Friday, 11 January 2013

Top Six Vinyl Record Finds of 2012

What an exciting year 2012 has been for me collecting vinyl, after a new found desire to replace many that I had inadvertently sold in my hasty youth.  The satisfaction of replacing that early Bob Marley/Wailers record, finding that elusive Breeding Ground LP with EP included, or hearing again that long forgotten song "Vertigo" by Rupert Hines (not Rupert Holmes as I soon discovered)!  What an indescribable RUSH!!!

There are many such examples in a year spend tirelessly scouring dusty flea markets, attending packed Record Shows, or carving out time while travelling aboard for work or pleasure.  The HUNT for vinyl is never-ending!  But there are SIX special vinyl records that stand out in a year where I added 1420 records to my expanding collection (almost quadrupling it in one year vs. previous 35 years of selective collecting).

Top Six Vinyl Record Finds of 2012:

           

1. English Beat, I Just Can't Stop It (Sire, 1980)
    
The actual vinyl is in just VG+ condition, but what distinguishes this from all the rest is that the cover is autographed by each of the six band members (corresponding to the silhouette of their faces in iconic cover).  Are you kidding me??   My All-Time favourite LP signed by my All-Time favorite live Band!!!  I did not have the pleasure of witnessing the signing of the LP, but possessing this copy is the next best thing!

Funny thing is that I almost foolishly passed it up.  After a long day of discovering a new Retail used vinyl store in east end of Toronto, I stopped by Sonic Boom and found this unique record.  I hesitated due to the $15 price tag and the fact that I had just that day purchased a Near Mint copy of the same record.  I left the store without purchasing it late Saturday night.

When I got home, doubts started to surface surrounding my decision to pass on this one-in-a-lifetime signed album cover!  What the heck was I thinking?  I blame it on hours of record hunting fatigue in a new store!  I asked my wife her opinion on the matter, and she was unequivocal!  ARE YOU NUTS? I must mention that she does not share the same degree of passion for vinyl records as I do.  But on this topic she was quite adamant.  I immediately called back Sonic Boom the following Sunday morning, to learn that it was not there!  Oh No!!!  Was it sold or misplaced?  I had to find out! I drove in a panic, covering the distance in record time.  I rushed to the Ska/Reggae section, initially could not find it, but after frantic searching found it wedged behind the display record.  How did it get there?  Who cares!   I OWN IT now!!!

2. Television, Marquee Moon (Elecktra, 1977        

This record has assumed legend status over the years.  Original CBGB darlings, Richard Hell leaving over conflicts with Tom Verlaine, universally critically praised LP, but a dismal commercial failure.  Hence the difficulty in finding any vinyl copy of this landmark recording.  Very few purchased this record!   I vaguely remember seeing a copy at the community public library that I worked as a teenager.  My good friend and work buddy Santino Bellisario has confirmed seeing the elusive record at same library. How did we miss this post-punk masterpiece with quasi ‘American Gothic’ cover art?  It was under our nose and had no idea of the greatness we were dealing with!

I was even told by a vinyl record aficionado that it would be next to impossible to find one (outside of a few for sale on internet, which I refuse to purchase).  Well, lo and behold!  I informed my favourite Retail used record store owner that I was looking for this record.  Presto!  He found a Near Mint copy by November from one of his regulars selling vinyl.  I paid $20 for my second most prized vinyl find in the past year!  I have already listened to this record multiple times straight through without skipping a single song.  Even after 35 years, this LP is like no other, with unique singing, poetic lyrics and stunning dual guitar playing.  The title track is a stunning 10 minutes long and was released as a single over two sides! This album is simply a masterpiece!

         

3. New Order, Movement (Factory, 1981)

I am proud to say that I purchased all the original New Order records when they were released, all domestic releases and Extended Play singles, including famous 'Blue Monday' with the unique but so expensive package that nearly bankrupted Factory Records. Well, that is what I assumed.  I always thought that the EP titled 1981-FEP313-1982, with the stunning 'Temptation' single, was the first record. However, I learned this past year, via Wikipedia, that I was in fact missing their all important debut album.  This p***ed me off.  This was amongst my favourite bands during the evolving synth dance music explosion of the early 80s.  And I wasn't even aware of their debut LP!

