Monday, October 29, 2007

BONNIE HAYES for Chubby Luv

New Wave, Pop/Rock

"girls like me"


Bonnie Hayes, Kevin Hayes, Paul Davis, Hank Manninger, Steve Cameron, Miles Corbin


01 Girls Like Me
02 Shelly's Boyfriend
03 Separating
04 Dum Fun
05 Coverage
06 Inside Doubt
07 Joyride
08 Loverboy
09 Raylene
10 The Last Word

Link to download:

Product Description
Bonnie Hayes was a pop singer out of San Francisco, who appeared in the early 1980's with a few bouncy albums. The first of which was originally on the coveted Slash label with her band, The Wild Combo. This album has been regarded as one of the best girl new wave albums of its genre, and is making its worldwide CD debut with this release.

"Much more so than the contemporary New York or London scenes, California punk was very open to female singer/songwriters. From Penelope Houston of the Avengers to Exene Cervenka of X, the San Francisco and Los Angeles punk scenes were emphatically female-friendly, treating women as active, leading participants rather than novelties or pretty faces. It was no accident that the Go-Go's and the Bangles, from Los Angeles, succeeded where so many New York- and London-based female-fronted bands failed. Singer/songwriter and keyboardist Bonnie Hayes was the leader of the Punts, one of San Francisco's best punk bands, but Hayes had more on her mind than the usual three-chord ramalama. Coming from a musical family well-steeped in jazz, blues, and soul (Bonnie's brother Kevin, the Punts' drummer, later joined Robert Cray's band; another sibling, Chris, was lead guitarist and a major songwriter in the R&B-laced pop powerhouse Huey Lewis & the News) and clearly fond of Spector-style '60s girl groups, Hayes took the Punts in a more melodic and musically varied direction; renaming themselves Bonnie Hayes & the Wild Combo, the group signed with LA's Slash Records and released 1982's Good Clean Fun, probably the finest album of the entire early-'80s California girl pop scene. Yes, even better than Beauty and the Beat or All Over the Place. First and foremost, the songs on Good Clean Fun are almost embarrassingly catchy. The first two tracks, "Girls Like Me" and "Shelly's Boyfriend" (both used to fine effect in Martha Coolidge's 1983 cult film Valley Girl), are three-minute classics with more vocal and musical hooks than many whole albums. While the other eight tracks are slightly less immediate, every single one of them has a catchy chorus or appealing riff that imprints itself in the listener's memory. The Hayes siblings, along with guitarist Paul Davis and bassist Hank Maninger, also have the instrumental chops to pull off considerably more sophisticated tunes than anyone was likely to find on, say, a Josie Cotton album. Able to slip from the restrained turmoil of the surprisingly non-whiny indie band lament "Coverage" to the impassioned hard rock of the devastating closer "The Last Word," Bonnie Hayes & the Wild Combo also reveal an unexpectedly jazz-influenced bent on the extended instrumental sections of "Dum Fun" and "Raylene." Aside from the musical heft of the album, Hayes is an acute lyricist with a knack for both clever Elvis Costello-style wordplay and vividly realistic imagery. "Shelly's Boyfriend" is a sympathetic portrait of the frustrations of teenage love, but the immediacy of the lyrics lifts it above similar tunes. Other songs, like "Inside Doubt" and "Separating," deal with more complex emotions without losing the power pop bounce that makes the album so instantly appealing. Good Clean Fun works brilliantly on every level, and only Slash Records' limited distribution muscle -- and possibly the unfortunately cheesy cover art -- kept it from being a hit. As it stands, Good Clean Fun is a neglected '80s pop masterpiece

"Finally! One of the very best "lost albums" of the early 80's arrives on CD!!!!!
Many of you will recognize the tracks "Girls Like Me" and "Shelly's Boyfriend" from the movie Valley Girl. But there's MUCH more to this CD than those two tracks, and not a single dud to be found!
This is an amazing album that should have had HUGE SUCCESS when it was originally released in 1982. Unfortunately, because it was released on the upstart "Slash" label, it didn't have the same backing as other similar efforts by artists on major/mainstream labels. Fans of the Go-Go's, Josie Cotton and 80's "New Wave" will LOVE this CD! "Good Clean Fun" perfectly captures the magic and fun of the early 80's new wave era. In fact, I would choose it as one of the top 5 albums of 1982 and one of the VERY BEST ALBUMS of the 80's, period!
Bonnie Hayes is a sister of Chris Hayes (lead guitarist - Huey Lewis and The News).
The follow-up release to "Good Clean Fun" was "Brave New Girl" (a six song EP in 1984). While it contained a couple of decent tracks, it lacked the magic of her debut. Bonnie went solo in 1987 with a very ordinary and over-produced effort. She has continued to record and has always managed to deliver a few great tracks on each album. Good Clean Fun still remains her best effort and is an amazing tribute to a wonderful time and place, known as the "early 80's" :)
My only complaint about this release; they could have perhaps included the six tracks from 1984's "Brave New Girl" as an extra.
Get this CD... you'll absolutely LOVE IT! Guaranteed!"

"Yes, finally here it is...I personally never thought this would ever get a CD release-god bless Wounded Bird records. This is a new wave classic from start to finish, "Girls Like Me" & "Shelly's Boyfriend" are the one's most people remember, but "Coverage", "Loverboy", & "Inside Doubt" are also terrific pop anthems. Well that's my 2 cents."


Bonnie Hayes, Kevin Hayes, Paul Davis, Hank Manninger, Bill Engel


01 Brave New Girl
02 Incommunicado
03 After Hours
04 Wild Heart
05 Maria
06 Night Baseball

Link to download:


Musicians: Bonnie Hayes, Kevin Hayes, Nick Milo, Paul Davis, Teresa Trull, Annie Stocking, Benny Reitveld, Jolie Jones, Lenny Castro, Jerry Hey, Mark Russo, Kim Hutchcraft, Gary Grant, David Lasley, Charlotte Crossley, Arnold McCuller, Jo Harris
The quality is not too good,sorry!


