Classix Nouveaux - Never Never Comes 12''

Classix Nouveaux's "Never Never Comes" stands out as a polished pinnacle of their 1983 era, marking a shift toward a sophisticated, high-energy dance-rock sound. Taken from their final album Secret, the track is frequently praised for its "Eastern-influenced" melodies and slick production, which moved away from the band’s darker, minimalist post-punk roots into more commercial new wave territory. Critics and fans often cite it as a "lost hit" that showcased Sal Solo’s soaring vocals against a rich, rhythmic backdrop, with the 12-inch version particularly celebrated for its extended groove and club-ready arrangement.

Classix Nouveaux - Forever And A Day 12''

Released in 1983 as a standout from their final album Secret, the 12-inch version of "Forever and a Day" serves as a polished example of Classix Nouveaux’s transition into high-gloss synth-pop. Produced by Alex Sadkin, the track swaps the band's earlier gothic eccentricity for a sophisticated, danceable groove characterized by Sal Solo’s soaring vocals and lush electronic textures. The extended mix, clocking in at nearly seven minutes, is often praised by collectors for its "big" production value and atmospheric build, though some purists feel it lacks the raw edge of their debut. Overall, it remains a refined, albeit overlooked, relic of the New Romantic era that highlights the band's peak technical maturity.

Classix Nouveaux - The End .. Or The Beginning 12''

Released in late 1982, the 12-inch single for "The End… Or The Beginning" stands as a polished, transitional marker in Classix Nouveaux's career, capturing the band as they shifted toward the more experimental synth-pop of their final album, Secret. Critics and fans generally praise the extended "Long Version" for its driving New Romantic energy and Sal Solo’s distinctive, theatrical vocals, which are bolstered by the atmospheric addition of new guitarist Jimi Sumen. While it lacked the massive commercial impact of their earlier hits like "Is It A Dream," the 12-inch is highly regarded by collectors for its iconic picture disc artwork and its ability to blend an "appealing pop hook" with the moody, electronic sophistication that defined the era's club scene.

Classix Nouveaux - Because You're Young 12''

"Because You're Young" is a quintessential slice of high-drama New Romantic synth-pop that captures Classix Nouveaux at their most polished and theatrical. Released in 1982, the 12'' version amplifies the track's driving dance beat and its signature "steel drum" synth hook, anchored by Sal Solo’s distinctive, operatic vocal delivery. While the song leans into a more accessible, club-oriented sound compared to their earlier post-punk roots, it maintains a dark, cinematic edge through its eerie intro and call-and-response chorus. Despite being a fan favourite and a staple of the era's electronic aesthetic, it famously just missed the UK Top 40, marking a transition point for the band where their ambitious production values didn't quite translate into a massive commercial breakthrough.

Classix Nouveaux - Guilty 12'' (New Version)

The "New Version" of "Guilty" featured on the 1981 UK 12-inch maxi-single (12BP388) is a distinct production by band members Mik Sweeney and Sal Solo that offers a more polished and dance-floor-oriented alternative to the original 7-inch release. Clocking in at approximately 3 minutes and 17 seconds, this version is noted for its tense, dramatic synth-pop arrangement that highlights Sal Solo’s distinctive vocals against a sharper, more rhythmic backdrop than earlier cuts. Collectors often seek this specific pressing not only for the titular track's refinement but also for its B-side, which contains a "New Version" of the band’s debut single, "Robot's Dance," further cementing the 12-inch as a definitive document of the band's transition into their prime New Romantic sound.

Classix Nouveaux - Night People (Expanded)

It's that time of the day/night again...I'm beat and after all the Classic Nouveaux posting, I need my bed. To accompany me, it's gotta be Classix Nouveaux's Night People. The Expanded edition is part of the 2021 4CD box set The Liberty Recordings 1981-1983 released by Cherry Red Records. It features the original 1981 new wave album, remastered with bonus tracks including 7" edits, 12" versions, and B-sides. The expanded edition is considered a defining, energetic piece of early 80s New Romantic synth-pop. It is highlighted for its dancefloor-friendly hits like "Inside Outside" and "Guilty," blending moody, dark atmosphere with melodic, theatrical, and sometimes, gothic, synth-heavy, new wave sounds. The album is noted for its dramatic, intense, and often dark tone, which is sometimes compared to acts like Magazine or a precursor to The Sisters of Mercy's gothic sound. Some reviewers found the vocals slightly over-the-top but effective for the genre.