It was only by pure luck that I stopped at a small boutique highbrow downtown Toronto record store, and reached down at the hidden back of the 80s music boxes. There I found a pristine collectors copy, listened to it thoroughly in the store provided turntable and gladly paid the $30 cash for this hard to find copy with the simple artist cover.  What makes this record a delight is that it marked the transition for the surviving band members of Joy Division (formerly Warsaw) to the newly incarnated New Order. The German WWII motifs in the band name selections were no accident.  The sound is early industrial, dark and de-humanized.  Sounds a lot like Joy Division.  Was this record a homage to Ian Curtis?   Perhaps, but it marks the final chapter.  This debut record sold few copies, like Joy Division LPs at the time. Which makes it highly sought-after.  And I now own a copy that appears to have been played but once or twice!  How lucky!

4. The Undertones, All wrapped Up (Ardeck, 1983)

Don't let the bizarre, disgusting album cover turn you off to what is arguably one the best all-time single and B-side collections of any band.  Even the band distanced themselves from the creative 'genius' who thought it would be a good idea to dress-up a lovely model in various types of meat and shrink-wrap it on her body.  What the heck was he (it could not have been a she) thinking?  Yummy, sausages around her neck?  Just in case she gets hungry!

The 30 songs included in this double record collection span four albums from the Irish power punk/post-punk band.  There are 13 singles on the first record (with original 45 covers nicely depicted on inner sleeve) and 17 B-sides, including all 4 songs from the Teenage Kicks EP that caught the attention of John Peel. The first two LPs featured driving, relentless, machine-gun anthems that rivals anything by the Ramones. The songs were generally about girls, sex, chocolates and cars.  Typical Irish teenagers trying not to be drawn into the 'Troubles.' The vinyl is a UK import in Mint- condition.  Needless to say, this Ardeck record is very rare find in Canada!  I stumbled across it at an October Toronto Record Show, and paid a very fair $15 for the double LP!


  Image result for skrewdriver orange LP            Image result for plastic bertrand an 1LP

5. Skrewdriver, All Skrewed Up (Chiswick, 1977)

What a great story surrounding this unique record!  I discovered a local flea market with a massive vinyl record collection.  I mean massive!  It took me 5 separate visits from 10am-5pm to get through the 100,000+ vinyl buried in nooks and crannies.  It was a labyrinth maze but a record hoarder's heaven!!

The most fascinating find over the 5 visits was a record in such decrepit shape that I initially passed up on it.  But the cover was so unusual and band name so intriguing that I returned the following weekend to pick it up.  The record was in such poor condition, that I was not expecting to be able to play it. It looked as if they used it as a Frisbee on concrete pavement.  Deep surface lacerations, and oil stains in one corner.  Where the heck had this record been? If only it could talk!  I cleaned the vinyl with 50% alcohol solution, and held my hands to my ears as I placed the needle to the vinyl.  To my outmost shock, the record is playable and the intense static between songs only heightens the appeal of this surprising outstanding original punk record on the famous UK Chiswick label.  In addition, the 13 track LP can only be played on 45 rpm!  The price was FREE as even the owner felt bad about the terrible condition of the record.

Strange history with Skrewdriver.  They stopped recording completely after the debut LP release.....until 1984, when they were resurrected as an extreme White Supremacist skinhead hardcore band.  The original lead singer, Ian Stuart Donaldson, died in a car crash in 1993 under mysterious circumstances.  Definitely not my cup of tea, so to speak!  But the first version of the band recorded an original punk rock LP that stands up surprising well!!   Good luck finding a copy!!!!

6. Plastic Bertrand, An 1 (Vogue, 1978)

Who is Plastic Bertrand, you may wonder?  A Belgian musican who released one of the most recognizable new wave classics, "Ca Plane Pour Moi."   What you don't recognize the song?  Perhaps you may have heard the English version of the same song popularized by Elton Motello?  No, how about the Damned?  Still doesn't register?  The song is "Jet Boy Jet Girl."   REALLY!   Listen to the two songs side-by-side and try convincing a music patent judge that they are different.

