Archival label Light in the Attic will be presenting the work of 50/50, a wildly prolific and talented British pop duo finally poised to get their due — nearly half a century after their inception. Formed back in the late 70s, 50/50 was the studio project of Richard Haines and David Cowlees, whose unique blend of irresistible synth-forward pop and classic 60s British songwriting with thoughtful, imaginative lyricism should have propelled to the top of the charts — and to be household names. Instead, due to a variety of circumstances beyond their control, they never received the promotion or attention they deserved.
Drawn from a trove of more than 150 recordings made between 1979 and 1985, Memories Linger will be the British duo’s first-ever studio album, introducing the act through 12 songs — of which were previously unreleased. Slated for a December 4, 2026 vinyl and digital release, Memories Linger was newly mastered by multi-Grammy-nominated engineer John Baldwin and will include a wealth of archival imagery and photos from Cowles’ and Haines’ personal collections, along with new liner notes by London-based broadcaster and writer Charles Donovan. Designed by Darryl Norsen, the LP edition will feature a 12-page booklet.
The story of 50/50 is, at its core, about a deep and abiding friendship — one forged in the late 70s between multi-instrumentalist Richard Haines and vocalist David Cowles during informal jam sessional a Reigate, Surrey, UK-based studio. Along with a love of 60s and 70s rock, the pair shared a keen interest in the era’s evolving electronic instrumentation and the emerging sounds of synth pop and New Wave. By the start of the 80s, they settled into a comfortable songwriting partnership. calling themselves 50/50. The name, writes Charles Donovan, “worked on multiple levels, reflecting the democratic split of the songwriting partnership but also the friendship [and] its qualities of support.”
While both men maintained successful careers — Cowles is in real estate and Haines in AV — and were busy with their young families, they dedicated several nights a week to writing and making music. “The sheer joy of Dave and I coming up with music in my studio was fantastic,” recalls Haines. Working with an array of synthesizers including the Korg Micro-Preset and Korg Polysix, the duo settled on their sound. “You can hear the different threads of the pair’s diverse influences—from prog to rock, singer/songwriter to synth-pop—coming together to form a singular and distinctive fabric,” Donovan notes. “David’s crisp, imaginative lyrics…[and] Richard’s intricate music—sometimes bright and uptempo, but just as often haunting and coolly mysterious—evokes an array of moods. It’s the perfect partnership.”
With the encouragement of Genesis manager Tony Smith, the duo continued their songwriting and in 1982 signed a publishing deal with Bocu Music, the then-home of ABBA, Colin Bluestone and Johnny Logan. There, the duo released a handful of singles including 1982’s “Memories Linger”/”Just Can’t Win,” and 1983’s “Talk Too Much”/”I Saw The Future.” But they repeatedly ran into creative differences with producers and often found themselves unsatisfied with the final masters. Despite positive feedback from industry heavyweights and the press, as well as several high-profile writing opportunities, the duo struggled mightily to gain a foothold. By 1985, after a string of frustrating setbacks, their musical ambitions were somewhat thwarted, but their friendship continued.
More than 150 recordings sat unheard for decades. In the subsequent years that followed, encouraged by their grown children, Haines and Cowles sought to regain control of their work. A 2024 Record Collector article featuring the duo caught the attention of US-based writer Mike Sacks, who then reached out to Light In The Attic founder and co-owner Matt Sullivan, who was immediately taken with 50/50’s music, eventually leading to the December release of their first-ever album — a thoughtfully sequenced collection of 12 songs written over the course of their musical career, and produced exactly as they intended.
Currently Haines runs a successful, East Sussex-based photo restoration business while the Isle of Wight-based Cowles is a retired hotelier. But thanks to the renewed attention on the 50/50, the longtime friends have returned to the studio together for the first time in decades. And yet, the memories of their heyday remain among their most cherished.
“Dave and I had something incredibly special going on,” says Haines. “Yes we worked hard up in my studio but above all we had the most fun, the biggest laughs and the best friendship which led to magic happening. Dave and I have always believed so strongly in the songs we created and are hugely proud of our body of work.”
Cowles adds, “Before I met Richard I was in a very dark place and I hate to think where I would be now if our paths hadn’t crossed. Much of our music was created during those difficult times. I believe that due to his kindness, friendship and, most of all, amazing musical ability, we have produced this stunning body of work. We are still sifting through ideas we recorded some 45 years ago with as much enthusiasm now as we had then. The only difference now is I can honestly say I’ve found a lifelong friend and soulmate.”
Memories Linger will include the previously released album title track, “Memories Linger” and the album’s second and latest single “Just Can’t Win.” Originally recorded back in 1981, “Just Can’t Win” is anchored around glistening synth oscillations, a bouncy yet motorik-like bass line and atmospheric electronics, beneath Cowles’ Mark Mothersbaugh-like delivery. To my ears, the new single brings Freedom of Choice-era DEVO, Trans Europe Express and Computer World-era Krafttwerk and the like to mind, while continuing to showcase what should have made them much bigger — their seemingly effortless craftsmanship.
“Just Can’t Wait” was recently featured on FX’s The Shards, adding to the growing attention surrounding the upcoming release of their long-awaited debut.