01 Some Guys
02 To See You Again
03 The Real Thing
04 Coax Me Chad
05 Time Stands Still
06 Soul Love
07 Skeletons Dancing
08 Chance On You
09 Whole Wide World
10 Joyful Noise

Link to download:

"Bonnie Hayes' sole major-label release, after two indie albums, has two major strikes against it. One is the absolutely wretched state-of-1987 production, all MIDI synths and way-too-slick arrangements. Another is the obvious corporate meddling in the album's sound, from the way Hayes plays almost none of the album's many keyboards herself even though her piano and organ were the main focus of her former band the Wild Combo's sound, to the suspicious number of outside names on the songwriting credits, most notably that of noted hack Franne Golde, perpetrator of offenses by Faith Hill and Christina Aguilera, among others. The result is that this is by far the worst of Bonnie Hayes' albums. That said, it's not entirely useless. If nothing else, Bonnie Hayes is interesting for its place in Hayes' career; this is the transitional album between Hayes' early power pop days and her later career as an in-demand songwriter, penning hits for Bonnie Raitt and Robert Cray, among others. That more R&B-oriented direction is clear from this album's slinky title track, "Some Guys," onwards. Indeed, the few songs Hayes writes by herself, particularly the warm "The Real Thing," are very good. And after tuning out the gloppy computerized arrangements, it's clear that Hayes is actually singing better than ever. Still, Bonnie Hayes can't help but sound like a misguided bid for commercial acceptance, and it's something of an embarrassment compared to what Hayes did before and after it." ~ Stewart Mason, All Music Guide

Bonnie's career started approximatley 1980 with her band 'The Punts', who evolved into 'Bonnie Hayes and the Wild Combo'. Bonnie's first album 'Good Clean Fun' featured the single "Shelly's Boyfriend", which has been in a few movies. The single was released on Bondage Records in 1981 with Kevin Hayes (drums), Paul Davis (guitar), and Hank Maninger (bass) as Bonnie's band.On her second album 'Brave New Girl' Bill Engel (guitar) joined the band (one time only). Also, the self titled album included Benny Reitveld on bass and Nick Milo on keys along with two backup singers, Annie Stocking and Teresa Trull. Benny went on to play with Miles Davis and is now with Carlos Santana. Nick Milo became a member of Tower Of Power. Bonnie is quite proud that her band has gone on to do so well.While the Wild Combo was still together they toured on the US leg of a Huey Lewis and the News tour. That was the only large tour the band ever did. Bonnie has gone on to be a renowned songwriter. She has written for artists such as: Huey Lewis and the News, Robert Cray, Bonnie Raitt, Cher, and Bette Midler. "Bed of Roses" and "Bottomless" from Bonnie's album 'Empty Sky' can also be found on one of Bette Midler's albums. "Have a Heart" and "Love Letter" were released on Bonnie Raitt's album "Nick of Time" awhile ago.In 1990 Bonnie Hayes toured world wide with Billy Idol as keyboardist and choreographer. Around that time she also moved to Los Angeles, CA with her husband, David, and daughter Lily. She is also an alumni of San Francisco's legendary Blue Bear School of Music where musicans such as Carlos Santana, Clarence Clemons, Bobby McFerrin, and Bonnie Raitt (to name a few) are also alumni's. She was also teaching songwriting at that school and thus stepped into her brother Chris' shoes who used to teach guitar at that school.In 1996 Bonnie's brothers Chris and Kevin joined her on 'Empty Sky'. Chris (then lead guitarist with Huey Lewis) played some guitar parts. Kevin, who played drums on all tracks on her first 3 albums - because busy working with the Robert Cray Band - could only play drums on one track on the album. For some time it looked like 'Empty Sky' would find a re-release with the additon of another new song. A song where Bonnie's youngest brother, Jonathan, plays guitar on.Jonathan Hayes also released an album. His music focuses more on hard rock but he's got the Hayes talent which is amazing to hear. BigFoot Records released his album "Open Your Eyes" in 1996. The band - Walking Giant - is currently taking time off but hoping to get more music recorded soon. Jonathan is the singer/rhythm guitarist.The new century sees Bonnie busy as ever. She and her daughter have moved back north, where they purchased a place in the Bay Area again. She's teaching songwriting classes at a local college as well as getting her carrer back on track. Mainly playing live concerts and working on new material. She also build her own website - link underneath.March 2003: 'Love In The Ruins' is Bonnie's new album on Bondage Records

1982 Good Clean Fun (Slash Records)
1984 Brave New Girl (Bondage Records BR 102)
1987 Bonnie Hayes (Chrysalis BFV 41609)
1996 Empty Sky (Beacon Records BEA-51562)
2003 Love In The Ruins (Bondage Records)
Ive just uploaded two samplers ,you can listen them on the mediaplayer.Please id them for Osetrik! Thanks in adavnce!:)
Next uploads will be between 10-15 november : Sandii & The Sunsetz or some more Flexipoop (i haven't decided yet) and the extremly rare Neeva and maybe more...

Sunday, October 28, 2007


Alternative Rock

Bob Mould (guitar, vocals, and occasionally keyboards and percussion)
David Barbe (bass, vocals)
Malcolm Travis (drums,other percussion).

'Gee Angel'


Mixing Engineer - Lou Giordano (tracks: 2-5) /Producer - Bob Mould (tracks: 1) , Lou Giordano (tracks: 1) Recording Engineer - Timothy Powell (tracks: 2-5)

Tracks 2-5: recorded live July 22, 1992 at Cabaret Metro, Chicago, IL


01 A Good Idea (3:47)
02 Helpless (2:49)
03 Where Diamonds Are Halos (4:13)
04 Slick (4:27)
05 Armenia City In The Sky (3:20)

Link to download:



01 Helpless
02 Needle Hits E
03 If I Can't Change Your Mind (solo mix)
04 Try Again

Link to download:


Bass - David Barbe/ Drums, Percussion - Malcolm Travis /Engineer - Bob Mould , Lou Giordano /Guitar, Vocals, Keyboards, Percussion - Bob Mould/ Mastered By - Howie Weinberg/ Mixed By [Assistant] - Tom Bender /Producer - Bob Mould , Lou Giordano


01 The Act We Act (5:10)
02 A Good Idea (3:47)
03 Changes (5:01)
04 Helpless (3:05)
05 Hoover Dam (5:27)
06 The Slim (5:14)
07 If I Can't Change Your Mind (3:18)
08 Fortune Teller (4:27)
09 Slick (4:59)
10 Man On The Moon (4:32)

Link to download:

"For Bob Mould, forming his new band Sugar and recording COPPER BLUE, the group's Rykodisc debut, was like "starting again at zero." After two critically acclaimed, darkly introspective solo albums, following nearly a decade as guitarist with the legendary hardcore band Husker Du, Mould was ready for a new beginning. Armed with an exceptionally diverse body of musical expertise, a new batch of songs, ex-Zulus' drummer Malcolm Travis, and Athens, Georgia, native bassist David Barbe, Mould took the plunge. The result, COPPER BLUE, is perhaps Mould's best recording since the mid-eighties, combining the dense, melodic noise of his previous recordings with a sharp, bright, hypnotic musicality. Surging with melody, the album's ten songs are simultaneously coarse and beautiful, a spontaneous, appealing blast of sound. On songs like "Hoover Dam," "Slick," and "Man On The Moon," Mould's satirical, sometimes nonsensical lyrics create a counterpoint to the songs' evocative melodies and fierce delivery. Yet tracks like "Changes" and "The Slim" are as dark as anything he's ever written. While the opening "The Act We Act" may hark band to his formative years with Husker Du, tracks like "A Good Idea" (a thinly disguised tribute to the Pixies), the boppy acoustic "If I Can't Change Your Mind" and the late-night finale "Man in the Moon" are far different from the work of his former band.
New Musical Express voted COPPER BLUE 1992's Album of the Year; Spin ranked it at #6 in its Top 20 Albums, and the Village Voice Pazz & Jop Critics' Poll placed it at #7. Bolstered by the success of singles like the irresistible "Helpless," the quirkier "Good Idea," and the Top 40 crossover "If l Can't Change Your Mind," the album sold over 350,000 copies, setting the stage for a successful world tour and for BEASTER, the band's next release."