Overall, Night People and the broader Liberty collection is recommended as a strong, comprehensive collection for fans of a significantly underrated band that was crucial to the early 80s, synth-driven New Romantic, post-punk music. 

Classix Nouveaux - Battle Cry

Classix Nouveaux's 2023 album Battle Cry is a highly accomplished, long-awaited return after 40 years, blending synth-pop, rockier guitars, and strong, mature songwriting. The album is praised for its excellent production, varied, powerful percussion, and Sal Solo's warm vocals. Fans and reviewers largely feel it successfully bridges their past sound with a modern, more mature feel. The album features a mix of high-energy, uplifting tracks, and atmospheric moments. It includes funk influences and a more present guitar sound from Gary Steadman. Sal Solo’s vocals are described as warm and in the mid-range. The lyrical content is noted for being more direct, with some tracks exploring thematic, almost spiritual, or "sinister" storytelling, such as on "Revelation". The album is considered a "slow burner" for some, but tracks like "Battle Cry," "Final Symphony," and "Wretched" have been highlighted. While some found it a slow burn, the general consensus among reviewers and fans is that it is a "fantastic" and "masterpiece" album that was "well worth the wait". Battle Cry serves as a strong, nostalgic yet refreshed, addition to the New Romantic band's discography.

It was in February 2021, that Cherry Red released The Liberty Recordings, a comprehensive account of Classix Nouveaux albums, from 1981’s Night People, its international alternative Classix Nouveau, 1982’s La Verité and 1983’s Secret. This was their entire studio output up until 1983; then in 1985 the band split, following lead vocalist Sal Solo’s move to pursue a solo career. They surprised fans in 2021, with the release of The Liberty Recordings, which as we see now was their pursuit toward the release of this new album Battle Cry. The first new material to have been released does indeed come as some surprise, not just a new album, but one 40 years since the release of there than, final album. How is this passage of time going to affect the sound, well into the 21st Century? This is some 44 years since their formation, well, we are about to find out.

The album opens with ‘Prelude / Fix Your Eyes Up’, as a calm sets the scene. Running water and then electronic sounds suggest that something might be on the horizon. I feel we’re not into the heart of the number, as tabla sets the pace, then a shrill guitar takes over. Sal’s vocal is introduced as the companion piece ‘Fix Your Eyes Up’ begins. It’s not lost that like the band’s earlier work, Sal is using a vocoder. He doesn’t need to use a vocoder; his vocal is as strong as it was in the band’s heyday and just muddies the water. As the technique is reduced, it becomes clear there is something about this song, because even after it has played out, the echoes keep ringing in my subconscious, in a nice way I should add. Then the gladiatorial intent of its title track Battle Cry’ becomes the central topic. This is something quite striking, the main role is performed by Sal singing “There are demons yet to conquer/There are mountains still to climb/There are oceans to cross over if we only have the time.” Here B.P. Hurdling’s drums are acting as the undercurrent, as all proceeds, the band’s guitarist Gary Steadman provides the strength of a distorted lead guitar, before resorting to occasional stabs of a wah-wah pedal. This whole sheet on which the number is written is crammed with content, from Solo’s lyrics to the band’s canvas of instrumentation. Here you won’t be lost to find an inspiration, be it the Roman gladiator taking up arms, or the sound of nature, provided by the electronic samples as the number opens.

