Live at Shepperton 1980 (live)
release date: Nov. 26, 1982
format: vinyl (NED 1)
[album rate: 3,5 / 5] [3,48]
producer: non-produced
label: Big Beat Records - nationality: England, UK
Live album by The Damned 'recorded live at a special gig played for members of The Damned fan club, at Shepperton, 1980'.
[ just music from an amateur... music archaeologist ]
"Dagen er reddet & kysten er klar - Jeg er den der er skredet så skaf en vikar!"
29 November 2011
27 November 2011
Elvis Costello & The Attractions "Get Happy!!" (1980)
Get Happy!!
release date: Feb. 15, 1980
format: vinyl / cd (1994 remaster Extended Play)
[album rate: 4,5 / 5] [4,46]
producer: Nick Lowe
label: F-Beat / Demon Records - nationality: England, UK
Track highlights: 1. "Love for Tender" (5 / 5) - 2. "Opportunity" - 3. "The Imposter" (4,5 / 5) - 5. "King Horse" - 6. "Possession" (5 / 5) - 7. "Man Called Uncle" - 8. "Clowntime Is Over" - 10. "High Fidelity" - 11. "I Can't Stand Up (For Falling Down)" - 14. "B Movie" - 15. "Motel Matches" - 18. "Temptation" (5 / 5) - 19. "I Stand Accused" - *23 "Getting Mighty Crowded" - *24. "So Young"
*Bonus track on 1994 remaster 'Extended Play'
4th studio album by Elvis Costello is like the predecessor made with The Attractions, and it's his now fourth album to be produced by Nick Lowe. The original vinyl release is released on F-Beat and the '94 remaster in the Extended Play-series, is released by Demon Records.
Already, at this point Costello was known for the incredible production speed he was pursuing. Many artist spewed out albums faster than ever before at this point in modern music history, but Costello wrote and composed close to 100% of his material on his own, and here just one year after the new-found style of Armed Forces he bangs another style-shift on the counter with this one to avoid repeating himself.
Get Happy!! contains 20 tracks in the original vinyl version, which in itself is an accomplishment and something almost unheard of with its running time at 48 mins they indeed pressed the limits with the vinyl format. Several songs run out under 2 mins, and the average playing time of the songs must be somewhere around 2:30, but still he demonstrates impressive writing pace. Stylistically, the album showcases Costello's musical strengths as he explores soul and r&b sources to mix his own new wave and power pop version of pop soul and with the tight backing band, The Attractions they make it a bomb of sheer rhythmic energy.
I think the album is one of my first purchases after having bought This Year's Model with Costello in the early 1980s, and it immediately felt great. I know, contemporary critics praised his earlier and some later releases higher than this, but from my perspective this is Costello at his best. Much like with his '79 album it's a pretty hard job to enlist the track highlights on an album that just consists of great songs, which is why I have only enlisted the very very best. The 1994 remaster on Demon is worth every penny. Like the vinyl was followed by producer Nick Lowe's comment to the record buyer to pay attention that the album has 10 tracks on each side without loss of quality, the remaster has another 10 bonus tracks in the 'Extended Play' series (actually, 11 tracks counting the unlisted 31st incomplete demo track of "Love for Tender" intentionally ending abruptly after 1:39). The original vinyl album was issued with a wrong playing order - having swapped the A and B-sides, and the '94 remaster plays along with this by enlisting the total tracks in reverse order.
The first (and the best charting) single from the album is I Can't Stand Up (For Falling Down) (Feb. 1980) peaking at number #4 on the UK singles chart list, followed by High Fidelity (Feb. 1980) and New Amsterdam (Jun. 1980). The album was well-received, and it reached the same high position on the national albums chart list with a second place, although, it wasn't met by the same positive reviews as his two previous albums. Retrospectively, however, the album is by many considered one of Costello's absolute best. On the website Acclaimed Music, the album is ranked the 76th most acclaimed album of the 1980s, and in 1989, Rolling Stone placed Get Happy!! at number #11 on its list of 'The 100 Best Albums of the 1980s'.
The album is and has always been one of my absolute favourites by Costello, and would surely end up on my personal top 3 list of his extensive production, if I should ever attempt to make such a list.
Highly recommended.
"EveryHomeShouldHaveOne."