"How ironic that after years fronting the hugely influential but desperately overlooked Hüsker Dü, Bob Mould's first project with new band Sugar, 1992's Copper Blue, would become the most commercially successful project of his career. Of course, it was released just as the seeds sown by his former band were bearing bountiful fruits in the post-Nirvana alternative nation, which provided ample explanation for its phenomenal success. But Sugar were well deserving of their success, regardless of time and place. A more aggressive, contemporary guitar attack aside, stunning power punk masterpieces like "The Act We Act," "The Slim," and "Fortune Teller" bear all of the vintage Mould musical traits: tell-tale lyrics, great hooks, and snappy melodies. It's all underpinned by that unexplainable, chilling tension between innocent beauty and dark melancholy that fans came to expect from Mould, and topped by his somewhat nasal, almost timid vocal harmonies. Other highlights include the '60s-style "If I Can't Change Your Mind," the loud, beautiful guitars of "Man on the Moon" and "Helpless," and the tongue-in-cheek Pixies tribute "A Good Idea.""

"Every once in a while, an album comes along that is simply too good for words. This is the crowning achievement of the man who, arguably more than any other, inspired grunge, for better or for worse. (I lean strongly toward the latter, and the blistering "I Hate Alternative Rock" from Mould's eponymous release three albums after this one makes me think he might agree.) Never mind "Nevermind." If it's not heresy to suggest, something got lost in translation somewhere between Husker Du and Nirvana. _Copper Blue_ is how it should have been done all along."

"When I first listened to this CD I was amazed by the great music, complex wall of sounds, and intelligent lyrics. My music friends and I once declared that Bob Mould was god due to this CD. Listen to the complex guitar riffs in "Good Idea," or the calliope-like sound on "Hoover Dam." This music rocks, and really kept my energy flowing while I was working out on the treadmill, stairclimber and exercise bike. The only thing that mystifies me is why this cd never got the attention and recognition it deserved. Maybe the band's name - Sugar - was a total misnomer for such powerful music. Anyway, about a year ago I lost the CD and after accepting the fact that it was really lost for good, bought it again. Its great to hear it all over again. So I've bought this CD twice and it was worth the price each time."

"I once saw Bob Mould being interviewed about the success of his then new band Sugar, which, for him, was a fairly radical departure from Husker Du, a band originally known for thrash metal (although they did get slightly more mainstream in later albums). Mould responded that he was pleased to discover that he could write really good pop songs. With the excellent "Copper Blue," Mould demonstrated, in a big way, how he could craft a "pop song" to give it a harder edge, as well as how talented he was on both electric and acoustic guitar. His band-mates, David Barbe on bass and Malcom Travis on drums, were now slouches either.
I guess I first heard of Sugar when I heard the song "If I Can't Change Your Mind" on an alternative rock station. As it turned out, that song turned out to be only my sixth favorite on the album. In the glory days of vinyl records, classic rock stations would play "perfect album sides." There were some records that clearly had two of those (think "Born to Run" and "Who's Next"), whereas other albums had that one "perfect" side, clearly better than the other (e.g. side one of "Led Zeppelin IV," or side two of The Moody Blues' "Days of Future Passed"). If "Copper Blue" were a record, side one ("The Act We Act" through "Hoover Dam") would, in my view, fit into the category of a "perfect album side" The second half isn't bad either, but not really comparable to what precedes it.
The album literally blasts off with the first four songs, which deliberately have little space between them, and really must be listened to together for the full effect. (When I saw Sugar at a small N.Y.C. venue, they started off the concert by playing Copper Blue's first four songs without pause). If you notice, each progressive song ("The Act We Act," "A Good Idea," "Changes," and "Helpless") become slightly less hard and more melodic, almost as if Mould wants to show off his entire spectrum right from the start. I just love how the sound then morphs into the almost Beatlesque "Hoover Dam," which is almost like a sing-a-long about a tourist's contemplative moment while "standing at the edge of the Hoover Dam." If I had to make a choice, "Hoover Dam" tops my list as the best Sugar song.
Although I don't like the second half of the CD as much, I do think "Slim," "If I Can't Change Your Mind," and "Fortune Teller" are just fine, although the last two tracks ("Slick" and "Man on the Moon") are inferior to the rest of the album. Overall though, "Copper Blue" holds up extremely well with age, and has remained one of the most played albums in my collection.
First footnote: After hearing "Copper Blue," I tried to listen to Husker Du and some of Bob Mould's solo work. I just couldn't get into these, other than a few songs on some of the later Husker Du albums. Parts of "Zen Arcade" sounded like sheer noise to me, but, to be fair, I never grew accustomed to this style of rock.
Second footnote: One previous reviewer heard a similarity between "Hoover Dam" and Squeeze's "Tempted." Comparisons between songs are something that I try to listen for, and indeed the tune corresponding to the line "Standing on the edge of the Hoover Dam," does sound similar to the tune corresponding to the line "Tempted by the fruit of another." But the rest of the song is quite different, and I think "Hoover Dam" is a much more exciting song. (I'll give you another interesting comparison that I recently noticed: compare Roxy Music's "Both Ends Burning" to the Soup Dragons' "Drive the Pain," which are both terrific songs)."

BEASTER (1993)

Bass - David Barbe/ Drums, Percussion - Malcolm Travis /Engineer, Producer - Bob Mould , Lou Giordano Guitar, Keyboards, Percussion, Vocals - Bob Mould /Mastered By - Howie Weinberg


01 Come Around (4:51)
02 Tilted (4:08)
03 Judas Cradle (6:15)
04 JC Auto (6:13)
05 Feeling Better (6:22)
06 Walking Away (3:00)

Link to download:

"Truth to tell, Beaster is more than a simple EP. It's really a six song album, and among one of the finest albums ever recorded. The four song set that takes up the middle portion of the album (bookcased by two swirling dreampop pieces) are the rawest, most naked songs Bob Mould, or anyone else for that matter, has ever recorded. Yet the music is stunningly beautiful and elegantly produced. Aching melodies are discernible from all the guitar feedback, and Mould's lyrics are his most pointed ever, crying out to deserting lovers, parents, and Jesus Christ himself. As with the best of Mould's music, there's a constant paradox: the lyrics are relentlessly bitter and bleak, but the music is hopeful by contrast, the salvation of the lyrics' despair. As an album, Beaster is a living, pulsating catharsis. It's impossible to turn off once it's been turned on, and on the best stereo systems it can be cranked up to become an incredible sonic force. I've never owned a better album. I've never tired of it (and I've only given one other album on here five stars). It is singularly brilliant. But, if you want to get down to the basics of it, the album flat out ROCKS harder than any album from the 90's. It's a towering achievement. Essential."

