is no doubt that  Correspondence is a more varied album, but it’s also a little sleek/ pop market-focused affair too- so while I still enjoy elements of the release, we do wander into 80’s pop rock blandness from time to time.

It's certainly good to see The Polydor Years coming out- bringing back into print the work of this lesser-known New Wave singer. Of interest to anyone who enjoys 80’s new wave, and or synth pop.