Scritti Politti: A World to Know About

Posted by in Culture, Music

Like Columbus, Green found a new world in New York.


‘When I was 17, (tell us about it Green) there was a world to know about (check it out)’ – Overnite

When I was 17 there was a world to know about but I could barely step into a burger place in Newport without a cold spine shuddering feeling of urban paranoia that everyone was staring at me!

Well being Newport they probably were but more importantly that burger place was a stone’s throw away from what was John Frost Square (name checked in the lyrics to First Goodbye). A few years’ earlier on Top of the Pops is how my Scritti knowledge began.

Absolute classic, Wood Beez.


WOOD BEEZ is in the charts. I’ve no idea who the band are, or what the hell he is singing about. It doesn’t bother me that he looks fay, sounds fay, or is called Green. It does not occur to me why until later but I like the hip jerking funk this song is emitting which is odd in itself as I have nothing like it in my record collection.

It ended up at no. 10 (in the chart not Downing Street though the thought of Maggie getting down to a socialist is kind of amusing). It’s followed by Absolute, another funk-pop wonder that recalls a past world but is at the same time very contemporary.

As an aside its exotic credentials are sealed with what sounds like a looped marimba between 1:51 and 2:07 and an electronic Turkish flourish on 2:58-3:15 (more likely a looped or greatly synthesised vocal effect).

Start saving your ideas

I’m also non-plussed that Mr Green Gartside is from up the road (Cardiff) and before these two summer simmering pop blasts was making a right racket with a bunch of anarchists in a Carol Street squat in North London. You wouldn’t think it to hear the polished sound noisettes he was knocking out in the mid-eighties. Like sonic Quality Street chocolates, each song housed in a shiny or luxurious foil wrapper.

Bear in mind a band from Wales (well just Green really – aided by two Americans; David Gamson and Fred Maher) making the charts at this time and still is something of an anomaly by comparison to the Scots who were and still are coming up with artistic brilliance.

So a Welsh entity in the charts was something of a novelty (the only others were The ALARM, Bonnie Tyler and Shakin’ Stevens – nothing much for me there though The ALARM would later have a few really good singles; Rain in the Summertime, Rescue Me, Sold Me Down the River).

The first Scritti album Songs to Remember had arrived in September 1982. It didn’t make it to New Zealand until exactly a year later so I was completely oblivious to its existence and… its sound! Little did I know of Rough Trade and the indy do-it-yourself post-punk approach to making records doing the rounds at the time. Nor did I know of his guest appearance on Eurythmics Wrap it Up!

Many girls, one word.


Both Wood Beez and Absolute were works in progress from what was their second full length release but that wouldn’t appear until June 1985 proceeded by another stunner in The Word Girl – their biggest hit in the UK almost making it into the top 5 during May.

That made it three out of three and therefore when an album did appear I was almost certainly going to buy it. Weirdly it was Geoff Travis (head of Rough Trade) who introduced Green to Gamson who issued a dance version of Sugar Sugar on Rough Trade in ’81 following a mishap with test pressings. The test of Scritti’s Sweetest Girl was sent to Gamson by mistake and aroused his curiosity. 

Sugar Sugar, Honey Honey…

Although this single predates the first Scritti album, it is important for its personnel. Joining Gamson is ex-Material drummer Fred Maher and engineering is one Ray Bardani whom would work on both Cupid and Psyche and Provision; a Scritti Crush Crew in the making.

Travis had thus set in motion the nucleus of the Scritti Politti that would elope for their Virgin rebirth between ’84 and ‘88. With Gamson’s infancy spent in Italy, Scritti seemed a match made in heaven.

Regrettably the conflict of interests between Rough Trade and Virgin was more hellish resulting in the Nile Rodgers produced Small Talk being shelved but if exists I’d love to hear it!

One wonders why they didn’t continue with Rodgers – I’d guess he was unavailable by the time the legal dust had settled or he was tied a specific contract. Either way both would resurface, or in Scritti terms find a place they both belonged.