"Beaster is the darker, angrier little brother to Sugar's brilliant debut album, Copper Blue. As filled with vitriol as anything Bob Mould has done since Zen Arcade-era Husker Du, Beaster is an altogether more complex can of worms. At first glance it seems to be concerned with religious anger (a not-uncommon theme for dark, angry albums) but the reality is that this cleaves close to the Mould songbook: it's about relationships. It uses religious imagery to cast roles within relationships in clearer light (ever felt betrayed by a kiss?).It starts with the droning hypnotic "Come Around" and ends similarly with "Walking Away", but these are there more as endcaps to the four song centerpiece. Coming on the heels of "Come Around" "Tilted" is a barreling, pummeling brute of a song, arriving at high velocity and maintaining speed to its squalling, feedback-drenched conclusion. The noise turns to sludge as "Judas Cradle" lurches forth, with Mould screaming to open and bellowing throughout. Malcom Travis' pounding drumbeat announces the more-propulsive-but-still-thick "JC Auto". Mould's vocals continue to outstrip all-comers in the intensity department & the chords are thick. "Feeling Better" does indeed feel better, almost strutting with a loose confidence, maybe not joyous but certainly filled with exuberance.
Few bands or songwriters could say as much with the (seemingly obligatory) seventy minutes possible on a cd. This is all of 32 minutes. And, might I add, the tour supporting it was the most ungodly loud thing I've EVER heard. My ears rang for two weeks. I was still grinning when they stopped."


Drums - Malcolm Travis/ Engineer - Jim Wilson/ Mastered By - Howie Weinberg/ Producer - Bob Mould Vocals, Bass - David Barbe /Vocals, Guitar - Bob Mould /Written By - Bob Mould (tracks: 1, 3 to 10)


01 Gift
02 Company Book
03 Your Favorite Thing
04 What You Want It To Be
05 Gee Angel
06 Panama City Motel
07 Can't Help You Anymore
08 Granny Cool
09 Believe What You're Saying
10 Explode And Make Up

Link to download:

"Sugar is basically made up of ex-Husker Du guitar and vocalist Bob Mould. Sugar's "File Under: Easy Listening" is a pretty intense record musically - it's essentially just noisy hard rockin' guitars that more or less overshadow the vocals. You can still hear the singer, but you definitely will have no idea what he's saying a good amount of the time. Even though the album is essentially just a bunch of noise, you can still pick out a great sense of melody, rhythm and beat here. I don't have any idea who else to compare Sugar too, so that's a good thing I suppose. I honestly have no idea what else to say here except that most of the songs sound pretty similar to one another. The standout tracks are easily "Gee Angel" and "Your Favorite Thing" as they have "hit" written all over them, though every song here is very good. It's not a classic, but it comes close (I would argue that it's not because all the songs sound relatively similar, and the singer's voice isn't perfect). All in all, however, this is still highly recommended!
Highlights include: the entire album!"

"Sugar shot like a meteor across the musical sky. It burned bright and fast and not many saw it, but the few who did are destined to spend the rest of their days sharing their experience with anyone who will bother to listen. Such was the brief career of Sugar.After the dynamic COPPER BLUE and the ferocious BEASTER, FILE UNDER: EASY LISTENING was a bit of a letdown. Nevertheless, it still has more than its fair share of classic Sugar songs including the poppy "Your Favorite Thing" (which borrows slightly from My Bloody Valentine's "Blown A Wish"), the singalong "Believe What You're Saying," the dramatic "Explode and Make Up," and the clever toetapper "Gee Angel." David Barbe steps up front (for better or worse) with "Company Book," which, if nothing else, did prove once and for all that Sugar was more than "Bob Mould and The Two Other Guys."
Ultimately, though, Sugar will be best remembered for COPPER BLUE and BEASTER and rightfully so. While FU:EL has plenty of pop, it has very little of the conviction and intensity that made those two albums so memorable. In the meteoric career of Sugar, FU:EL was little more than a vapor trail."

"While certainly not as good as "Copper Blue," "File Under: Easy Listening," nevertheless, stands up on its own. I enjoyed reading the fifteen prior reviews, because they're all over the place for what I consider to be an all-around solid album. Additionally, no one seems to agree with me that "Panama City Motel" is clearly the best track on the album, and as good as anything on "Copper Blue."
FU: EL consists of a number of good songs ("Gift," "Company Book," "Believe What You're Saying," and "Explode and Make Up"); one very good song ("Your Favorite Thing" -- elevated by that catchy guitar riff); and one great song (the aforementioned "Panama City Motel"). The album flows well, and is alot more accessible than the preceding "Beaster." As I've said with other bands I've already reviewed, I can't understand why Mould would disband Sugar at this point, after only two albums and an E.P. (and a "B-Sides" album, which doesn't really count), and go solo with largely inferior releases.
I wanted to talk about two songs. First, "Company Book" is the only David Barbe offering for the band (I understand the B-Sides album has others). Although not as good a songwriter or singer as bandmate Mould (and, indeed, most of the previous reviewers don't like this song), I still think Barbe has something to offer, and I would have liked to hear other Barbe songs on future albums that were not to be. In sparse lyrics, Barbe tells of the conformist life of a long-time "company man," with the concluding stanza: "In the epilogue the company man/ Takes his company life with his company hands/ In his revelation he decrees/ Extinction of faceless robots like himself/ Spawned from the company book." Not bad.
As I've mentioned, I feel "Panama City Motel" ranks among the best of Sugar's offering. Like the superb "Hoover Dam" (which, if I had to choose, is my favorite song on "Copper Blue"), the story within the song is told from the perspective of a tourist, this time one without much money in his pocket. Mould's harmonies with himself and acoustic guitar playing were never better. I just love the refrain every time I hear it, about bargaining for a cheap hotel room: "But senor I only have ten dollars/ Can't you give me a room for the night?/ We argue about currency and then/ He says I can stay for the night/ In this Panama City Motel/ I am out on the freeway again." Almost a vignette as opposed a rock song.
Please Sugar, re-unite!"

