This year marks the 25th anniversary of two of the most striking songs of the 1980s—as well as being, in my opinion, among the best songs of all time.
The first is “Dr. Mabuse” by German synthpop outfit Propaganda, inspired by the character made famous by Fritz Lang. Released to a modicum of chart success in March 1984 (it reached No. 27 in the UK chart the following month), my first contact with the song was a few months later, on the compilation album Now That’s What I Call Music 3. Propaganda spent much of their time in the shadow of mightier acts; they hailed from Dusseldorf, home to none other than Kraftwerk, and during their time on the renowned ZTT label—formed out of the perfect collision of Paul Morley and Trevor Horn—continuously played second fiddle to Frankie Goes To Hollywood, whose song “Relax”, released a couple of months earlier, had taken the label into the stratosphere of success (aided in no small part by the BBC’s laughable “ban”). This, together with their particularly European (i.e. non-British) sound—crowned by Claudia Brücken’s sharply accented vocals—meant that Propaganda’s popularity in the UK never lived up to their merits. Not that they were the most imaginative band in the world; they certainly weren’t, but “Dr. Mabuse” is an outstanding song, surpassing everything they did after, and outclassing most other songs that year. A feature of the ZTT label—rarely an advantageous or helpful one—was that remixes of songs released as singles were made in abundance. Furthermore, the same version often ended up with a plethora of subtly different titles and accompanying verbiage, which may have been something to do with releases in different territories or even the label losing the plot (clearly the case on some occasions), but was most likely the influence of Paul Morley, someone not exactly known for restraint where words are concerned. “Dr. Mabuse” is no stranger to this melée of remixes and names, but thankfully not to the same extent as Frankie Goes To Hollywood; the number of versions is relatively low. Read more
There’s something inherently exciting about the collaboration, particularly when each protagonist has a well-known and established career. The idea of two individually interesting artists producing something new and unexpected together is more than enough to whet the appetite. i’ve been spending time with a comparitively recent example, teaming two names that are somewhat significant from my musical past. Player 1: 