[ allmusic.com, Blender, Sounds, Uncut 5 / 5, Rolling Stone, Select 4 / 5 stars ]
release date: Feb. 15, 1980
format: vinyl / cd (1994 remaster Extended Play)
[album rate: 4,5 / 5] [4,46]
producer: Nick Lowe
label: F-Beat / Demon Records - nationality: England, UK
Track highlights: 1. "Love for Tender" (5 / 5) - 2. "Opportunity" - 3. "The Imposter" (4,5 / 5) - 5. "King Horse" - 6. "Possession" (5 / 5) - 7. "Man Called Uncle" - 8. "Clowntime Is Over" - 10. "High Fidelity" - 11. "I Can't Stand Up (For Falling Down)" - 14. "B Movie" - 15. "Motel Matches" - 18. "Temptation" (5 / 5) - 19. "I Stand Accused" - *23 "Getting Mighty Crowded" - *24. "So Young"
*Bonus track on 1994 remaster 'Extended Play'
4th studio album by Elvis Costello is like the predecessor made with The Attractions, and it's his now fourth album to be produced by Nick Lowe. The original vinyl release is released on F-Beat and the '94 remaster in the Extended Play-series, is released by Demon Records.
Already, at this point Costello was known for the incredible production speed he was pursuing. Many artist spewed out albums faster than ever before at this point in modern music history, but Costello wrote and composed close to 100% of his material on his own, and here just one year after the new-found style of Armed Forces he bangs another style-shift on the counter with this one to avoid repeating himself.
Get Happy!! contains 20 tracks in the original vinyl version, which in itself is an accomplishment and something almost unheard of with its running time at 48 mins they indeed pressed the limits with the vinyl format. Several songs run out under 2 mins, and the average playing time of the songs must be somewhere around 2:30, but still he demonstrates impressive writing pace. Stylistically, the album showcases Costello's musical strengths as he explores soul and r&b sources to mix his own new wave and power pop version of pop soul and with the tight backing band, The Attractions they make it a bomb of sheer rhythmic energy.
I think the album is one of my first purchases after having bought This Year's Model with Costello in the early 1980s, and it immediately felt great. I know, contemporary critics praised his earlier and some later releases higher than this, but from my perspective this is Costello at his best. Much like with his '79 album it's a pretty hard job to enlist the track highlights on an album that just consists of great songs, which is why I have only enlisted the very very best. The 1994 remaster on Demon is worth every penny. Like the vinyl was followed by producer Nick Lowe's comment to the record buyer to pay attention that the album has 10 tracks on each side without loss of quality, the remaster has another 10 bonus tracks in the 'Extended Play' series (actually, 11 tracks counting the unlisted 31st incomplete demo track of "Love for Tender" intentionally ending abruptly after 1:39). The original vinyl album was issued with a wrong playing order - having swapped the A and B-sides, and the '94 remaster plays along with this by enlisting the total tracks in reverse order.
The first (and the best charting) single from the album is I Can't Stand Up (For Falling Down) (Feb. 1980) peaking at number #4 on the UK singles chart list, followed by High Fidelity (Feb. 1980) and New Amsterdam (Jun. 1980). The album was well-received, and it reached the same high position on the national albums chart list with a second place, although, it wasn't met by the same positive reviews as his two previous albums. Retrospectively, however, the album is by many considered one of Costello's absolute best. On the website Acclaimed Music, the album is ranked the 76th most acclaimed album of the 1980s, and in 1989, Rolling Stone placed Get Happy!! at number #11 on its list of 'The 100 Best Albums of the 1980s'.
The album is and has always been one of my absolute favourites by Costello, and would surely end up on my personal top 3 list of his extensive production, if I should ever attempt to make such a list.
Highly recommended.
"EveryHomeShouldHaveOne."
[ allmusic.com, Blender, Sounds, Uncut 5 / 5, Rolling Stone, Select 4 / 5 stars ]
26 November 2011
Bauhaus "In the Flat Field" (1980)
In the Flat Field [debut]
release date: Oct. 1, 1980
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Bauhaus
label: 4AD Records - nationality: England, UK
Track highlights: 1. "Double Dare" - 2. "In the Flat Field" - 3. "God in an Alcove" - 7. "St. Vitus Dance" - 8. "Stigmata Martyr"
Studio album debut by British gothic rock and post-punk band Bauhaus consisting of vocalist Peter Murphy, guitarist Daniel Ash, and the two brothers Haskins: bassist David J [aka David John Haskins], and (younger brother) drummer Kevin.