BESIDES (1995)

Engineer - Jim Wilson (tracks: 1.9 to 1.14) /Mastered By [Compilation] - Toby Mountain (tracks: 1.1 to 1.17)/ Mastered By [Original] - Howie Weinberg (tracks: 1.1 to 1.17) /Mixed By - David Barbe (tracks: 2.1 to 2.18) , Jim Wilson (tracks: 1.15 to 1.17) , Lou Giordano (tracks: 1.4 to 1.5, 1.7 to 1.8) , Tom Lewis (tracks: 2.1 to 2.18)/ Producer - Bob Mould (tracks: 1.1 to 1.3, 1.6, 1.9 to 1.14) , Lou Giordano (tracks: 1.1 to 1.3, 1.6)/ Recorded By - Timothy Powell (tracks: 1.4 to 1.5, 1.7 to 1.8) , Wally Fleming (tracks: 1.15 to 1.17, 2.1 to 2.18)

Besides contains a QuickTime version of the video for the File Under:Easy Listening track "Gee Angel." that is playable on both Macintosh and Windows.

The bonus disc titled, The Joke Is Always On Us, Sometimes, is a concert from the 02 Nov 1994 show at First Avenue, Minneapolis, Minnesota from which Gee Angel's (Rykodisc RCD5 1040) live b-sides (tracks 1.15 - 1.17) come from.
Tracks 1.4, 1.5, 1.7 & 1.8 recorded 22 Jul 1992 at Cabaret Metro, Chicago

CD 1

01 Needle Hits E (3:21)
02 If I Can't Change Your Mind (Solo Mix) (3:21)
03 Try Again (4:42)
04 Where Diamonds Are Halos (Live) (4:17)
05 Armenia City In The Sky (Live) (3:26)
06 Clownmaster (3:20)
07 Anyone (Live) (2:43)
08 JC Auto (Live) (6:02)
09 Believe What You're Saying (Campfire Mix) (3:52)
10 Mind Is An Island (3:39)
11 Frustration (5:20)
12 Going Home (2:41)
13 In The Eyes Of My Friends (3:35)
14 And You Tell Me (5:03)
15 After All The Roads Have Led To Nowhere (Live) (3:21)
16 Explode And Make Up (Live) (4:41)
17 The Slim (Live) (6:26)

CD 2

01 Gift (4:11)
02 Company Book (3:27)
03 Hoover Dam (3:08)
04 After All The Roads Have Led To Nowhere (3:41)
05 Where Diamonds Are Halos (4:20)
06 Slick (4:03)
07 Going Home (2:13)
08 Running Out Of Time (2:28)
09 Frustration (4:37)
10 Changes (3:43)
11 Can't Help You Any More (2:58)
12 Helpless (3:03)
13 If I Can't Change Your Mind (3:04)
14 In The Eyes Of My Friends (3:11)
15 Clownmaster (2:43)
16 Gee Angel (4:17)
17 Explode And Make Up (4:39)
18 The Slim (8:36)

Links to donwload:

"There is an elite group of artists in the world whose B-sides, the so-called "throwaways" that for some reason didn't make it on to their albums, stand with anything on those albums. Bob Mould is just such an artist. BESIDES collects the studio cuts and live tracks that backed the singles from COPPER BLUE and FILE UNDER: EASY LISTENING. From the studio gem "Needle Hits E," to scorching live versions of "JC Auto," the Who's "Armenia City In The Sky, and the harrowing "The Slim," BESIDES completes the picture of Sugar with the hard melody of the studio and raw emotion of the live stage. It also provides more insight into the songwriting talents of bassist David Barbe, who is represented by four tracks, including "Where Diamonds Are Halos" and "Frustration."
A must for fans, BESIDES is also powerful evidence that there is even more to Sugar than can be fit into an album or captured in the studio.
BESIDES also features a special bonus. The CD contains an extra CD-ROM track, containing a QuickTime version of the video for the track File Under:Easy Listening track "Gee Angel." The video is accessible on both Macintosh and Windows machines, provided that they are properly configured for CD Plus."

"This is good, solid stuff! It's hard to believe that these are B-sides, although there are some that are much better than others. What I always liked about Sugar, is that they never got flashy or over-produced. They just play great music, and that's the case with most of this CD too. It definitely has its strong parts: "Needle," "If I can't Change Your Mind," "Believe" but this is worth having. The funny thing is that this was my first Sugar disc. I built from here, so it was good enough to get me hooked!"

"I think it's just criminal that "Needle Hits E" was left off Copper Blue. It would have made a great album even greater. But at least we finally got it here. Mould also delivers with "Mind Is An Island," "Going Home" and "After All The Roads Have Led To Nowhere." Additionally, "Armenia City In The Sky" is an agreeably groovy cover. Probably the most illuminating aspect of this album is that it finally gave us a decent look at bassist David Barbe's songwriting abilities. For all the talk of Sugar being something more than just Bob Mould and some hired guns, the band's three proper releases up to this point had been dominated completely by Mould except for Barbe's just-OK "Company Book." Barbe has four songs on Besides, and they're all pretty good. I would argue that "In The Eyes Of My Friends" and "When Diamonds Are Halos" deserved better than a B-sides compilation. Barbe doesn't have nearly the voice that Mould does, but as long as he stays within his limited range, he sings well enough. I was never able to see Sugar live during the band's limited life, so the bonus live disc (which came with a limited number of copies) is particularly gratifying."

Sugar was an alternative rock band of the early 1990s led by former Hüsker Dü vocalist/guitarist Bob Mould. Ex-Mercyland ( bassist David Barbe ( and ex-Zulus/ ex-Human Sexual Response ( drummer Malcolm Travis rounded out the trio. Mould envisioned Sugar as a similar musical venture to Hüsker Dü except with him writing all the songs and calling all the shots. Their sound was more radio-friendly than that of Hüsker Dü, though with similarly-dark undertones.Their first live show was February 20, 1992, at the 40 Watt Club in Athens, GA, after a few weeks warming up in R.E.M.'s downtown practice space. It was a "secret" show, not advertised in the local media, bumping Athens band Roosevelt from headliner to opener. Word got out and the club was packed.Later in 1992, the band released the album Copper Blue, which was named Album Of The Year 1992 by the NME. The following year they released Beaster, an EP of darker material recorded during the Copper Blue sessions. The single "If I Can't Change Your Mind" was a moderate UK hit.After an aborted attempt to record a second full-length, the band regrouped and File Under: Easy Listening was recorded quickly in the spring of 1994, and was released that fall. A B-side collection, Besides, followed in 1995. Mould broke the band up later that year because Barbe wished to spend more time with his growing family and expand his solo career.
Travis then took over the drumming slot in the band Kustomized.