Although the melody is identical, the lyrics couldn't be any more different. The French version is gibberish (my wife is French Canadian and is very familiar with the artist and song), while the English version was well .... a little controversial.  Judge for yourself:

And though I'm only just fifteen   /   I like to kick, I like to scream
And even if I have a kick or two in bed   /   When I'm with him it's just a dream
Ooh, hoo, hoo, hoo   /   He gives me head

The other songs are equally fun and upbeat with titles such as "Pogo, Pogo," "Dance Dance," "5.4.3.2.1.0."  But make no mistake; what makes this the LP extremely collectable is "Ca Plane Pour Moi" as one of the truly original new wave hits in late 1977.   I purchased a NM copy of this record on French Vogue label for $10 during a June Toronto Record Show from a collector somewhat hesitant to part with it! 


Sunday, 30 December 2012

The ROAD to 2,000 Vinyl Records

The past 12 months have been a passionate journey of searching out and patiently sorting through countless vinyl records in an attempt at building back my original vinyl records collection.  It has been an unbelievable RIDE and I have found the vast majority of records I had been seeking....and THEN SOME!!!

The journey began between Christmas and New Years day in Quebec City exactly one year ago and by December 29th, 2012 in that same location I had reached the 2,000 album threshold.  One year ago, I stumbled across this massive booth at a local flea market (Marche aux Pouche) selling vinyl from $1 discount bin to individual higher priced progressive/hard rock selections.  What treasures I discovered in the $1 bin, with surprising New Wave titles, among a smorgasbord of vinyl records I had simply forgotten......  I was HOOKED, and the idea for this blog was born!!!

An episode from 'Big Bang Theory' captures my OBSESSION perfectly - Sheldon is in his favourite comic book store ("got it, got it, need it"), explaining to a curious bystander that while he could complete his collection by simply purchasing what he is seeking over the internet, it does not replace "the thrill of discovery, the desire to possess the item, and the satisfaction of owning it."  Moreover, I am nearly ALWAYS surprised to discover a record I wasn't expecting to find, or one that I had completely forgotten.  A long dormant album cover or obscure band name is enough to trigger a flood of MEMORY (much like dunking the coffee cake in Proust's classic novel, 'In Search of Lost Time'). The HUNT is an incredible HIGH for me as much as finally holding and playing that long sought after record!

I have seeked out records in other local Ontario flea markets, garage sales, Toronto Record Shows and used music retail stores.  I have received records for free from friends and loved ones.  I have traveled and purchased records in Rio and Sao Paulo, Brazil.  I have searched for specific classic rock and rap albums for my oldest son Vincent who thinks vinyl is COOL!

The Vinyl Records by The Years:

Original New Vinyl Purchases           (1977-1990):           230       11%
Garage Sales / Used Record Stores  (1991-2011):          350       18%
Flea Markets / Record Shows etc      (2012)                   1420       71%  

The Vinyl Records by Source:

Original New Vinyl Purchases           230        11%
Garage Sales                                     328        17%
Donations                                          132          7%
Used Record Stores                          302        15%
Record Shows                                  164           8%
Flea Markets                                      844        42%        

Milestone Vinyl Purchases:


#1 - Elvis Costello, My Aim is True (Columbia, 1977)
My first vinyl record purchase was in 1977 via Columbia House mail order (Buy 1 record, get 6 free with 4 regular purchases in next 2 years!).  I anxiously awaited my order, and treated the Costello record like a prized possession when it arrived.  Still do!!  This is my favourite record from my favourite male singer/songwriter! "Alison, Mystery Dance, Welcome to the Working Week, Less Than Zero, Watching the Detectives"....WOW.  What a debut LP!  The songs are as fresh and relevant as ever! A taste of the literate, biting, angry lyrics and music to come!  And what about that Buddy Holly look? Way ahead of his time, fashion-wise!