It's a very promising release with a highly original sound, which on the one hand appears to be inspired by post-punk forerunners like Joy Division, Siouxsie and the Banshees and The Cure, as well as by former artists of proto-punk and psychedelic rock, and in this fusion of their own darker style, which places the band as one of the very first to be referred to as playing gothic rock.
The album is by many critics considered the first gothic rock album. The album cover is by American photographer Duane Michals titled "Homage to Puvis de Chavannes".
[ allmusic.com 4 / 5, Drowned in Sound 4,5 / 5 ]
release date: Oct. 1, 1980
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Bauhaus
label: 4AD Records - nationality: England, UK
Track highlights: 1. "Double Dare" - 2. "In the Flat Field" - 3. "God in an Alcove" - 7. "St. Vitus Dance" - 8. "Stigmata Martyr"
Studio album debut by British gothic rock and post-punk band Bauhaus consisting of vocalist Peter Murphy, guitarist Daniel Ash, and the two brothers Haskins: bassist David J [aka David John Haskins], and (younger brother) drummer Kevin.
It's a very promising release with a highly original sound, which on the one hand appears to be inspired by post-punk forerunners like Joy Division, Siouxsie and the Banshees and The Cure, as well as by former artists of proto-punk and psychedelic rock, and in this fusion of their own darker style, which places the band as one of the very first to be referred to as playing gothic rock.
The album is by many critics considered the first gothic rock album. The album cover is by American photographer Duane Michals titled "Homage to Puvis de Chavannes".
[ allmusic.com 4 / 5, Drowned in Sound 4,5 / 5 ]
25 November 2011
Elvis Costello & The Attractions "High Fidelity" (1980) (single)
release date: Apr. 4, 1980
format: vinyl (XX3T)
[single rate: 4 / 5] [3,82]
producer: Nick Lowe, Elvis Costello
label: F-Beat - nationality: England, UK
Tracklist: A) "High Fidelity" - - B) 1. "Getting Mighty Crowded" - 2. "Clowntime Is Over (Version 2)"
2nd single preceeding the album Get Happy!! (Feb. 1980) following the first single I Can't Stand Up for Falling Down (Feb. 1980) and succeeded by the third and final single from the album: New Amsterdam (Jun. 1980). The A-side is produced by Lowe, whereas the two B-side compositions both are produced by Costello.
High Fidelity was not another Top 10-single hit as the first single, which had charted as number #4 as it topped as number #30 on the UK singles chart, however, over the years, the song is regarded as one of Costello's major songs and in a way embellies the Motown soul tribute of the album and stands as one of his most danceable songs.
23 November 2011
Dawn "Candida" (1970) (single)
release date: Jul. 1970
format: vinyl (BLL 903, Danish issue)
[single rate: 3,5 / 5] [3,28]
producer: Hank Medress, The Tokens
label: Bell Records - nationality: USA
Tracklist: A) "Candida" - - B) "Look At..."
Single release by American vocal / pop group Dawn (later known as Dawn featuring Tony Orlando, or: Tony Orlando & Dawn) both tracks taken from the debut album Candida (1970).
The title song was an international hit and topped the charts in several countries and remains their biggest hit. The single is from my parents' record collection given to me at some point in the mid or late 70s. I recall playing this as one of the stable singles on a portable turntable aged 7-10 years old. In hindsight, this is the type of soft pop music directed at parents to their offspring, who would instead listen to hard rock, psychedelic rock, or old school beat.
~ ~ ~
This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.
20 November 2011
The Clash "Radio Clash" (1981) (single)
Radio Clash, 12'' single
release date: Nov. 20, 1981
format: vinyl (CBSA 12.1797)
[single rate: 3,5 / 5] [3,62]
producer: The Clash
label: CBS Records - nationality: England, UK
Tracklist: A) 1. "This Is a Radio Clash") - 2. "Radio Clash" - - B) 1. "Outside Broadcast" - 2. "Radio 5"
[ all tracks ]
Single release by The Clash. Despite the different track names, all tracks are actually remixes of the same track. The A-side of the 12'' are identical versions of the two tracks found on the 7'' single issue. Nationally, the single didn't perform too well, topping at number #47 on the singles chart list. Highest position was at number #9 on the Swedish chart list.