"David Barbe had become a local hero of the Athens music scene by the early '90s, recording constantly and playing in his second high- profile trio, Buzz Hungry. Another great opportunity came when former Husker Du frontman Bob Mould called. Mould, also a producer with a fondness for three-piece bands, asked Barbe to join his new trio Sugar. Surprisingly, Barbe initially declined the offer.
"It was an amazing opportunity, but I thought I should just stay at home and get a job and take care of my family," he says. "Rather than being jealous or wanting to keep me at home, Amy totally encouraged me to do it. I was still very reluctant, and Bob knew that."
Once Barbe joined Sugar in '92, even more bands wanted to record with him, and as his performing and recording ventures increased, free time for his family vanished. Sugar recorded and toured to support three albums, including Copper Blue and Beaster.
During their File Under Easy Listening tour in '94, Barbe says it was becoming increasingly obvious he needed to leave the band. "I had three children, ages 1, 3 and 5, and I really needed to be home with them. Raising children was the most important thing to me, and even though the Sugar touring was as family-friendly as possible, I was still gone a lot. What's the point of having a family if you're never together?"
When Barbe considered his future, he realized he could much more easily see himself in the control room, making records, than "acting like Mick Jagger in yellow football pants prancing around on stage, well past the point of productivity." As much fun as touring had been in the past, he says, "I had the revelation that that part of my life was coming to an end. It wasn't the point of running away from something, but walking toward something else."
When he discussed the matter with Mould, he was surprised to find that Mould also realized that his life was being consumed with being in Sugar. As producer, manager and frontman of the band, Mould worked constantly. So, the trio quietly decided to call it quits, but kept it to themselves.
"Those last few months were easily the best shows we ever played. We were finally free of having to worry about anything and just had fun." The final Sugar show, in January '95 in Japan, was heralded by a dramatic earthquake. "We started it," he jokes. "I hit a low E on the bass."


Copper Blue LP (Rykodisc, 1992)
Beaster EP (Rykodisc, 1993)
Bob's Full House (Pseudo Indie Label,1993)
File Under: Easy Listening LP (Rykodisc, 1994)
Besides compilation LP (Rykodisc, 1995)
The Joke Is Always On Us, Sometimes. Live disc, incl. w/ Besides

More info: Lyrics the new band of Malcolm Travis

Saturday, October 27, 2007

some OMD collected from the web & posted by Pavelse


ARCHITECTURE & MORALITY (2007 Remastered+Bonus CD)

Artwork By [Design] - Brett Wickens , Peter Saville/ Drums, Percussion [Acoustic, Electronic], Synthesizer [Bass] - Malcolm Holmes /Engineer - Brian Tench , Howard Gray , Richard Manwaring /Mastered By [Digitally Remastered] - Simon Heyworth /Other [Dvd Footage Director] - Gordian Troeller Other [Liner Notes] - Paul Morley/ Photography [Architectural] - Robin Roddey/ Producer - OMD*/ Saxophone - Martin Cooper/ Synthesizer, Mellotron, Guitar, Bass, Programmed By [Rhythm], Percussion [Acoustic, Electronic], Horns [Reed], Organ, Vocals - Andrew McCluskey* /Synthesizer, Piano, Mellotron, Percussion [Acoustic, Electronic], Organ, Programmed By [Rhythm], Noises [Radio], Melodica, Vocals - Paul Humphreys/ Synthesizer, Piano, Organ [Electronic] - Michael Douglas

Originally released in 1981All tracks digitally re-mastered 2003 at Super Audio Remastering. DVD recorded live at the Theatre Royal, Drury Lane, London 04/12/81.

CD 1

01 The New Stone Age (3:22)
02 She's Leaving (3:28)
03 Souvenir (3:39)
04 Sealand (7:47)
05 Joan Of Arc (3:48)
06 Joan Of Arc (Maid Of Orleans) (4:12)
07 Architecture And Morality (3:43)
08 Georgia (3:24)
09 The Beginning Of The End (3:48)
10 Souvenir (Extended) (4:16)
11 Motion And Heart (Amazon Version) (3:07)
12 Sacred Heart (3:30)
13 The Romance Of The Telescope (3:22)
14 Navigation (3:00)
15 Of All The Things We've Made (3:25)
16 Gravity Never Failed (3:24)

CD 2

01 Souvenir (Promo Video)
02 Joan Of Arc (Live Top Of The Pops Version 29/10/81)
03 Maid Of Orleans (The Waltz Joan Of Arc) (Promo Video)
04 Almost
05 Mystereality
06 Joan Of Arc
07 Motion And Heart
08 Maid Of Orleans
09 Statues
10 Souvenir
11 New Stone Age
12 Enola Gay
13 Bunker Soldiers
14 Electricity
15 She's Leaving
16 Julia's Song
17 Stanlow

Links to download:

"Returning to Architecture and Morality after a 26 year gap is quite an enlightening experience. By the time this album was released in 1981 OMD were on the way to becoming a regular chart act and this album was in effect the bands great leap forward.With an impressive three U.K. hit singles,it could be argued that Architecture And Morality was merely the latest in a long line of very impressive electronic albums released around the same time,but that would be doing the band and their music a disservice. A product of its time, Architecture And Morality has a slightly urban feel that connects well with the dark days of the early Eighties,and whilst arguably it has a cold heart the songwriting and vision has a certain charm that still resonates to this day.Classic singles like "Joan Of Arc",and the irrepressible"Souvineer" still sound great,whilst supporting tracks like"The New Stone Age" and the albums title track show that OMD would comfortably overcome any notions that they were merely a disposable chart act. An obvious reference throughout this set is Kraftwerk's "Radioactivity" album,but fortunately OMD were shrewed enough to avoid being completely overcome by the German's influence,and this album sounds more like a northern British relation rather than a carbon copy.Consequently the real strength of Architecture And Morality lies in its willingness to acknowledge its influences,not replicate them. Now expanded to include lost 'b'sides [although i am finding it difficult to tell the difference between the two versions of "Souvineer" on this set!] and a very impressive dvd[including tv appearances and a live concert from 1981],this is a brilliant package that offers a full insight into OMD at the most crucial time in their career. Ultimately this is a great example to other artists on how to reissue their most important albums, breathing new life into established work,whilst offering the punter enough value and reasons to buy the album again. "