This new album is not a million miles from the band’s debut Night People, but isn’t living on its laurels. Sal’s lyrical palate seems more direct and displayed none more so than on the track ‘Revelation’. Here one of the oldest stories of all is told, one from Revelations. Opening with a cinematic quote, before Sal’s vocal is brought in, “I turned around to see/A voice that spoke to me and seven golden stands/One like the son of man all dressed in flowing robes/With hair as white as snow/A bronze his feet were made/His voice like ocean waves/Revelation.” A swirling guitar has been playing overhead, as the lyrics have been read and it’s only now that this has become apparent. As the story progresses, it becomes clear as to its meaning, “And I fell down like dead/And then he touched my head/Don’t be afraid he said/Although I once was dead/Now I’m alive.” Here the musical tone has changed, becoming more sinister, but with it the most sinister story of all. I had read that Sal Solo, following his work with the French, space rock band Rockets, had become heavily involved in Catholicism, so this may’ve been the inspiration, whichever way it may be, both lyrically and musically, this is a powerful number.

The band’s more radio-friendly tracks, the likes of the remade of ‘Inside Outside’ and the already talked about ‘Fix Your Eyes Up’, have been released as singles, the latter having charted at number 10 on The Heritage Chart and having been talked about by DJ Mike Read on Talking Pictures TV. Although this may not have attained the same media exposure, as their earlier work, the fact the band have flexed the same memory muscle, over 40 years from the release of their debut, is in my mind pretty good going. The album contains nine tracks, two of which, like the opening number, are tracks that combine 2 compositions, the penultimate number ‘Interlude / Inside Outside’, follows ’Never Never Comes’, a number whose soundstage is just massive. The production had opened the windows for the number and cleared the surfaces of any unwanted clutter, with Sal Solo wistfully reminiscing on the subject. This is before I presume what is the ‘Interlude’ to the next number, a prerecorded voice explains “This song is a fast song isn’t it, it has a beat that moves right along too, listen,” and then the remade ‘Inside Outside’ comes into view. This is a number whose bpm certainly is not as fast as the original, although I would say it has a deeper production. As the more familiar sounds of the song begin, although the wallpaper has changed, I can see the room as I remember it. This is a pop song, plain and simple, the original, one of five singles released during 1981 and still has that familiar hook. The final song, ‘Colour Me The Sky’ possesses a Balearic tone, along with a Spanish guitar that sees the close of the album. Having listened to this, I would consider it a concept album, which might only be a stopover to further output. A question that for now is just that.

Classix Nouveaux - Secret

Classix Nouveaux's 1983 album Secret, their third and final studio album, is a pop-focused, synth-heavy, and rhythm-driven record that, while featuring polished production by Alex Sadkin and notable tracks like "Forever and a Day" and "Never Never Comes," is generally considered less impactful than their earlier work. It shows a shift towards a more dance-oriented, funkier, guitar-heavy commercial sound compared to their previous work, but received mixed reviews for lacking the strength of their previous, more New Romantic, material. The album is often seen as a departure from the more "forward-thinking" sound of their earlier, more popular material, but for fans of early 80s synth-pop, it may still be worth listening to. 

Review by Stephen Schnee

While their first two albums may have cemented their fate as goth new romantics, there was always more to Classix Nouveaux than fashion and their short-lived "flavour of the week" status. In frontman Sal Solo, they had a vocalist with an exceptional range and a knack for writing catchy songs that would oftentimes get buried beneath the quirky arrangements and production that didn't seem to fully comprehend the depth of Solo's songs. On Secret, released in 1983, it all finally came together. Under the guidance of producer Alex Sadkin, most of the white funk elements of their sound had been chucked and replaced by a far more commercial synth-based sound, which helped to compliment Sal's vocals and push the melodies of the songs to the fore. Fans of the first two albums didn't have to worry, though, because there were moments here that could fit easily on the first pair of albums (namely, "The Fire Inside" and "The Unloved"). But those looking for something more than retreads of their past glories were pleased with the more direct sound of Secret. Some of the band's finest songs can be found on this platter, including "Never Never Comes," "Forever and a Day," "All Around the World," and "Heart from the Start." Sal's vocals were more passionate and his lyrics more personal. In the past, it often seemed too flashy when he'd slip into his trademark falsetto, but here he uses it sparingly and only to accent the songs. This was a new, mature Classix Nouveaux. Even Edward Bell's cover art moved the band to a new level of acceptability, adding a colorful flair to their older, darker image. Unfortunately, as Classix Nouveaux moved forward, their audience stayed behind and the album was not as successful as it should have been. Meanwhile, Sal had a deeply moving religious experience and began moving in a different musical direction. The band recorded another single with Sal but the writing was on the wall, and Solo took flight and went...er....solo.