release date: Nov. 20, 1981
format: vinyl (CBSA 12.1797)
[single rate: 3,5 / 5] [3,62]
producer: The Clash
label: CBS Records - nationality: England, UK
Tracklist: A) 1. "This Is a Radio Clash") - 2. "Radio Clash" - - B) 1. "Outside Broadcast" - 2. "Radio 5"
[ all tracks ]
Single release by The Clash. Despite the different track names, all tracks are actually remixes of the same track. The A-side of the 12'' are identical versions of the two tracks found on the 7'' single issue. Nationally, the single didn't perform too well, topping at number #47 on the singles chart list. Highest position was at number #9 on the Swedish chart list.
18 November 2011
The Jam "This Is the Modern World" (1977)
This Is the Modern World
release date: Nov. 18, 1977
format: digital
[album rate: 3,5 / 5] [3,52]
producer: Vic Coppersmith-Heaven, Chris Parry
label Polydor - nationality: England, UK
Track highlights: 1. "The Modern World" - 3. "Standards" (4,5 / 5) (live) - 4. "Life From a Window" - 7. "In the Street, Today" (4 / 5) (live) - 10. "Here Comes the Weekend" - 12. "In the Midnight Hour"
2nd album by The Jam released through Polydor Records and like the debut produced by produced by Vic Coppersmith-Heaven and Chris Parry. After the great debut album In the City (1977) filled with mod songs wrapped up in angry punk rock, this is a progression to a change of sound only some six months later. The album was and still is a disappointing release. A few great tracks like "Standards", and "In the Street, Today" cannot save the overall impression of a weak release. Bruce Foxton wrote "London Traffic" and the cover song "In the Midnight Hour" (by Wilson Pickett) is fine but not really as great as some live versions suggest it could have been, and Paul Weller wrote the remaining songs. The style is a mix of influences - it's perhaps the album where the trio sounds the most like The Who) and mostly reflects the band's progression towards a more unique new wave and mod revival sound.
[ allmusic.com 3 / 5 stars ]
release date: Nov. 18, 1977
format: digital
[album rate: 3,5 / 5] [3,52]
producer: Vic Coppersmith-Heaven, Chris Parry
label Polydor - nationality: England, UK
Track highlights: 1. "The Modern World" - 3. "Standards" (4,5 / 5) (live) - 4. "Life From a Window" - 7. "In the Street, Today" (4 / 5) (live) - 10. "Here Comes the Weekend" - 12. "In the Midnight Hour"
2nd album by The Jam released through Polydor Records and like the debut produced by produced by Vic Coppersmith-Heaven and Chris Parry. After the great debut album In the City (1977) filled with mod songs wrapped up in angry punk rock, this is a progression to a change of sound only some six months later. The album was and still is a disappointing release. A few great tracks like "Standards", and "In the Street, Today" cannot save the overall impression of a weak release. Bruce Foxton wrote "London Traffic" and the cover song "In the Midnight Hour" (by Wilson Pickett) is fine but not really as great as some live versions suggest it could have been, and Paul Weller wrote the remaining songs. The style is a mix of influences - it's perhaps the album where the trio sounds the most like The Who) and mostly reflects the band's progression towards a more unique new wave and mod revival sound.
[ allmusic.com 3 / 5 stars ]
17 November 2011
Simple Minds "Real to Real Cacophony" (1979)
Real to Real Cacophony
release date: Nov. 1979
format: cd (2003 remaster)
[album rate: 2,5 / 5] [2,45]
producer: John Leckie
label: Virgin Records - nationality: Scotland, UK
2nd studio album by Simple Minds following only seven months after the debut album is originally released on Zoom Records. Stylistically, the album follows closely on the path laid out on the first album with this being more experimental and less energetic.
It still sounds like a conglomerate of other artists' works - Magazine, XTC, Veto, Talking Heads and German kraut-rock band, Can are difficult not to forget when listening to this.
This is undoubtedly the band's least favourable album. It simply doesn't contain any noteworthy compositions.
release date: Nov. 1979
format: cd (2003 remaster)
[album rate: 2,5 / 5] [2,45]
producer: John Leckie
label: Virgin Records - nationality: Scotland, UK
2nd studio album by Simple Minds following only seven months after the debut album is originally released on Zoom Records. Stylistically, the album follows closely on the path laid out on the first album with this being more experimental and less energetic.