Ticketmaster AU


Now back to The Word Girl – if you don’t know the song, it comprised a light reggae which slides effortlessly into a languid dreamy subdued tail piece almost as long as the mainframe of the song. I liken the ‘oh how..’ part to a hazy afternoon. If you need a mental picture then Monet’s images of London might suffice. It’s a gorgeous package wrapped up with Gamson’s piano refrain.

Of all the albums I played ’til the vinyl wore thin on my stereo that year (Songs from the Big Chair, The Power Station, Big Bam Boom – actually from ’84) Cupid and Psyche ’85 still receives reasonable airtime (nowadays on iTunes). It was and still is essentially a summer album.

Richard Skinner does the honours of interviewing Green one balmy afternoon on the radio (before Johnnie Walker took up the Stereo Sequence role) and played tracks from C+P ’85. Skinner mentions the singles that many may have already to which Gartside replied more or less that if you have the existing singles maybe you could tape the album off a friend.

Skinner sarcastically adds ‘I’m sure the record company would love to hear you say that.’ We were still in the midst of record companies trying to stamp out ‘home taping.’ That is recording the record directly onto a blank cassette which were readily available in Boots, Woolies, WH Smith. Those were the days.

It sounds as good as it looks!


So Cupid arrived in the summer of 1985 housed in the most splendid cover art by Keith Breeden and Green. On the back the track list appears though not in the order they run on the disc and a rather perplexing image of a slab of meat wrapped in a shirt and a broach not unlike the Silence of the Lambs. According to Green himself this was to show that the work had substance (that there was meat in the material).

Hypnotizing artwork!

Cupid melded the four existing singles with five other songs. One of the singular tracks was Hypnotize which sneaked out the previous November. It received high praise by music press and Duran Duran’s Nick Rhodes but settled at 68 – low for Scritti …at that time anyway.

On Skinner’s show A Little Knowledge – a duet between Green and BJ Nelson, and Don’t Work That Hard with its beguiling and mesmerising key shifts further imbue my interest in the album which may have been bought in Woolworths – possibly with some blank cassettes 😉

Ooh la la, oui like zis one!

The dusky Lover to Fall – a single only in France – becomes a fave and the only one on SIDE TWO that wasn’t a single at home. Cupid is another 9 track album, common at the time with the more arty or bohemian bands (Duran, Arcadia, even Hall and Oates Big Bam Boom and Cock Robin’s first two albums ran to nine songs – perhaps a reaction to the more cumbersome 10).

Perfect Way (the song before Lover) is more famous for being their only hit in the states #11 (and also that cover version by Miles Davis) but the song which suggests Green has a perfect way to make the girls go crazy couldn’t perfect a way into the top 40 running out of perfect steam to a less than perfect 48 at home. Clearly the Lynx Africa effect was someway off.

Perfect Way to make cover art! Note: there was no limited edition with Lynx Africa!


The Basics has the same sleeve as Perfect Way and features remixes of the major hit singles. But behind the scenes all was not well with Green. “Promoting Cupid & Psyche knocked chunks out of my already fragile psyche. I was in a poor state, physically and psychologically.” Says Green in an article with the Guardian in 2011.

A trio of Scritti collaborators.

Although none of Scritti’s Brit-hits were successful Stateside, Green makes a name for himself writing for other artists. Chaka Khan’s Love of a Lifetime on which he also guests, Al Jarreau’s L is for Lover and Adele Bertei’s When it’s Over (produced by Gamson/Maher with John Potoker) with its Scritti trademark horn motif to name a few.

Bertei alone is a fascinating figure who in the late seventies was assistant to Brian Eno which led to him creating the No New York record. When it’s Over never really began but did make it to a HITS compilation and she later guested with Tears for Fears on their US tour (you can see her in their Going to California video).

Oh Patti – the art of making audio-visual eye candy.


No touring for Scritti as Green had like XTC’s Andy Partridge succumb to stage fright and also Gamson was against the idea. There were however lots of interviews in Smash Hits and other music media of the time including the radio. Come 1988 and the jazz imbued Oh Patti arrived courtesy of a guest turn by the aforementioned jazz legend Miles Davis – three months late in April.

