Cobalt Chapel – Orange Synthetic album review

30 11 2020

Yorkshire psychedelic duo Cobalt Chapel (Cecilia Fage from Matt Berry & The Maypoles & Jarrod Gosling from I Monster) are releasing their new album Orange Synthetic on 29th Jan 2021.

Orange Synthetic is the second full studio album from the duo, following on from their debut and its companion album, Variants.

Orange Synthetic is music grounded in the Yorkshire earth: its people, the surrounding nature, landscape, and its mythology, from the distant past to modern life. The story of the Krumlin Festival captures something about this island in its disaster – how you can start out with a dream and end up wrapped in a survival blanket, suffering from exposure, on a cold, wet Pennine hillside. It’s an image which reflects the lost, end-of-days feeling of where we’re at now.” (Cecilia Fage & Jarrod Gosling)

The album opens with In Company, a dark tale inspired by the 80s Neil Jordan gothic fantasy film The Company of Wolves and the story of the writer Angela Carter and her wartime experiences.

Organs fizzle and swirl over a rolling drum pattern and layers of lead and background vocals, setting the scene for the whole album. This is the duo at their most commercial, with a chorus that stays with you long after the song has ended.

The Sequel explores the creative process of writing and connecting with an audience. I could imagine this song being used as an alternative theme tune for Tales of the Unexpected. Vinyl crackles and guitar lines buried deep within the mix see the song out, as Message To rushes in. The pace is increased a little for this song of escape.

“I’ll be your hostage”

I love the psychedelic twists and turns in the arrangement, especially the heavily processed lo-fi loops that weave their way in and out of the stereo field.

A Father’s Lament tells of a family who have lost all their children, as if cursed. The bass and drums drive the song, as it evolves and mutates throughout its fairly short life. This is one of the album’s most engaging performances from vocalist Cecilia Fage.

Our Angel Polygon has a crisp, sharp arrangement and was inspired by RAF Fylingdales on the North Yorkshire Moors, and its tales of listening in to Cold War communications. The chorus of Our Angel Polygon is “We are watching”, which is a translation of the RAF Stations motto “Vigilamus”.

The versions of In Company and Our Angel Polygon on the album are the full takes, not the edits released as digital singles earlier in 2020.

Cry A Spiral is underpinned by a soft bossa nova beat, before giving way to deep bass and frenetic drums. One of the more avant-garde pieces on the album, Cry A Spiral harks back to the sound and style of the first album.

It’s The End, The End is a lively musical bazaar stuffed to the brim with discordant, acid keyboard washes and choral vocals. As soon as you get comfortable with the arrangement, it shape-shifts into something even more obtuse, and is a fitting accompaniment to the apocalyptic lyrical content.

Jarrod’s vintage keyboards take centre stage on Pretty Mire, Be My Friend with its extended instrumental section that propel the song to its delightful finish, as guitar and keyboards get caught in a duel to the death.

The twisted folklore that ran through the veins of the debut album from Cobalt Chapel returns on E.B. Another fine vocal performance from Cecilia Fage, that propels you down a time tunnel to a long-lost era. This is pure escapism, and highlights the power of good music to take you away from your stresses and worries, and transport you to another world, even if its just for 40 minutes or so. And how we need that, in this of all years.

The album ends with its title track, the longest piece on the album, and an early favourite for me. Telling the story of an infamous music festival from 1970, that was left in ruins due to the extreme Pennine weather.

“How does it feel, disappointment”

The powerful insistent drums and infectious (sorry to be so 2020) guitar lines jostle for your attention with keyboard riffs that build and give a feeling of stormy weather wreaking havoc upon those caught in the open, with no shelter within reach.

Orange Synthetic is an altogether more consistent release than Cobalt Chapel’s debut, and holds together so well as a complete album. The psychedelia that runs through the duo’s music remains, but with an increased emphasis on melodies that seep into your heart.

If you ever find yourself lost on the North York Moors, Orange Synthetic will be your company until your rescue surely arrives. Just save some battery life to call for help.

Pre-order Cobalt Chapel – Orange Synthetic from Amazon

Pre-order Cobalt Chapel – Orange Synthetic (orange vinyl) from the official store

In Company
The Sequel
Message To
A Father’s Lament
Our Angel Polygon
Cry A Spiral
It’s The End, The End
Pretty Mire, Be My Friend
E.B.
Orange Synthetic

Words and Music by Cecilia Fage & Jarrod Gosling.
Cecilia Fage: Vocals, choral arrangements, recorders, clarinets.
Jarrod Gosling: Organs, Mellotron, electric pianos, tone generator, effects, drums, percussion, guitars, bass, tape loops, glockenspiel, flute.
Nick Gosling: Guitars





Iamthemorning – Counting The Ghosts EP review

29 11 2020

Following the success of their most recent studio album The Bell in 2019, Iamthemorning are self-releasing a new EP Counting The Ghosts on 4th December 2020.