"Despite the tragic association with the second series of Alan Partridge, which has helped assist a snobbish response to O.M.D. by default, I feel the need to defend the band mostly known as Orchestral Manoeuvres in the Dark. 'A&M' took its title from a book entitled 'Morality & Architecture', the title suggested by Martha Ladly once of Martha & the Muffins and later associated with the Associates. The title fits perfectly the brilliant cover from Peter Saville Associates, who designed the majority of their sleeves (many of these are in an excellent book on Saville, well worth tracking down). This version of 'A&M' is an extension of the extended/remaster from a few years ago, the major addition being the second disc which has DVD elements (video/live), mostly culled from a performance at Drury Lane. This is the deluxe version of the best-selling OMD album, one the fan's will have to get - if you're less certain, plump for the single disc remastered version which has all the b-sides/bonus tracks. I am one of the few who are hoping their masterpiece, 1983's 'Dazzle Ships' gets the same treatment. The original nine-track LP is pretty perfect, advancing on the promise of the previous two albums and proving that the perfect pop of 'Enola Gay' was no one-off (which some might think when hearing the bleak electronic soundscapes of 'Organisation'). There is subversive pop, akin to 'Enola Gay', the subject this time being Joan of Arc, a figure who has been read in many ways (perhaps they had just overdosed on 'The Passion of Joan of Arc'?). 'Joan of Arc' is a gorgeous pop single, though it is the relative 'Joan of Arc (Maid of Orleans)' that seems more powerful, taking the ambient synths that are also found on 'Souvenir' and 'Sealand', prior to a huge classical synth motif and military drums whacked out by robots. The other single was the huge hit 'Souvenir', sung not by Andy McCluskey, but by Paul Humphreys who wrote it with Martin Cooper - more sublime pop perfection, the 'Extended Souvenir' is pretty similar, just a few extra words you might not require... Things start more oddly with 'The New Stone Age', which has a minimal guitar sound (like Joy Division with banjos!), a metronomic drum machine and whoozy ambient drones as McCluskey sounds possessed, barking out the words: "Oh my god, what have we done this time?" The song goes into overload at the end, feeling like an advance on the Joy Division inflections of 'Organisation.' Following the dark opener, we get some more gorgeous electronic pop in the form of 'She's Leaving', which probably should have been a single - amusingly enough it would be ripped-off for 'Number One' by Goldfrapp, a band who are hip where OMD definitely aren't... The centrepiece of the LP remains 'Sealand', which may or may not be a nod towards 'Seeland' by Neu! (OMD paid tribute to the Krautrock gods with b-side '4 Neu' a few years later), but advances on the 'Organisation'-epic 'Stanlow.' Just under eight-minutes in duration, it's a fan favourite and OMD at their most ambient, this direction would conclude with Dazzle-joys like 'International', 'The Romance of the Telescope', & 'Silent Running.' The title track predicts large aspects of the follow-up album, leading the way to the concluding tracks 'Georgia' (industrial electronic pop about a state of the Soviet Union, which like 'Enola Gay' sounds perky!) and 'The Beginning and the End' which blends Philip Glass-style minimal elements with guitar and percussion. Still great stuff, a definite perky LP and the choice OMD album (though I remain a 'Dazzle Ships' fellow myself). The bonus tracks are another reason to buy this reissue, including a re-recorded 'Motion and Heart', tracks that would appear on 'Dazzle Ships' ('Romance of the Telescope', 'Of All the Things We Made'), and the fantastic 'Navigation', which would later give its title to a b-side collection of OMD works - one cd well worth tracking down. Despite the later descent into stock 80s pop, session musicians and John Hughes soundtracks, OMD were once a great band, like Simple Minds, I tend to plump for the early stuff, picking only a handful of tracks after 1983. A key LP of the era, 'Architecture & Morality' feels as significant as 'Big Science', 'Dare!', 'Music for Parties', 'Non Stop Erotic Cabaret', & 'Penthouse & Pavement.' A key electronic album, even if Alan Partridge digs it! "


Backing Vocals - Brian Tench /Producer - Brian Tench


01 Junk Culture
02 Tesla Girls
03 Locomotion
04 Apollo
05 Never Turn Away
06 Love And Violence
07 Hard Day
08 All Wrapped Up
09 White Trash
10 Talking Loud And Clear

Link to download:

"Released in the summer of 1984, this was OMD's more commercial sequel to 83's Dazzle Ships (see review). Packed full of cracking songs and hit singles, the album is an exuberant joy of a record and shows the band at the peak of their powers.
There's the quirky pop of Tesla Girls, complete with the sampled vocals of Paul Humpreys' wife Maureen, the rolling bass of Locomotion and even brass bursts on All Wrapped Up. Every track is a corker really: the New York electro influence coming to the fore on Apollo and McCluskey really giving it some on the subtle Hard Day.
It's a belting album and one that could teach today's band of bedroom synthesists a thing or two about melody (whasthat?) and structure.
By the way, they had as much fun explaining the significance of the album's title as they did for Dazzle Ships or the classic Architecture & Morality!"

"what an album? you have got classic tracks such as tesla girls talking loud and clear and then the album does a u turn and you get steel drums caribbean music on the tracks all wrapped up locomotion what a fabulous album it makes you happy listening to this album because the songs are so vibrant and bursting with energy brilliant go out and bye it everyone? "

BEST OF (1988)


01 Electricity (3:29)
02 Messages (4:44)
03 Enola Gay (3:31)
04 Souvenir (3:34)
05 Joan Of Arc (3:47)
06 Maid Of Orleans (4:09)
07 Tesla Girls (3:33)
08 Locomotion (3:53)
09 Talking Loud And Clear (3:53)
10 So In Love (3:28)
11 Secret (3:56)
12 If You Leave (4:28)
13 Forever Live And Die (3:34)
14 Dreaming (3:54)
15 We Love You (12" Version) (6:14)
16 La Femme Accident (12" Version) (6:15)

Link to download:
Pass :
!forever DM!



"Out of print in the U.S. UK reissue of this 1988 compilation from the Liverpudlian Synthpopsters featuring two tracks not available on the original U.S. pressing: 'Telegraph' and 'Genetic Engineering'. Released at the height of their success, this collection spanned their career up to 1988, beginning with the 1980 single 'Electricity' and ending with 'Dreaming', a track recorded specifically for this collection (and the final track released from the original duo since they split up shortly after this album was released). 18 tracks including 'Messages', 'If You Leave', 'Tesla Girls', 'Enola Gay' plus bonus extended mixes of 'We Love You' and 'La Femme Accident'. Disky"

"There's not much difference between OMD's Best Of and their Singles collection. All the real classics like Maid Of Orleans, Joan Of Arc, Electricity, Souvenir and Tesla Girls appear on both and those few tracks that are different are not their best. So if you prefer We Love You, La Femme Accident and Genetic Engineering to Sailing On The Seven Seas, Dream Of Me and Walking On The Milky Way, go for this one! You will still get their more experimental first outings like Electricity plus their spacey, magnificent later work from Architecture And Morality. OMD was one of a slew of original UK synth-duo's that emerged in the early 1980s, along with Yazoo, Eurythmics and Soft Cell. OMD's mark of distinction is their elegant, almost classical structures and mournful moods, best demonstrated by Joan Of Arc and Maid Of Orleans. They were the architects of some truly remarkable and timeless sonic sculptures. "