But it came with… the limited edition single box set and I just had to have it, along with the 12” (the student grant was great for irresponsible spending in the excessive eighties). Inside the box hosted postcards (see below) and even a sheet of Scritti stamps (the idea had already been ‘approved’ on the American edition of Perfect Way).


Patti heralded the world of Provision. At the time I thought what a crappy title! The Art of Making Candy-floss says one magazine referring to Scritti’s brand of saccharine sweet pop-funk melodies.

The album with a nice shiny purple emboss of the words SCRITTI POLITTI/PROVISION continued the art interest and the continuity – C+P had a version with gold emboss which I hadn’t seen or known about prior to buying my copy – but I like the standard edition so no big deal.

The band with and without jazz legend.

Provision begins with BOOM! There She Was. The song guests the late Roger on vocoder. I was still clueless to what the hell Green was saying, never mind Roger, the motto guzzi? What the hell was that? Bass legend Marcus Miller plays some wonderful touches on this track especially on the 4:20 mark.

The second track Overnite details Green’s own peripatetic life. He like myself had bobbed around several South Wales towns before moving to Leeds and onto London to make said racket with the mob.

Provision was like Cupid before it, an audiophile’s glossy magazine with harmonies. Second single First Boy in This Town is brilliant but somehow misses the top 40 (though it does chart in New Zealand bang on 40).

The late Dusty Springfield later chooses it as one of her favourites. The B-side is the excellent World Come Back to Life – a rarity in that most of their beez are just versions of the A-side.

All That We Are sparkles like San Francisco bay in the morning and features obscure lyrics like ‘gonna get the girl a present that never arrives.’ Absurd yet assured – you gotta love it! The North American influence of keyboardist David Gamson, still involved in music writing (Adam Lambert, Kelly Clarkson), playing its part here.

Best Thing Ever meanwhile came about via Madonna’s Who’s That Girl soundtrack – they were label mates in the States (Warner Bros) and Virgin for the UK. The Madge track is in turn similar to the Pet Shop Boys Domino Dancing to give a snapshot of what was around at the time.

On the radio, Philip Schofield has Green guest to promo third single BOOM! There She Was which again falters at home (55) but again charts in NZ (31). It’s their second biggest hit in the States running out of snap crackle and pop at 53.

Both First Boy and BOOM come in 12” boxsets and feature exquisite textured prints of many of their single covers. By the way the Dub version of BOOM which quite rightly features on the Provision CD is better than the extended version.


Still no tour but Green does appear at the Montreux festival performing Oh Patti, clearly uncomfortable; looking upward and into space avoiding eye contact with the audience.

It was a long way from where I was, newly enrolled in what was then Pontypool College hoping for a career in record cover design inspired by Malcolm Garrett, and to a large extent Keith Breeden – designer of many Virgin era Scritti Politti covers with Green (who had studied foundation art in Newport as I would a few years’ later).

In keeping with my intended career I make lots of cassette covers. As I have the Scritti albums on vinyl I make a tape compilation and call it Philosophy (after the song Philosophy Now) so I have something to play on my walkman on the journey’s to and from Ponty via Green’s former base in Cwmbran – kind of Wales answer to Brazilia minus the arresting architecture.

Summer in Scritti-land, expect flies.


Only now do I investigate the first album, Songs to Remember, and it’s a shock to the system! Like Gabriel 4, the sound is cloudy and the artwork is Scritti at their most minimal. A white cover with a slender pin strip of pale blue and gold Scritti Politti text (once again embossed as is a fly emblem in the lower right hand corner).

Opening with reggae influenced Asylums in Jerusalem – it was no Word Girl. The Scritti sound, here produced by Adam Kidron is not yet the polished luxury that will ooze like sugared honey from the stereo speakers in the work captured on Virgin’s C&P 85 and Provision. Kidron no doubt was a good choice in that his father was a Marxist economist!

It continues with A Slow Soul, a sombre grey dirge, funeral music is more upbeat. The version on Asylums 12” is completely different and by far the better version. Third, Jacques Derrida named after the French philosopher leads to a real life meeting in Paris which was captured on film.

