Despite my personal admiration of Heaven 17's early work over that of their rivals, post-industrial version of The Human League, this earlier Bef collection of covers might have been an interesting study for the time being, but now remains dated and at times also an exceptionally boring record.

Of course, it's not entirely Ian Marsh and Martyn Ware to blame, but they should have definitely tried and worked out this conceptual various artists sort-of a record to its deserved perfection. The main reason why it probably never made it bigger is the duo' ambitious attempt to provide 'rock' through synthetics (a method that made many of their peers sign on equal capitulation).

Among the highlights is undoubtedly Tina Turner's early 80s comeback here with 'Ball of Confusion', which demonstrates both - Tina's amazing vocals against Bef's amazing post-punk blend of funk and electronics to the full... A truly deserved hit that should have been bigger than it actually was.

The same goes for the ever-extravagant and magnificent Billy Mackenzie - his vocal acrobatics in 'The Secret Life of Arabia' and 'It's Over' keep the tunes going for a wild ride in unknown directions without getting crashed along the rocks.

Glenn Gregory's solo debuts here also fare well - 'Witchita Lineman' resembles Ware & Marsh's earlier infatuation with cold electronics, and could very easily fit in with Bef's excellent debut album 'Music For Listening To'. 'Perfect Day' is more of a standard, a bit clumsily synthetic but still works out fine.

Yes, even Paula Yates doesn't sound that irritating - the choice of her singing 'These Boots' was just right, if not perfect, this version holds to the original's dynamics and the recipe couldn't have been missed.

Paul Jones guests for 'There's a Ghost In My House' - another could've-been-electro-pop standard that bears a Bef trademark of lynn-drum programs but despite its irresistable groove, it still sounds like a piss-take leftover.

On the downside of the lot are Sandie Shaw, Bernie Nolan and most notably Gary Glitter. Shaw, not for singing badly, but 'Anyone Who Had a Heart' the way it is recorded here, very easily puts you to sleep.

Bernie Nolan's delivery in 'You Keep Me Hanging On' is nothing more than a pretty shattered-sterile karaoke version of the Supremes' original (due to its electro pop appeal, this also might have served well as a sketch for Kim Wilde's mid-80s cover version of the same song).

Gary Glitter's horrible singing over an equally dreadful quasi-rock delivery of 'Suspicious Minds', deserves no particular comment whatsoever. A song that should've been treated with much more respect.