"Greatest Hits compilations always fall short. I even find if I make one a year or so later it needs to be changed. I have to say this one is really good. I can listen to it straight through and both the early material and the late material stands up. I remember a review of their early work commenting that the reviewer hated synths, but recognized the quality of OMD'S so the album was OK, but they also hated their voices and made a joke about them not being blessed with good ones. Of course the thing I always loved about OMD besides their synth work was their voices. It is tough for me to understand others opinions many times. So even though I understand the song selection here, mine would be quite different. I would stick with "Electricity" and "Messages" from the debut. I like almost everything on the debut, but can't argue here. I always found "Enola Gay" to be flat. Great subject, but just can't get into it. I may have to pick this one for the fans, but to me "The Misunderstanding" is my favorite song off their second CD. I love this song. The next release has "Joan Of Arc", "Souvenir" and "The New Stone Age". I don't find the add on "Maid Of Orleans" that exciting and love the Stone Age song. It would be nice to substitute. Dazzle Ships has the obvious "Telegraph", and " Genetic Engineering(favorite song, standing above collection)", two obvious choices and I would also pick "Radio Waves". All the true pop songs from this under rated CD. Off Junk Culture I would go in the opposite direction. The pop songs may define the CD, but the memorable songs for me are "Love And Violence", and "Hard Day". I would leave it at that because the other favorite is "Never Turn Away", and to me it is too slow to include here. Crush is tough. My favorites are, "88 Seconds" and "Native Daughters Of The Golden West". I would pick these and "So In love". It is a brilliant pop song and does fit here. I would not pick "Secret" because to me it is too much like so in love. There are also some other favorites I would pass on here. As for the rest I agree "Forever Live And Die", "Dreaming", and "We Love You" are automatic. Since "If You Leave" is their only real hit that has to be included. Finally some B-Sides should be included that may be hidden gems. This is my collection. I wonder if anybody else would favor this one. "

PANDORA'S BOX (Maxi-Single) (1991)


01 Pandora's Box (Steve Anderson mix)
02 All She Wants Is Everything (Alan Meyerson mix)
03 Pandora's Box (Constant Pressure 12" Mix)
04 Pandora's Box (Diesel Fingers 12" Mix)

Link to download:

SAILING ON THE SEVEN SEAS (Maxi-Single) (1991)


01 Sailing On The Seven Seas
02 Floating On The Seven Seas
03 Sailing On The Seven Seas (Larrabee Mix)
04 Sugartax (Guy Forrester mix)

Link to download:



01 Then You Turn Away (Edit)
02 Sugar Tax
03 Area
04 Then You Turn Away (Infinite Repeat Mix)

Link to download:

WALKING ON THE MILKY WAY (Maxi-Single) (1996)


01 Walking On The Milky Way
02 Mathew Street
03 The New Dark Age

Link to download:
ENOLA GAY'98 (Maxi-Single) (1998)


01 Enola Gay [omd vs. sash!]
02 Souvenir [moby edit]
03 Electricity [the micronauts remix edit]

Link to download:

"The song "Souvenir" should be a love theme in a major motion picture about love and war. The intro of nostalgic virtuosic piano playing is romantic and is the best I ever heard. The violin playing is sweet and sad; it remind me of a lost love. The song is that great and deserve much more playing time on the radio stations. "Electricity" in track 3 is the worst remix and is not musical. Track 1 "Enola Gay" is a memorable remix because of the information from the "narrator"; it has a disco and upbeat sound to it. "

"this is brilliant enola gay /sash very similar but moving, souvenir 7am catchy and similar to original me and you also good more like original and very omd.hard house version interesting. electricity not keen at all nothing like or similar to omd, apollo xi very good song to listen to exellent covers all round must for omd fans. "

"Important information you should know before ordering this cd single. Firstly, the "Enola Gay" Sash remix is not the same as the one on the vinyl remix album released at the same time. Important differences include -- playing time. The cd remix runs at 4.04, while the vinyl mix runs more smoothly at 6.11. The worst thing about the cd remix is the hideous addition of narration at the beginning and end of the song to tell all the idiots out there what the song is about, ruining the integrity of the song!! The next cd remix is "Souvenir" by Moby which was not included on the vinyl edition at all. This version blows all the vinyl mixes away! It is the best track on the cd. Running time is 4.41 with piano intro and drum outro. Vinyl mixes are 7am version at 6.47, and Me & Us Mix at 11.34. Finally the only track repeated on both the cd and vinyl is the boring Micronauts mix of "Electricity", sounding like a cross between Yello and Kraftwerk (on a really bad day). Running time is a very long 8.44. Extra vinyl remixes are the Hard House Version at 5.47, and Apollo XI/@440 Northern Electronic Soul Remix at 6.15. Overall not bad, but I'm still shocked by that awful narration in Enola Gay. Lets hope they'll release the other vinyl versions on cd as well. "

Saltyka's bonus:

This session appeared on Organisation: Remastered (2003) Cd too.


01 Introducing Radios
02 Distance Fades Between Us
03 Progress
04 Once When I Was Six

Link to download:

"The first 10,000 copies of Organisation came in a grey sleeve with a sticker stating "Free Artefact - The Unreleased '78 Tapes". As well as a merchandising insert, a bonus 7" EP came with this release - omd dep 2 - which featured some previously unreleased tracks:
The tracks were actually recorded during a gig at Eric's Club, Liverpool and feature a spoken introduction by Dave Fairbairn.
These tracks reflected OMD's early collage approach in which excerpts taken from radio and TV broadcasts would be cut and edited into songs. Once When I Was Six features dialogue taken from the TV drama series The Pallisers (1974) based on the the novels of Anthony Trollope."



omd (1980)

Peel Sessions 1979 - 1983 (2000)


Many thanks to Pavelse and the original uploaders!
UPDATED (12.02.2008)
OMD - Singles Collection posted/compiled by Moroboshi
CD 1

01 Electricity (Remix '88)
02 Red Frame - White Light
03 Messages (10-Inch Remix)
04 Enola Gay
05 Extended Souvenir
06 Joan of Arc
07 Maid of Orleans
08 Genetic Engineering (312mm Version)
09 Telegraph - Extended Version
10 Locomotion (12 Inch Mix )
11 Talking Loud and Clear (Extended Version)
12 Tesla Girls (12 Version)
13 Never Turn Away (Extended)
14 So in Love (Special American Remix)
15 Secret (Extended Version)
16 La Femme Accident (12-Inch Version)

CD 2

01 If you Leave (Extended Mix)
02 Forever Live and Die (Extended Mix)
03 We Love you (12-Inch Version)
04 Shame (Extended Re-Recorded Version)
05 Dreaming (Extended Mix)
06 Sailing on the Seven Seas
07 Pandora's Box (Abstract Mix)
08 Then you Turn Away
09 Call my Name (12 Version)
10 Stand Above Me
11 Dream of Me (Based on love's Theme) (Single Mix)
12 Walking on the Milky Way
13 Meant to Be (Extended Mix)
14 Oil For the Lamps of China (Extended)

Links to download:
Many thanks to Moroboshi!!
RULES OF ROCK by guitarist Robert Strain 1) All sax players look the same 2) All drummers are mad, and are always late 3) All singers are vain and precious 4) All keyboard players are slightly eccentric - 'boffins' 5) All bass players are sensible (van driving, arranging gigs, doing the accounts) 6) All guitarists are handsome and brilliant - well, I would say that ;-) Actually, all guitarists just want to play guitar (we can't be bothered with all the other nonsense). Well, that and attend to all the women the singer rejects! :)