Lions After Slumber is funky but a bit like porn, it’s just boring after a while. The final song on side one is Faithless and the classy soul it exudes is the first real indication of the Scritti to come.

The funky Sex opens side two and then it’s a bit of a downer for Gettin’ Havin’ Holdin’ containing the line ‘wet wet with tears’ from which Wet Wet Wet would take their name and almost a forerunner to Born to Love from Anomie and Bonhomie. The Ace in the pack is of course The “Sweetest Girl” and if ever I meet Green Gartside one of the questions I would ask is this…

At what point in the creative process do you think, hmm I think this needs a chilling Hitchcockian piano/organ vibe to round things off? Stranger still, Green originally intended the song for Gregory Issacs! And the programmed drums were influenced by KRAFTWERK!


Quite why Madness of all bands thought it was a good idea to cover is anyone’s guess but they did and their nutty boys version made landfall at #35 in 1986, almost twice as high as Scritti’s much lauded original.

I don’t know where I heard it but there is in existence a version of Wood Beez done in the Songs to Remember style and thank god he changed it. The catalyst for this change came from David Frank of The System.

Appearing on the radio in 1990 was Lloyd Cole being interviewed (again) by Richard Skinner. He mentions Fred Maher who plays drums on his self titled album. When Maher was suggested to him, Cole was reluctant ‘Scritti Politti and what I’m doing?’

Somehow the collaboration worked and though Maher declined to tour with Cole, Maher co-produced and would be present on Cole’s first four solo albums right through to Love Story (1995) and again on 2019’s Guesswork (playing synths and programming).

Look close on the credits and you’ll also see Maher does programming on KRAFTWERK’s Electric Cafe (Techno Pop) album, on Australian band I’m Talking’s debut Bear Witness and on Information Society’s big American hit What’s On Your Mind (Pure Energy). 1986 was a big year for Maher, no wonder he was quids in for SP and as Cole says ‘he’s always been a bit of a techie.’

Maher also produced an album Basic with Robert Quine. Though I like minimalism Basic has more in common with lift muzak, so I can’t recommend it. More on Gamson’s work outside of the trio to come.

The day the artwork died!


Another three years elapse. PROVISION hints at Green’s interest in rap but 1991’s singles with Shabba Ranks and Tipi Irie bring it to the fore. The former is a cover of The Beatles She’s a Woman. Just about the only words I can make out from Ranks are for Green to ‘step up.’

Though the pairing almost didn’t happen at all. Green called Ranks on the phone to receive a “Scritti who?” Fortunately Maxi Priest was on hand to give the thumbs up (to Ranks) and the rest is history.

But it’s the first time since Songs to Remember that the artwork disappoints, and the second Take Me in Your Arms and Love Me is truly hideous. For all its visual failings is the consolation that it comes with a neat promo trick; to include all Green’s peans to the ladies on one CD (She’s a Woman, The “Sweetest Girl,” and The Word Girl).

The following is another guest slot on Martyn Ware’s BEF project singing I Don’t Know Why I Love You. Unlike 1982, 1985 and 1988, 1991 sees no album and Green dissolves into obscurity (though a world away musically a little like fellow Virgin artists John Foxx and David Sylvian who also took lengthy sabbaticals).


In Green’s case holed up in a cottage in Usk. Together with Monmouth it’s a hotspot for Welsh celebs and fashionistas. By the time Anomie and Bonhomie appeared it is 1999, I was a design graduate and little did I know that my peripatetic life was not over and a life on the road had begun.

There was indeed a world to know about; some good, some bad. I’m not sure which a dormitory bunk bed in London fell into.

Umm, it’s Anomie and Bonhomie.

The artwork is back on track, this time designed by Paul West’s team at Form. Within the content is as much of a shock as Songs to Remember was. An acidic indie grunge detailing his plight over the nineties for album opener and highlight UMM. In an interview Green says he ‘could have made an album by numbers and it probably would have been very successful.’

Of course we will never know whether a shiny Scritti would have conjured up the kind of success they held in their eighties hey day and change, drastic change has always played its part in his musical journey. Green is again accompanied by Gamson but Fred Maher is missing.