It still sounds like a conglomerate of other artists' works - Magazine, XTC, Veto, Talking Heads and German kraut-rock band, Can are difficult not to forget when listening to this.
This is undoubtedly the band's least favourable album. It simply doesn't contain any noteworthy compositions.
14 November 2011
BEST OF 1979:
Joy Division "Unknown Pleasures" (1979)
Unknown Pleasures [debut]
release date: Jun. 14, 1979
format: vinyl (Italian reissue - FACT 10) / cd (2007 remaster)
[album rate: 5 / 5] [4,86]
producer: Martin Hannett
label: Factory Records - nationality: England, UK
Tracklist: A) 1. "Disorder" (5 / 5) (live) - 2. "Day of the Lords" - 3. "Candidate" - 4. "Insight" - 5. "New Dawn Fades" - - B) 1. "She's Lost Control" (live) - 2. "Shadowplay" - 3. "Wilderness" (5 / 5) (live) - 4. "Interzone" ('Warsaw' version), (live) - 5. "I Remember Nothing"
Studio debut album by Joy Division is a stunning album released on Factory Records with Martin Hannett as producer. The album didn't figure on the charts but in modern music history the album is considered one of the greatest and most influential albums ever made. I didn't hear the album until 1981. I first came across the very first single by New Order "Ceremony", which I absolutely loved. I then immediately started my own small research to find more of that and discovered the connection with Joy Division and listened to Closer, which only made me even more fascinated. This was music like from another planet. Needless to say, I bought the album and began digging into the universe of Joy Division. So, I didn't listen to this album until late '81 but must've heard it a zillion times to my parents regret. A few years later as I bought my own electric guitar and played with my best friend on drums, we used to play our own small instrumental tracks based on the sound of particularly Joy Division / New Order. I simply loved the tone and simplicity of "Transmission", "Disorder" and the angry sneer on "Wilderness". But no, the album wasn't well-received but critics loved it, later on that is, and slowly, progressively, people started recognising its status, although this wasn't until Curtis was no more and New Order had become a major band. Ned Raggett of Allmusic.com today calls it "All visceral, all emotional, all theatrical, all perfect -- one of the best albums ever." And that's how it in time has become credited. First, critics were bewildered and disagreed, after a few years everyone agreed that this is a major work, and only 10-20 years after it was seen as a unique work of art. But that's how great art is received, isn't it?! The album is on numerous "best of" album lists and is also including in "1001 Albums You Must Hear Before You Die".
The 2007 remastered Deluxe Edition is a 2-disc album with a bonus disc containing a live concert at The Factory, Manchester - Jul. 13, 1979.
=> needledrop review
1979 Favourite releases: 1. Joy Division Unknown Pleasures - 2. The Jam Setting Sons - 3. The Clash London Calling
release date: Jun. 14, 1979
format: vinyl (Italian reissue - FACT 10) / cd (2007 remaster)
[album rate: 5 / 5] [4,86]
producer: Martin Hannett
label: Factory Records - nationality: England, UK
Tracklist: A) 1. "Disorder" (5 / 5) (live) - 2. "Day of the Lords" - 3. "Candidate" - 4. "Insight" - 5. "New Dawn Fades" - - B) 1. "She's Lost Control" (live) - 2. "Shadowplay" - 3. "Wilderness" (5 / 5) (live) - 4. "Interzone" ('Warsaw' version), (live) - 5. "I Remember Nothing"
Studio debut album by Joy Division is a stunning album released on Factory Records with Martin Hannett as producer. The album didn't figure on the charts but in modern music history the album is considered one of the greatest and most influential albums ever made. I didn't hear the album until 1981. I first came across the very first single by New Order "Ceremony", which I absolutely loved. I then immediately started my own small research to find more of that and discovered the connection with Joy Division and listened to Closer, which only made me even more fascinated. This was music like from another planet. Needless to say, I bought the album and began digging into the universe of Joy Division. So, I didn't listen to this album until late '81 but must've heard it a zillion times to my parents regret. A few years later as I bought my own electric guitar and played with my best friend on drums, we used to play our own small instrumental tracks based on the sound of particularly Joy Division / New Order. I simply loved the tone and simplicity of "Transmission", "Disorder" and the angry sneer on "Wilderness". But no, the album wasn't well-received but critics loved it, later on that is, and slowly, progressively, people started recognising its status, although this wasn't until Curtis was no more and New Order had become a major band. Ned Raggett of Allmusic.com today calls it "All visceral, all emotional, all theatrical, all perfect -- one of the best albums ever." And that's how it in time has become credited. First, critics were bewildered and disagreed, after a few years everyone agreed that this is a major work, and only 10-20 years after it was seen as a unique work of art. But that's how great art is received, isn't it?! The album is on numerous "best of" album lists and is also including in "1001 Albums You Must Hear Before You Die".