#1000 - Frank Zappa, Joe's Garage Act I (Zappa, 1979)
This record, although not strictly New Wave, is from the original master prankster / hipster Frank Zappa.  He was always recording challenging music with ironic subjects.  This record is special because it belonged to a close personal friend, Bart Holden, and we would laugh to songs like Catholic Girls at his place. Unfortunately Bart dropped dead from a sudden heart attack May 2012 at the age of 49.  His wife Nicole wanted me to have his vinyl collection because of our common love of music.  I cherish his memory wherever I see or play this album.  Bart Holden, R.I.P.!


#2000 - Mike Oldfield, Tubular Bells (Virgin, 1973)
This happened to be the final 'find' on December 29, 2012 after several days digging through the bargain bin in the Quebec City Marche aux Pouche.  A new box of used records arrived as I was ready to leave. In that box was a near mint copy of this first title by Richard Branson's fledgling Virgin Records with the iconic 'double virgin'  inner label.  Funny story about this instrumental record, the opening segment that become the recognizable and creepy soundtrack for the horror film 'The Exorcist.'  A university school buddy borrowed my originally purchased copy for a course presentation back in 1979.  I never saw it again!  This is a record that I desperately wanted to replace!  It took me 33 years!!  But I now have it back! And it still sounds creepy!!

Tuesday, 30 October 2012

CLASSIC SONG & LYRICS - Smalltown Boy (Bronski Beat, 1984)

File:SmalltownBoy.jpgThe first time I heard the  build up to the song that would be later recognized as 'Smalltown Boy,' I was instantly drawn into the music and plaintive lyrics of pain and bullying.  Then the video was released on MTV at a time when videos were as important, if not more important, than the actual music.  And what a captivating video!  I still get goosebumps at the scene where Joey Sommerville extends a hand to his father to say goodbye for the last time, and his father refuses to shake it.  Why? Because his father has learned, or strongly suspects, that his son is homosexual.  Remember this was 1984, at the height of the AIDS epidemic, misinformation and backlash against the homosexual lifestyle at large. 

What the video did was to present a sensitive and poignant side to the individual rather than the broader stereotype.  It was an important achievement and in my opinion, helped to raise the awareness of the ignorant bullying and homophobia that was prevalent in the UK and US at that time.

The music is soaring and lyrics piercing.   Take a listen!

You leave in the morning with everything you own
In a little black case
Alone on a platform, the wind and the rain
On a sad and lonely face

Mother will never understand
Why you had to leave
For the answers you seek will never be found at home
The love that you need will never be found at home

Run away, turn away, run away, turn away, run away
Run away, turn away, run away, turn away, run away

Pushed around and kicked around, always a lonely boy
You were the one that they'd talk about around town
As they put you down

And as hard as they would try, they'd hurt to make you cry
But you'd never cry to them, just to your soul
No, you'd never cry to them, just to your soul

Run away, turn away, run away, turn away, run away
Run away, turn away, run away, turn away, run away
Run away, turn away, run away, turn away, run away
Run away, turn away, run away, turn away, run away

Cry boy, cry, cry boy, cry, cry boy
Cry boy, cry, cry boy, cry boy, cry, cry boy
Cry boy, cry, cry boy, cry boy, cry, cry boy
Cry boy, cry, cry boy, cry boy, cry

You leave in the morning with everything you own
In a little black case
Alone on a platform, the wind and the rain
On a sad and lonely face

Run away, turn away, run away, turn away, run away
Run away, turn away, run away, turn away, run away
Run away, turn away, run away, turn away, run away




Sunday, 30 September 2012

FULL REVIEW - The Cure, 'Three Imaginary Boys' (1979, Fiction)

LP - Side 1

1. 10.15 Saturday Night
2.  Accuracy 
3.  Grinding Halt 
4.  Another Day 
5.  Object 
6.  Subway Song

LP - Side 2

1.  Foxy Lady
2.  Meathook 
3.  So What  
4.  Fire in Cairo 
5.  It's Not You  
6.  Three Imaginary Boys   
7.  The Weedy Burton 