Great things were expected of Tinseltown to the Boogiedown. Dressed in Papa Was a Rolling Stone blue the store hand at London’s Tower Records tells me it’s an awesome single. Even so it could only boogie as far as #46 (nothing in the States or NZ this time round).

First Goodbye is a delicate ballad in the vein of A Little Knowledge or Overnite while Mystic Handyman displays the key shifts and familiar air of a Scritti that we know and appreciate. Prince Among Men has a nasty guitar riff; it sounds like the guitar equivalent of having an itchy cough that won’t go away.

Here Come July and The World You Understand is Over and Over and Over are both pre-Avril bad arse Ska8er Boi rock n’roll. Green’s interest in true crime (according to the Q podcast of May 2019) lends its influence to the sublime Brushed With Oil, Dusted With Powder which after six minutes and five seconds fades into a seven year silence.

Early to mid-noughties Scritti.


Although the early years do little for me (I’ve tried) over in post-punk Melbourne Australia, the musician and (although he wouldn’t say so himself) academic Peter Farnan (then of Serious Young Insects but later of Boom Crash Opera) was excited about the noise coming out of the formative Scritti Politti.

‘early Scrit was a classic example of everyone in a band playing the wrong way and making something beautiful. The guitar held down the rhythm, the drummer played melodies, the bass player played lead guitar and Green sang like an angel about banalities. And there was an underlying deconstructionist, socialist discourse which nobody understood.’

2006 and I walk into Edinburgh’s FOPP record store to see… White Bread Black Beer (WBBB). Green half jokingly said the title refers to his diet. Again the artwork – a basic less is more approach by wife Alys – disappoints. But the track listing runs to 14 songs, another bohemian ‘thing’ see Eno’s Another Green World, Sylvian’s Dead Bees on a Cake, and Paul Buchanan’s Mid-Air to name a few.

If Anomie and Bonhomie had been the most collaborative record Scritti ever made then WBBB was a homemade jam, stripped down but still top notch on production. Though Green says they are demos! The one and only single The Boom Boom Bap is also the first thing we the listener hear.

Had Green been making New Wave music in 1982 this may well be what it would have sounded like. The enigmatic No Fine Lines and Window Wide Open for example, the latter a scenic eclogue though north London down to Greenwich or am I misreading it?

The Beach Boy harmonies are however still in tact on Snow in Sun (covered by Tracey Thorn on her 2012 album Tinsel and Lights), and Mrs Hughes. The crazy Scritti key shifts are also in attendance on Throw for example during the ‘Get me out of here’ parts.

Farnan is not alone in his admiration. Songs to Remember has a fan in Tim Bowness who rates the album for its sweet melodies alongside White Bread, Black Beer (the creatively formative and the emotionally fulfilling aspects of Green’s career as Bowness puts it or in layman’s terms the Rough Trade years).

WBBB was preceded by secret dates as ‘Double G and The Traitorous 3’ presumably to test Green’s stage fright. It must have worked as he conceded that as he got older his fear of a live set up diminished and he thought ‘what’s the worst that could happen?’

The Scritti Politti moniker was then properly asserted for the tours of America and the UK in the autumn. I am little indifferent to the possibility of seeing a live Scritti by this point and wish he had toured during the glory years – imagine the merchandise (drool).


The absolute way to blue.

Before and beyond WBBB lie a slew of further collaborations including: Kylie’s Someday from her 2003 album Body Language – it’s an almost electro-scritti ditty (Green appears mid way though they never met), Hot Chip singer Alexis Taylor and in 2008 Way to Blue (the songs of Nick Drake) performing Fruit Tree on both the album and at The Barbican.

2011 finally sees the much mooted Best of named Absolute with two new tracks co-written with Gamson. A Day Late and a Dollar Short has more in keeping with the latter’s work with Adam Lambert (Sure Fire Winners) than Scritti. The other newbie is A Place We Both Belong. The same year The Guardian writer Andrew Harrison declared Green the brainiest man in pop (apart from Brian Eno).