The 2007 remastered Deluxe Edition is a 2-disc album with a bonus disc containing a live concert at The Factory, Manchester - Jul. 13, 1979.
=> needledrop review
1979 Favourite releases: 1. Joy Division Unknown Pleasures - 2. The Jam Setting Sons - 3. The Clash London Calling
05 November 2011
The Damned "There Ain't No Sanity Clause" (1980), single
There Ain't No Sanity Clause (Re-Mix), 12'' single
release date: Nov. 1980
format: vinyl (1983 reissue - NST 92)
[single rate: 3,5 / 5] [3,42]
producer: The Damned; Roger Armstrong
label: Big Beat Records - nationality: England, UK
Tracklist: A) "There Ain't No Sanity Clause (Re-Mix)" - - B) 1. "Looking at You (Live)" - 2. "Anti Pope (Fiddling About Version)"
Single release by The Damned originally released as a 7'' single only on Chiswick Records, and only in '83 released in a remixed version. Also, the original single was with the song "Hit or Miss" - some editions had that song as the A-side, but in any circumstances, the 7'' issues were without the "Anti Pope" song.
release date: Nov. 1980
format: vinyl (1983 reissue - NST 92)
[single rate: 3,5 / 5] [3,42]
producer: The Damned; Roger Armstrong
label: Big Beat Records - nationality: England, UK
Tracklist: A) "There Ain't No Sanity Clause (Re-Mix)" - - B) 1. "Looking at You (Live)" - 2. "Anti Pope (Fiddling About Version)"
Single release by The Damned originally released as a 7'' single only on Chiswick Records, and only in '83 released in a remixed version. Also, the original single was with the song "Hit or Miss" - some editions had that song as the A-side, but in any circumstances, the 7'' issues were without the "Anti Pope" song.
02 November 2011
Joy Division
~ ~ ~
Joy Division was formed under this name in 1977 but before that they called themselves Warsaw, and shortly before that Stiff Kittens. The Ramones, The Sex Pistols, The Buzzcocks, The Damned and The Clash had set Britain ablaze with punk rock and "everyone" who saw their concerts wanted to play in a band it seemed. Bernard Sumner [aka Bernard Dicken / Bernard Albrecht] and Peter Hook were the two school friends who initially formed a band after attending the initial punk rock concerts of '76. Ian (Kevin) Curtis met and joined the band as they were still the Stiff Kittens. On the night of their first public performance and regardless the tickers and posters announcing the band as Stiff Kittens they told their manager that they were now Warsaw. Things went fast in these days, and they received poor reviews as their concerts apparently were more like (bad) rehearsals, and they had a hard time finding a decent drummer. Stephen Morris joined the band as drummer in mid-late '77, and the line-up was then settled. The decision to change name again, despite the fact that they had just recorded a 4-track demo, came as a result of name conflict with a band from London, Warsaw Pakt. They settled on Joy Division, apparently deriving from the novella, "The House of Dolls" (by Ka-tzetnik 135633, aka Yehiel De-Nur), touching on sado-masochism in German concentration camps [The 'joy divisions' were those which housed prostitutes and women kept alive for the pleasure of the officers of the camps]. After a difficult start with bad reviews and a hard and difficult struggle being heard at all in that giant pot of new bands of imitators and wannabees. Their rehearsals and concerts got increasingly better, and they even received good reviews, as something new. This was in late 1978 and early '79. Now, their official releases is another topic of debate. All their releases with Factory Records are certified official, however, before signing with Factory the band released An Ideal for Living (a 4 track EP), a few two-tracks singles and several now unofficial recordings - most of which were released as bootlegs - others remain unreleased, but most of these were recorded in 1977 or '78. The fact is that they signed an illegal contract with a record label, and even recorded an 11-track album in May 1978. The band was dissatisfied with the production quality and a producer decided to add synthesizers to tracks against their will. In a short aftermath the band was brought together with people from Factory Records and a solicitor made sure the other record company never released the first album. However, officially unreleased, it exists as a bootleg album under the name of Warsaw (1981) and the songs are like demo-versions of something interesting, and even features tracks officially released either as single releases or on the debut album (e.g. "Novelty", "Transmission", "Ice Age", "Interzone", and "Shadowplay"). Joy Division only released two studio albums in its short lifetime, Unknown Pleasures (1979) and Closer (1980). These two albums changed a whole scene within popular music. Everything that followed and had some inspiration in post-punk and / or the punk rock era as such, was very likely to have bonds to either or both of these albums. The music of Joy Division is so unique and very unlike anything else at the time. In the first aftermath of the 1980s, bands and artists (Depeche Mode, U2, Bauhaus, The Cure, etc.) took and borrowed from their musical universe. The 1990s electronic hardcore and rave bands drew on the sound of Joy Division, and especially their industrial almost drum-machine sound on tracks like "Disorder", "Wilderness", "Atrocity Exhibition", "Isolation", and "Heart and Soul" - much thanks to the skilled drum arrangements by Stephen Morris as well as the particular choice of production (with drums and bass up front) as laid out by Martin Hannett. In the new millennium post-punk had its second (?) revival with bands like Interpol, The Strokes, Bloc Party, The Killers, The National, The Editors, etc. on both the American and European continent, bands literally owing everything to Joy Division. In the initial music by Joy Division you may hear their own inspirational sources in Iggy Pop, The Stooges and Velvet Underground, which naturally is much more raw garage rock and punk rock in its style but looking at Unknown Pleasure, and even more so on Closer, "Love Will Tear Us Apart", and "Ceremony" (a track released by New Order, the band that grew out of the ashes of Joy Division, but was written by Ian Curtis / Joy Division), exemplifies their very own original style of post-punk and suggests what direction the band was evolving. Ian Curtis committed suicide on May 18, 1980, two months before the release of Closer. Less than 14 days after the now unnamed trio played a live set in Manchester (Ian's suicide happened on the night before their American tour, which was then cancelled), and only four months later, New Order, a band consisting of only Joy Division members (and later Gillian Gilbert on keyboard), released its first single "Ceremony" / "In a Lonely Place" (Sep. 1980) (source: "An Ideal for Living' - An History of Joy Division" by Mark Johnson; Proteus Books 1984).I never aimed for the total collection of all their various types of releases but kind of was satisfied with the major ones. At some point I bought a 1200 limited copy of a bootleg release Le Terme, a renowned 'pirate' release, but I ended up selling it because I needed money to finance new albums, and I don't really regret that today. It was a bootleg that will never be worth the same as what they would themselves recognise as decent material.
The legacy of Joy Division lives on. New Order grew out of the shades and out of the despair of gothic rock post-punk, and became a major influence for many others. New Order's debut album Movement (1981) was very much the natural progression from Closer by basically the same people. Some claim that you here have a proof of the maturity of a new band rising from the ashes of Joy Division. Yes, they chose to change name but no matter what that would've signalled at the time, critics and fans would still have been curious to see what would happen with the remainders of the great Joy Division. "Will they still be able to work together?", "Will they sound differently?", "Who will replace Curtis???", were just a few of the immediate questions. Ian Curtis' "only" contribution to JD was his lyrics and original vocal, whereas the rest of the band was the true foundation of the music and in that drummer Stephen Morris was the backbone and probably only truly skilled instrumentalist. People tend to categorise the music of Joy Division as dark and sinister, and as contrary to that of New Order. But the enormous progress from Stiff Kittens, Warsaw, the debut album Unknown Pleasures to the last singles "Love Will Tear Us Apart" and "Atmosphere" gives you an idea of where it could've taken them. The beauty of these last songs have so much more in common with "Dreams Never End" from the debut album by New Order, and even the track "Leave Me Alone", my favourite from Power, Corruption & Lies (1983), the second album and the critically acclaimed breakthrough by New Order. But of course they would change their music - that's what they had been doing all along! They always sought to be progressive and not to repeat themselves - and that's how the band continued to make interesting music whether as New Order, Electronic, Bad Lieutenant, The Other Two, Monaco, or whatever side-projects these talented musicians have been involved in. Joy Division is where they all started. It may sound outdated but the importance and the source of inspiration is what remain.