Album Art Cover
The first thing that strikes one when considering Cure’s 1979 debut UK LP ‘Three Imaginary Boys’ is the bizarre album cover depicting a lamp, fridge and vacuum cleaner.   What the heck?  As it turns out, the Cure had no say in the cover ‘art’ or in the song selections (ie Hendrix’s Foxy Lady).  Producer Chris Parry made those decisions with Robert Smith’s consent.  In addition, the vinyl cover and disc label had no song listing, but rather pictograms of each song (in random order) were included on LP back cover.  Good luck figuring out what song was what, especially in pre-Internet days. Finally, the inner sleeve also had strange photo of a house and colour-coded credits / references.  Very unique and strange packaging for a debut LP!
Band and Music
Let’s shift to the band and music.  Robert Smith is the Cure, but he began by playing piano, and assumed role of frontman/guitarist only when the lead vocalist of Easy Cure resigned in 1977. Michael Dempsey is the bassist (but left due to concerns of musical direction in subsequent LPs ie the ‘Dark Trilogy’), and Lol Tolhurst was the drummer (until fired for alcohol/drug abuse during ‘Disintegration’ recording sessions).  A band with three boys!!!  This record is a fascinating primer for the Cure and the musical genres and themes that follow throughout the 1980s.  The music is tight and varied, while the lyrics address themes of depression, sexual tension, existentialism… just your average teenage concerns.
Comparison to ‘Boys Don’t Cry’ LP
The Cure’s US debut LP is ‘Boys Don’t Cry’ in 1980 featuring a number of similar tracks from ‘Three Imaginary Boys’, although in different track sequence, in addition to three previously released singles; the controversial Killing an Arab based on Albert Camus’ novel ‘The Stranger,’ Boys Don’t Cry and Jumping Someone Else’s Train.  The cover art of 'Boys Don't Cry' is the pictogram for Fire in Cairo from the back cover of ‘Three Imaginary Boys’ LP.
In my opinion, ‘Three Imaginary Boys’ is the definitive debut LP by the Cure and the more consistent in terms of song selection and sequence of the two LPs.
Original Vinyl LP – Side 1
We are introduced to The Cure’s debut LP with the atmospheric opening track 10:15 Saturday Night. It was the B-side of their single Killing an Arab, based on Albert Camus’ novel ‘The Stranger.’  It was also released as a single in France, with Accuracy as the B-side.  The song starts with a low sound that builds in intensity (guitar riff) and eases into a steady bass line.  Can you hear that slight sigh of breathe towards the end?  Good use of musical pacing and lyrics to convey emotional pain, longing and isolation.  With Cure lyrics, often there are two streams of meaning.  Is this song simply about the anxiety of waiting for your loved one and not knowing where they are?  Is it a deeper existential wail? Is it like ‘Waiting for Godot’?  You decide. 
“And the tap drips
Drip drip drip drip drip drip drip drip”