Green guests on Radcliffe and Maconie’s radio show saying a new album is on the way and that he seems to average one every ten years. The album still hasn’t materialised and instead we got a flurry of appearances at Hay on Wye, and on the Manic Street Preachers Between the Clock and the Bed from their Futurology set.

In Feb 2015 Green was made an honorary fellowship of Goldsmiths University in London following an academic conversation in November the previous year with Goldsmiths Aural and Visual Cultures lecturer Kodwo Eshun. Green’s talk was part of a series Post-Punk Then and Now which explored the genre’s search for the new (I use the term The Shock of the New enough on this blog).

And speaking of that endless cycle of ‘the new’ the American artist Justin Timberlake’s Like I ‘Absolutely’ Love You features a sample of Absolute. Timberlake’s Rock Your Body also has an air of Cupid era Scritti and it’s possible someone may have mentioned this to him, or he himself is a fan.

Look I don’t who this Nicola Sturgeon woman is alright! Just kidding, it’s the 1988 Green shot by Brian Aris and the almost present day (2019) Green shot by Q magazine.


In April and May of 2019 Q Magazine features an article and a podcast on Green (now in his autumn years) pictured with a greying beard in Mile End, London. Both are conducted by editor Ted Kessler. To my ears Green sounds much more relaxed than the interviews I remember in the eighties often joking with mock Welsh accent.

He says he has no concept of time which is why it takes him ‘over a decade’ to do an album and that he’s getting there. So no new Scritti music or titles just a run of the mill interview though Green with his anecdotes on just about every band you can think of makes it interesting.

What we do get is a few moments of his take of a song by underrated folk singer Anne Briggs. Green reveals he is a big fan of traditional music. To this end the sleeve art to WBBB makes sense.


It has now been 15 years since a Scritti Politti album, the longest ever absence. Now writing in the grip of a global pandemic I hope that we hear from Green again before he passes. Italian Marxist philosopher Antonio Gramsci observed that civil society could absorb incredible economic or political shocks and people would carry on as ‘normal’ and lo and behold that appears to be the case.

In Harrison’s 2011 article it is said there are hundreds! Hundreds of unfinished Scritti pieces and Green states that he hasn’t come close to making the best music that he can. Nine years down the line and still nothing. It almost echoes the line from Wood Beez, ‘there’s nothing I wouldn’t do including doing nothing.’ At this rate Green could potentially do Cupid and Psyche when he’s 85!

As I was finishing up writing the original version of this blog in 2020, it was announced Green would release a ‘solo’ single featuring two tracks by Briggs Tangled Man and Wishing Well. I appear to have an alarming habit of being ahead of myself. Also in 2020 Green contributes to the film noir-ish Inverno from French DJ and composer Philippe Cohen Solal’s Mind Food album, the video is on You Tube. Solal calls Green a rare and precious singer.

In the autumn of 2021 Green assembled a new Scritti line up for a tour of Cupid and Psyche 85 (see Remember That Night). 36 years late I was fortunate to witness the second show in Birmingham and while it was a great thrill to see it did at times feel like Karaoke, regardless his unusual voice and approach to music has left us a fine set of songs to remember. 

Travelling from Cardiff into the Welsh Valley’s to Leeds, London, New York and back via Usk to Hackney (where I also briefly lived – again in the English capital). Green has shown us there is indeed a world to know about.


Thanks for reading here, should you be interested in my work; principally writing, photography, and teaching, check out the MEDIA page, and/or the UNIVERSITY page for my teaching ethos. 

Meanwhile, stay tuned with things here at Kulture Kiosk via THE ATLAS or on Twitter, Facebook, and Instagram where you can see some of my photos from around the world. Blog originally posted June 2020. Blog includes affiliate links.

