Friends (Or a Reasonable [Electronic] Facsimile Thereof)February 24, 2011
I first heard Gary Numan on a Beggars Banquet compilation (which also featured some brilliant tracks by Peter Murphy, Rollerskate Skinny and Tones on Tail). Well, I had probably heard Cars first via the radio, which at that point was still trotting out that lurching classic 15 years on from its heyday, myopically reducing Gary Numan to a single song.
And that’s really the problem with radio. Every band exists only as their hit, no matter how many other just as catchy tunes reside on their albums. For instance, the US knows Love & Rockets as So Alive.
At least if you lived in Britain, you had All in My Mind or their cover of Ball of Confusion added to that arbitrary list. Oh, and No New Tale to Tell, which was one of about three salvagable tracks from Earth-Sun-Moon, which many people still insist on calling “underrated.” I don’t know. To my ears, the “underrated” scores are right where they should be.
But we’re not here to discuss my lover for Love & Rockets or the poorly done tattoo of the band’s logo I have tattoed on my right arm.
The follow-up question to Philip K. Dick’s Do Androids Dream of Electric Sheep?, Are Friends Electric? is vintage Numan, all icy synths, monotone vocals and a melodic hook as big as the dystopian outdoors. The huge synth line is twice as good as the one in Cars, if only half as popular.
Here’s the original in all its synthetic glory:
Now that you’ve gone to the source, here’s two different takes on the masterpiece:
Moloko takes the first swing, opting for a rather straightforward rendition. The main twist is part-time singer Mark Brydon’s vocals, which out-deadpan Numan’s original, lending a bit of ironic distance to the cover. It turns out a bit like something that wouldn’t sound out of place in the more restrained portions of Fischerspooner’s discography.
Giresse heads off in a different direction, using the outsized synthline as the foundation for a dancefloor killing machine. The patented Numan riff gets distended, altered, pitched and otherwise electronically manhandled over the course of the pounding track, one which wouldn’t sound out of place in Mauro Picotto or Yves Deruyter‘s setlist.