The second track Accuracy has a groovier bass driven sound.  The lyrics are cryptic (are you surprised?) but hint at a player, a manipulative seducer, who practices his art of deception to perfection.  But there is a sinister threat uttered:
“Look into my eyes / We both smile / I could kill you / Without trying”
Grinding Halt is next track, an upbeat bopping song despite its minimalist pessimistic lyrics:
                “No sound / No people / No clocks / No people…. Stopped / Short / Grinding halt”
Is the world coming to an end?  Should we be worried or rejoice?  Is this similar to R.E.M.’s  ‘It’s the End of the World (I Feel Fine)’ or with a dark edge.   Well, the song ends with the sound of the vinyl record slowing to an abrupt stop.  My interpretation is apathy rather than fear.
Next up is Another Day, a slow brooding song that speaks to the paralyzing power of boredom and depression often experienced at that impressionable age.  Waking up, waiting for the new day to end, even before it has begun:
“The eastern sky grows Cold / Winter in water colors / Shades of grey”
The fifth track is Object, a song with a driving sound and interesting use of echo.  The tone is one of a conflicted seducer or one being seduced?  A sad statement of sexist objectification of desire at the expense of a meaningful relationship.  Getting to really know and respect someone is much harder than simply getting laid. The words are macho but hint at pain of rejection and hurt. 
“You know you turn me on / Eyes so white and legs so long
But don't try to talk to me / I won't listen to your lies”
Side 1 ends with the creepy horror vignette Subway Song.   Packed in the brief 2:00 minutes is an vivid atmosphere of approaching doom, with very few words. There is a Cabaret feel to it, with fingers clicking, toes tapping (tip top tip top), and a harmonica.  The music fades….. you think the song is over… then the terrible SCREAM (via distorted reverb) or the CRASH of the train running over the victim? MURDER she wrote!  Full lyrics below:
“Midnight in the subway / She's on her way home
She tries hard not to run /  But she feels she's not alone
Echoes of footsteps / Follow close behind
But she dare not turn around  / Turn around”
Original Vinyl LP – Side 2
Side 2 begins with a sound check.  Yes and the band are jamming to Foxy Lady by Jimi Hendrix.  How did it make this album?  Blame it on the producer!  Robert Smith was not happy with this song’s inclusion.  But upon careful (and repeated listening), the selection works.  This version is edgier, less distinct (Michael Dempsey is actually singing) interpretation.  It belongs on this album.  Sorry Robert Smith, you have been over-ruled!  (Lyrics not re-printed due to copyright by a guitar legend).
After the shock of a Hendrix jam session, we move into an original Easy Cure (1977) composition Meathook.  The sound is cool, assured with neat bass pattern.  But the lyrics are anything but clear.  What is going on here?
“That butcher man was some...  Lady
He really stole my heart
He hung me up on his meat hook
A real piece of...  Slaughterhouse art”
The third track on Side 2 is So What, a song with anxious singing and non-stop rambling words.  Sounds to me like the barrage of advertising and consumerism we are exposed to on a daily basis.  The chaos and noise of modern life.  I can’t get no …. Satisfaction!
Fire in Cairo is a wonderfully crafted catchy ‘pop’ song that could have easily been a single.  It is a seductively suggestive love song, wonderfully depicting the fire of passion:
“Shifting crimson veil, Silken hips
Slide under my hand, Swollen lips
Whisper my name, and I yearn
You take me in your arms, And start to burn”
The repetition is alluring:  F-I-R-E-I-N-C-A-I-R-O,  F-I-R-E-I-N-C-A-I-R-O.  But in the end is it real or a dream?   “Then the heat disappears / And the mirage Fades away”
The next track is It’s Not You, an upbeat tune with a pronounced guitar riff.  The lyrics are straight-forward:
“Well I'm tired of hanging around / I want somebody new
I'm not sure who I've got in mind / But I know … That it's not you”
The debut LP ends with the title track Three Imaginary Boys, a haunting evocative (early gothic?) and complex composition.  The music is even-paced, hypnotic as if under a trance!  The themes explored are depression, loss, existential angst, fear of being alone.  Comprehensive choice of words are deployed to convey these feelings: “footsteps, shadows, statues, echoes, scared, empty feeling, heart beats, nighttime, disappearing, moon, cracked reflection, whispers, silence, pressing.”  
“Scared of what the morning brings / Waiting for tomorrow …. Never comes”
Who are the Three Imaginary Friends? The song appropriately ends with the plaintive cry “Can you help me?”
This would be the end of the record, but for a hidden thirteenth track, now referred to as the Weedy Burton.  Personally, the 1:04 minute instrumental bar song doesn’t add a thing to the flow of the record. In fact, it sounds as if someone left the tape running. The producer’s in-side joke perhaps???
Assessment
What an audacious debut LP!  From the strange cover art, the missing track listings, hidden track, Hendrix sound check track, but assured and varied musicianship…..to the broad existential themes, hints at the ‘darker’ gothic records to come, and their decision to be anti-celebrities (no band photos during their first 4-5 LPs), the Cure staked their claim as a band that could not easily be labeled.   An incredible accomplishment.
Rating
LP Rating:                  5/5
Vinyl Rating:              NM

Dedication
I would like to thank a work colleague, Julie Proulx, for graciously donating her vinyl records for my discovery and review.  'Three Imaginary Boys' was amongst those records, as well as the near complete vinyl Cure collection.   As I learned, Julie is a knowledgeable Cure fan.  I must admit, I had not had the pleasure of listening to the first 4-5 Cure records, being exposed to the Cure largely during the mid 1980s (Love Cats, The Walk, In Between Days).  This is the main reason for this blog.  Exactly to re-discover great music I had missed the first time around.  Thanks once again Julie!!!!