Wood Beez (from Cupid & Psyche 85) – Scritti Politti
Absolute (from Cupid & Psyche 85) – Scritti Politti
Wrap it Up (from Sweet Dreams) – Eurythmics ft Green
The Word Girl (from Cupid & Psyche 85) – Scritti Politti
Sugar Sugar (single) – David Gamson
Some Things Are Better Left Unsaid (from Big Bam Boom) – Hall and Oates
Communication (from The Power Station) – The Power Station
Mother’s Talk (from Songs from the Big Chair) – Tears for Fears
Hypnotize (from Cupid & Psyche 85) – Scritti Politti
A Little Knowledge (from Cupid & Psyche 85) – Scritti Politti
Don’t Work That Hard (from Cupid & Psyche 85) – Scritti Politti
Lover to Fall (from Cupid & Psyche 85) – Scritti Politti
Perfect Way (from Cupid & Psyche 85) – Scritti Politti
Love of a Lifetime (from Destiny) – Chaka Khan ft Green
L is for Lover (from L is for Lover) – Al Jarreau
When It’s Over (single) – Adele Bertei
Oh Patti (from Provision) – Scritti Politti ft Miles Davis
BOOM! There She Was (from Provision) – Scritti Politti ft Roger
OVERNITE (from Provision) – Scritti Politti
First Boy in This Town (from Provision) – Scritti Politti
World Come Back to Life (from First Boy in This Town single) – Scritti Politti
All That We Are (from Provision) – Scritti Politti
Best Thing Ever (from Provision and Who’s That Girl OST) – Scritti Politti
Who’s That Girl? (from Who’s That Girl OST) – Madonna
Domino Dancing (single) – Pet Shop Boys
Asylums in Jerusalem (from Songs to Remember) – Scritti Politti
A Slow Soul (version)(from Asylums in Jerusalem 12”) – Scritti Politti
Faithless (from Songs to Remember) – Scritti Politti
Sex (from Songs to Remember) – Scritti Politti
The “Sweetest Girl” (from Songs to Remember) – Scritti Politti
You Are in My System – The System
She’s a Girl and I’m a Man (from Don’t Get Weird On Me Babe) – Lloyd Cole
Pickup (from Basic) – Robert Quine/Fred Maher
She’s a Woman (single) – Scritti Politti ft Shabba Ranks
Take Me in Your Arms and Love Me (single) – Scritti Politti ft Sweetie Irie
I Don’t Know Why I Love You (single) – BEF ft Green
UMM (from Anomie and Bonhomie) – Scritti Politti
First Goodbye (from Anomie and Bonhomie) – Scritti Politti
Mystic Handyman (from Anomie and Bonhomie) – Scritti Politti
Prince Among Men (from Anomie and Bonhomie) – Scritti Politti
Sk8er Boi (from Let Go) – Avril Lavigne
Here Come July (from Anomie and Bonhomie) – Scritti Politti
Brushed With Oil, Dusted With Powder (from Anomie and Bonhomie) – Scritti Politti
Someday (from Body Language) – Kylie ft Green
No Fine Lines (from White Bread, Black Beer) – Scritti Politti
Window Wide Open (from White Bread, Black Beer) – Scritti Politti
Throw (from White Bread, Black Beer) – Scritti Politti
Road to No Regret (from White Bread, Black Beer) – Scritti Politti
The Boom Boom Bap (from White Bread, Black Beer) – Scritti Politti
Fruit Tree (from Way to Blue – The songs of Nick Drake) – Green
A Day Late and a Dollar Short (from Absolute) – Scritti Politti
Sure Fire Winners (from For Your Entertainment) – Adam Lambert
Snow in Sun (from Tinsel and Lights) – Tracey Thorn
Between the Clock and the Bed (from Futurology) – Manic Street Preachers ft Green
Like I ‘Absolutely’ Love You – Justin Timberlake
Rock Your Body – Justin Timberlake
Tangled Man – Green Gartside

Photo Credits:
Most sleeves and assorted imagery as always from
David Gamson Sugar Sugar image from discogs, reconstructed by KH
The Word Girl poster from Chisholm-Poster in New York
The Word Girl replica advert by KH
Lover to Fall (yellow sleeve) from
Oh Patti stamps from eBay
Anomie and Bonhomie assemblage from form
A Day Late ad from contact music
Green in conversation from Goldsmiths University
Green 2019 photo from
Tangled Man cover from