[ R.I.P. Ian Curtis. ]
01 November 2011
BEST OF 1968:
Van Morrison "Astral Weeks" (1968)
Astral Weeks
release date: Nov. 1968
format: cd (1987 reissue)
[album rate: 4,5 / 5] [4,54]
producer: Lewis Merenstein
label: Warner Bros. - nationality: Northern Ireland, UK
Tracklist: 1. "Astral Weeks" (4,5 / 5) - 2. "Beside You" - 3. "Sweet Thing" (5 / 5) (live) - 4. "Cyprus Avenue" (4,5 / 5) - 5. "The Way Young Lovers Do" - 6. "Madame George" (5 / 5) - 7. "Ballerina" - 8. "Slim Slow Slider"
2nd studio album by Van Morrison originally released by Warner Bros. Morrison's contractual obligations with Bang Records was a heavy thorn to get rid off and it had prevented him from performing and releasing his own material for some time [about his dispute with Bang], but eventually he made a more conscious signing with Warner Bros., which basically led him release the songs he wanted to. And what a change in style and sound compared to his work with Them and compared to his debut album released one year earlier.
The first reviews weren't all that positive, but that all changed during the 1970s, and the album is commonly regarded as a milestone of the late 1960s with its original blend of styles, and it has been mentioned by many stars of modern music - if not the very best of all, a highly influential album.
Naturally, the album is included in "1001 Albums You Must Hear Before You Die".
The album is definitely in my top albums list of the year - for several years I had it fourth... then third, but frankly, today I have no doubts in putting this album at the very top and by that surpassing Hendrix' fourth album Electric Ladyland, The Beatles' White Album and the great debut by The Band - all great albums of 1968. For many years it was just outside my personal top 3 favourite albums by Morrison - surpassed by Moondance and Hymns to the Silence, but it may just be his best. In my opinion, it's an album that only grows with the knowledge of its very existence and essence. Then it may just grow with knowledge.
[ allmusic.com, Rolling Stone, The Independent 5 / 5 stars ]
1968 Favourite releases: 1. Van Morrison Astral Weeks - 2. Jimi Hendrix Electric Ladyland - 3. The Beatles The Beatles [The White Album]
release date: Nov. 1968
format: cd (1987 reissue)
[album rate: 4,5 / 5] [4,54]
producer: Lewis Merenstein
label: Warner Bros. - nationality: Northern Ireland, UK
Tracklist: 1. "Astral Weeks" (4,5 / 5) - 2. "Beside You" - 3. "Sweet Thing" (5 / 5) (live) - 4. "Cyprus Avenue" (4,5 / 5) - 5. "The Way Young Lovers Do" - 6. "Madame George" (5 / 5) - 7. "Ballerina" - 8. "Slim Slow Slider"
2nd studio album by Van Morrison originally released by Warner Bros. Morrison's contractual obligations with Bang Records was a heavy thorn to get rid off and it had prevented him from performing and releasing his own material for some time [about his dispute with Bang], but eventually he made a more conscious signing with Warner Bros., which basically led him release the songs he wanted to. And what a change in style and sound compared to his work with Them and compared to his debut album released one year earlier.
The first reviews weren't all that positive, but that all changed during the 1970s, and the album is commonly regarded as a milestone of the late 1960s with its original blend of styles, and it has been mentioned by many stars of modern music - if not the very best of all, a highly influential album.
Naturally, the album is included in "1001 Albums You Must Hear Before You Die".
The album is definitely in my top albums list of the year - for several years I had it fourth... then third, but frankly, today I have no doubts in putting this album at the very top and by that surpassing Hendrix' fourth album Electric Ladyland, The Beatles' White Album and the great debut by The Band - all great albums of 1968. For many years it was just outside my personal top 3 favourite albums by Morrison - surpassed by Moondance and Hymns to the Silence, but it may just be his best. In my opinion, it's an album that only grows with the knowledge of its very existence and essence. Then it may just grow with knowledge.
[ allmusic.com, Rolling Stone, The Independent 5 / 5 stars ]
1968 Favourite releases: 1. Van Morrison Astral Weeks - 2. Jimi Hendrix Electric Ladyland - 3. The Beatles The Beatles [The White Album]
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