Tuesday, 31 July 2012

CLASSIC SONG & LYRICS - Love Will Tear Us Apart (Joy Division, 1980)


One of the most haunting songs of the New Wave era is Joy Division's  "Love Will Tear Us Apart."  Although the single was released in April 1980, it become the band's biggest chart hit posthumously after lead singer Ian Curtis hanged himself. This happened just days before the band's first major North American tour. In effect, it became Joy Division's swan song, as the remaining members agreed to change the band name in respect for their departed singer. From the ashes emerged a new band New Order, that inherited Ian Curtis' legacy.


The song is poignant and full of sadness/regret, as it accurately captures the personal disintegration of Curtis' marriage to Deborah. Ian suffered from epilepsy and depression, with the 2007 film 'Control' admirably deciphering the life of this reluctant rock star who could not tame his demons. His deep echoing baritone voice gives the song an eerie quality, as if he is singing from beyond the grave. The incessant drumming and screeching synthesizer do nothing to alleviate this foreboding of dread.  Judge for yourself with the accompanying video.

On May 18, 1980, Ian Curtis committed suicide at the age of 23.


When routine bites hard,
And ambitions are low,
And resentment rides high,
But emotions won't grow,
And we're changing our ways,
Taking different roads.

Then love, love will tear us apart again.
Love, love will tear us apart again.

Why is the bedroom so cold?
You've turned away on your side.
Is my timing that flawed?
Our respect runs so dry.
Yet there's still this appeal
That we've kept through our lives.

But love, love will tear us apart again.
Love, love will tear us apart again.

You cry out in your sleep,
All my failings exposed.
And there's a taste in my mouth,
As desperation takes hold.
Just that something so good
Just can't function no more.

But love, love will tear us apart again.
Love, love will tear us apart again.
Love, love will tear us apart again.
Love, love will tear us apart again.



Wednesday, 6 June 2012

REWIND - New Order and Heaven 17 (John Minicucci, BS Monthly Dec 1983)



Listen In...
Having survived the relentless pace of first year in the
MBA program, I was afforded the opportunity to rediscover
the simple pleasure of music during the summer
months. Below is a personal evaluation of two premier
albums released during those months:

New Order - Power, Corruption and Lies
New Order's latest record attempts to forever bury the
ghost of the band's grim past. This is the first time since lead
singer Ian Curtis hanged himself three years ago that the
survivors of Joy Division (the name refers to the prostitute's
area in Nazi concentration camps) have been able to transcend
the gloomy music that was a hallmark of the first band.
This album is a major shift in musical direction, and on the
surface it appears to be a very upbeat dance record. The
band's emphasis on a pumping drum pattern has created a
sound that is conducive for exhilarating dance songs like
"Age of Consent" and "586" (not to mention their twelve-inch
dance single "Blue Monday"). This synth-pop band is
as strong as, if not stronger than, any coming out of Britain
lately and is highly recommended for M.B.A. parties!


Heaven 17 - The Luxury Gap
The success of the first album Penthouse and Pavement
proved that these former members of the Human League
could survive on their own. The second album reaffirms the
band's position as a major British electro-pop band. The
band's success is due to a concentrated effort to humanize
the passionless sound that characterizes most synthesizer
music. This is accomplished by employing inspired vocals
and a wider range of instrumentation. As well, the group
possesses and acute political awareness that is uncommon for
most British synth-pop bands.
The album contains the singles "Let Me Go" and "Temptation",
and an up-beat dance track "We Live So Fast" that
has become a personal theme song for my second year in the
M.B.A. program ("We live so fast/Motion, motion/No time
to waste/Use it. use itl...Move out of my way it's time to
make it happen").

John Minicucci (Business School Monthly, Dec 1983).