Classix Nouveaux - La Verite

Classix Nouveaux's second album was spearheaded by their biggest British hit single, "Is It a Dream," as well as the smaller hits "Because You're Young" and "Never Again" (though, oddly, the album only just made it inside the U.K. Top 50). "Is It a Dream" was catchy, lightweight, soul-tinged, and pretentiously vocalized, very much in the stream of the new romantic pop that was peaking around the time of this release. With its synth-heavy production, the album's sound is as firmly dated as a Doris Day record, but actually it's not among the most offensive items in this genre. Sal Solo's high vocals sound not far from Brian Wilson's in texture on "To Believe," believe it or not, and "Because You're Young" has a peppy, uplifting tone that's a little dampened by the ostentatious singing. It's music of a hand-wringing, grandiose chic glamour on its more ethereal cuts, and of unabashed, bouncy synth pop on more dance-oriented outings like "Never Again" and "1999." The 2002 CD reissue on Cherry Red adds two bonus tracks, "It's Not Too Late" and "Where to Go" (the B-sides of "Because You're Young" and "Is It a Dream," respectively).

Classix Nouveaux - Never Again... 12'' + Is It A Dream 12''

Day two of the return of Sal (the baldy weirdo with the capes) Solo, his buddies Classix Nouveaux and their second album, 1982’s "La Verite", with the singles "Never Again" and "Is It A Dream" featuring here. "Is It A Dream" was the UK chart breakthrough that the band had always expected with their choppy synths, strong (if exceptional) sense of style, New Wave / New Romantic values and that gleaming dome which was something to behold on their TotP performance for "…Dream". Reaching the heady heights of No. 11 everything looked set for the band to finally break out. However, life is never fair and it was all to be just a dream…Coupled here with their earlier single "Never Again" which just missed the UK top 40 assuring the bands legacy, all be it untrue, as one hit wonders.

Classix Nouveaux - Classic Nouveaux

Bands like Human League, A Flock Of Seagulls, Visage, Duran Duran and many others were making fashion statements almost as much as they were making musical statements. Their outfits were often unintentionally hilarious to look at, and sometimes the music was as empty as a bottle of gin at Keith Richards’ house. However, there were some bands that were able to rise above the vapidness and create some pretty enjoyable music that crossed dance and rock with synth-pop. Classix Nouveaux was one such band. They made an instant impression back in 1981-82 when their video for the pop classic “Guilty” was all over MTV. It appears on numerous ’80s compilations to this day. Guitarist / vocalist Sal Solo was the band’s frontman and he was quite a sight. Covered in rouge and cloaked in a dark, flowing cape with a shaved head he looked like Nosferatu the vampire but had an eerie appeal, as well. 

Classix Nouveaux - Inside Outside 12''

The 12'' release of Classix Nouveaux's "Inside Outside" (1982) is often highlighted within retrospectives like *The Liberty Recordings 1981-1983* for showcasing the band's polished New Romantic sound. It is frequently paired with B-sides such as "We Don't Bite (Come A Little Closer)," featuring strong, melodic, and synth-heavy danceable arrangements which showcase a mixture of glam, synth, and pop that hold up well over time. 

While sometimes noted for being a bit "understated" compared to other New Romantic peers, the 12'' version is considered a solid, quintessential example of 1980s New Romantic dance-pop.

Classix Nouveaux - Guilty 12''US

Classix Nouveaux's 12" single for "Guilty" (1981) is regarded as a powerful New Romantic track featuring meaty drums and a distinct, bass-driven sound. Often highlighted for its dancefloor appeal, the 12" format enhanced the track's, with some releases featuring different, more punchy versions or alternative B-sides. Described as a, "real powerhouse" with prominent electronics and a strong, dance-oriented beat the single version is often considered superior to the album version by collectors, offering a more dynamic mix. While sometimes overlooked in favor of later hits, "Guilty" is cited as a strong, high-energy track that remains relevant for dancefloors and praised for its theatricality and solid production.