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TOP 1000 REVIEWERon 17 February 2010
I always remember the first time that I saw a review for 'Adventures In Modern Recording'. It was in the Record Mirror and their reviewer gave it 0 out of 10 and totally savaged the whole thing. Interestingly, a few weeks later, another review from the same person was printed in RM and I think this time he gave the record 4 out of 10 or 6 out of ten (can't recall). My point in telling you all this is however to make the point that Trevor Horn has always been a man to push the boundaries and come up with the unexpected. Because of this, like any innovator, he has frequently been ridiculed only later to be praised for the very same records.

'Adventures In Modern Recording' is not an album to like from the first time you hear it. I burst out laughing the first time I heard 'Beatnik' and thought it was the biggest waste of vinyl I'd heard for a long time but now I love it and everything on this album with a passion. This album is full of drama, musical space, imagination, inspiration and experimentation. It constantly amazes, entertains and surprises you and I find the classic 'I Am A Camera' a song that can make me think so deeply about my life and my past that it can bring me to tears.

There is a seriousness to Trevor Horn's work that you can be forgiven for thinking that the man himself is hardly likely to be the one that tells jokes at a party but I would LOVE to meet the man anyway! Outside of my own GENIUS producer - Harvey Summers - only Trevor and Tony Mansfield have ever really inspired me as producers and my love of dramatic passages and backing vocals was almost certainly inspired by this record. The haunting 'careful, careful your walking on glass, your walking on glass' distant backing vocal call on 'Lenny' along with the plaintive and poignant piano refrain and washing synths are typical of the way that Horn creates so much beautiful space inside a track. 'Vermillion Sands' is another masterpiece with many mood changes and atmospherics along the way.

I suppose bearing in mind all I have said so far, it was always inevitable that the more synth pop singles 'On T.V' and the title track were never going to be as successful as the innovative 'Video Killed The Radio Star' but that is what you always get with the world of popular music whenever your first single is a classic.

There is just so much to get excited about with this release! The remastered sound is excellent (though the quality understandably dips a little during some of the demo's towards the end that were mastered from Trevor's personal archive of cassettes), the extra tracks are a treat for fans and there is a great and very frank interview with Trevor himself in the booklet. I could go on and on but, hell, stop reading this review now and BUY THIS!
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on 25 November 2014
The second studio Buggles album is an unjustly overlooked classic. Sure, some of the songs on it may not be as memorable as some of the hits from their first album such as Video Killed and Living in the Plastic Age but many deserve to be up there among them.
The songs that spring to mind when stating this are "On TV", "I Am a Camera" and "Videotheque". The title track is also a brilliant tack but I feel as though it is not as memorable as the aforementioned three.
The bonus tracks make this astounding collection even more incredible, The versions of "We can Fly From Here" and some other bonuses such as "Dion" and the demo version of "On TV" are unmissable.
If you are a fan of new wave this is a must purchase.
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on 30 September 2014
The second and final Buggles album, almost as good as The Age Of Plastic.

Worth it for I Am A Camera, Vermilion Sands and Lenny alone, but the other tracks aren't that bad either!

Make sure you get the recent re-release which has been remastered with extra demos.

Very very good.
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on 3 October 2015
What a let down after their seminal 1980's debut album,wasnt expecting it to be of course after reading online reviews,l still 100 times better then the
Simon Cowell induced poo that passes for 'music' now
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on 12 October 2013
This is the Buggles album made after the break up of Yes in 1980. However, it is more of a Trevor Horn solo album, and impressive as such. Very good shorter and simpler version of the Drama song "Into the Lens" as well as excellent one man versions of songs that would later appear on "Fly from Here".
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on 26 January 2018
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on 3 July 2014
I love the Age of Plastic, which is a synth pop classic, and this underated second album is also superb. Great songs and of course an amazing production. The cd version also includes some worthy extra tracks.
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on 15 January 2014
Trevor Horn at his best! Not as good as the first album but a nice example of early 80's synth-music.
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TOP 1000 REVIEWERon 17 February 2010
I've been nursing a deteriorating cassette copy of this album since it came out, so this CD release is a welcome find, but eyebrows may be raised at the suggestion, on the cover sticker, that this is in some way a "legendary lost album". Few lists of eighties masterpieces feature The Buggles' ill-starred second album, and while the liner notes here go some way towards explaining why the album never succeeded, it's hard to argue for its enduring importance.

What is probably beyond dispute is that this is a better and more interesting album than The Buggles' Age of Plastic. Technologically advanced for its day, the album has a rich soundstage that holds up well. While the production is less orchestral than that on Grace Jones's Slave to the Rhythm or the two Frankie albums, it is just as massive and rich in detail. In terms of songwriting as well, the album is surprisingly strong, and much better than the first Art of Noise album, where similar "adventures in modern recording" overwhelmed the basic material.

The additional tracks here vary between the fundamentally pointless (a demo of "Lenny" that is very close to the final version) to tracks that strengthen the throughline between Yes and The Buggles. Certainly the underlying similarity between Trevor Horn's voice and Jon Anderson's is clearer with the passage of time, and the proximity of electronic prog is notable on several of the extra tracks here. These bonuses, however, add nothing to the album itself, which proves remarkably coherent.

Of the songs, "On TV" is the most throwaway and an obvious attempt to maintain the run of success that began with "Video Killed The Radio Star". Other songs prove more powerful, with "Rainbow Warrior", "Vermillion Sands" and "I Am A Camera" all especially resilient. You may smile occasionally at a dated musical element - the electronic drums that open "Inner City", for example - but the album is no mere historical curiosity. Perhaps because the album has its own sense of nostalgia, it steers clear of the worst cliches of its day, and the arrangements are consistently striking.

This album needs to be restored to the company of other standout pop albums of its era. While it doesn't quite hit the heights of Thomas Dolby's The Flat Earth or Peter Gabriel 4, this is an album that deserves to reach the wider audience denied it on first release.
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on 16 February 2010
I was about to bid a rather large amount of money on an internet auction site for this but luckily I found out it was being re-released just before I put in my offer. OK, so it's a lot less expensive now than it was a couple of months ago (the Japanese version of the CD was fetching around £50) but is it any good? Like most CDs of the early 80s it has its ups and downs - I Am A Camera and Rainbow Warrior (the ups) and Vermilion Sands (the down - sorry, but it just doesn't do it for me) but on the whole it's very listenable if a bit short in its original format but then we come to the extra tracks: We Can Fly From Here Parts 1 and 2 are just brilliant and listening to them you suddenly find the bridge that links Yes' Drama with ABC's Lexicon Of Love, 2 albums which on their own sound quite unrelated despite the Trevor Horn connection. Do not buy this expecting to find another "Video Killed The Radio Star" because you won't, the compositions and arrangements have moved on - which is a good thing - and instead what you have is a much more sophisticated sounding album that signposts quite clearly the direction that Trevor Horn was about to take.
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