Consisting of four tracks and recorded in isolation in the UK, Russia and Canada, Counting The Ghosts features two new original songs from the duo of Marjana Semkina and Gleb Kolyadin, alongside two traditional Christmas choir pieces that have been reimagined by the band.

The EP is perfect for this time of year. Evoking the magic of winter from times long past, I wonder as I wander is a beautiful, dark choral piece, based on an arrangement by John Rutter. A minimal string backing, with reverb-drenched bells and moving vocals from Marjana would make the perfect backing for a BBC Ghost Stories For Christmas episode, if you are looking for inspiration TV producers!

I wonder as I wander offers an intensely emotional listening experience. The direct and simple arrangement makes this a timeless piece of music, that for me sits amongst the finest in the duo’s catalogue.

Cradle Song is a newly written, original Iamthemorning song. Stripped back, with just vocals, keyboards and subtle dual guitar accompaniment, the song builds slowly, and then fades to a misty soundscape. The attention to detail in the gentle performances gives Cradle Song a magical power to hit you hard as the bass notes summon the beautiful, slowly decaying end section.

Counting the Ghosts is the final original Iamthemorning song on the EP. A commentary on 2020, surely the worst year most of us have lived through, the song wisely focuses’ on the human cost and emotions of a bleak 12 months.

I love the arrangement, which reminds me a little (particularly the fine fretless & double bass and Gleb’s piano work) of Never For Ever period Kate Bush. Counting the Ghosts has one of my favourite vocal performances, full of well harnessed restraint, from Marjana. The song is a perfect example of drawing on the past to build something new for the future.

“This year is ending but nothing feels right,
we have come a full circle while burning alive”

The EP ends with Veni Veni Emmanuel, a 12th century hymn that dials up the reverb to take us back to a feeling of a mist-fuelled winter and a nostalgic Victorian Christmas, full of fading memories and lonely ghosts. This is a song that would be so powerful heard in a live setting when this dreadful health emergency is over. Nothing beats the raw emotion of hearing choral music live, so I hope we get the chance to hear these songs performed in a year or so.

Counting The Ghosts is an essential purchase for fans of the duo, and will make a fine addition to any seasonal / winter playlists that you put together. I will take great pleasure in playing these four songs every winter, for many years to come.

Buy the physical EP or the download version from the Iamthemorning Bandcamp site, and support Marjana and Gleb. Now more than ever before, musicians need us to support their art and creativity where we can. Here’s to a better 2021 for everyone.

  1. I wonder as I wander
  2. Cradle Song
  3. Counting the Ghosts
  4. Veni Veni Emmanuel

Gleb Kolyadin – piano, synths, guitar on 2
Marjana Semkina – vocals, backing vocals, guitar on 2
Vlad Avy – guitar (2, 3)
Zoltan Renaldi – fretless bass, double bass (3)
Mr Konin – marimba (3)

Buy the EP from the Iamthemorning Bandcamp site





Tunng – Tunng Presents…Dead Club album review

15 11 2020

An album about death, dying and grief in 2020? I’m not sure I can listen to that was my initial reaction, but as soon as I read that the album was inspired by Max Porter’s novel Grief Is the Thing With Feathers (I saw Enda Walsh’s mind-blowing adaptation at The Barbican, starring Cillian Murphy in 2019) I dived in headfirst and what an uplifting experience this turned out to be.

Tunng’s Good Arrows was one of my favourite albums of 2007, but this new release takes the band’s sound to another level. For a start, the instrumentation is less electronic, glitchy and is so much more organic and natural. There is space for the music, and lyrics, to breathe in these arrangements. Opening with Eating the Dead, based on the Wari indigenous people of Brazil who used to, well, you have read the title. The song is heart-beat paced, and talks of devouring the memories of the person who has recently passed. Like the majority of the album, the song is incredibly moving, because of, not despite of, its unsettling subject matter.

“Lay you on my kitchen table
Cut you open tenderly
Eat your heart and eyes and mouth
Every word you spoke to me”

The pure, infectious pop of Death Is the New Sex hides the dark message in the lyrics.

“Death is the new Sex
Coming soon to fuck us all”

SDC (aka Swedish death cleaning) is the lyric that hit me hardest, for very personal reasons. SDC is a song about the process of organizing and de-cluttering your belongings before you die, so those left behind don’t have to do this heart-breaking task. Deciding what remnants of someone’s recently ended life gets thrown in the bin or kept within the family as a keep-sake is a harder task than you might first imagine. Something that might have been intensely personal and precious to the person who has passed could be seen as something to be tossed away, as simply junk. That faded picture, or creased and barely legible hand-written letter could contain so much of the person, their hopes and dreams and if not cherished, could be lost forever to landfill.

Three Birds features a delicious bass-line, underpinning a gentle percussion free arrangement. A Million Colours is a simple, Love Cats like song that builds as layers of guitar and strings are dropped onto the topic of not being able to comprehend the impending loss of a loved one.

“You, I can’t quite imagine you gone
You a million bright colours all strewn about”

Carry You and The Last Day touch on the memories that remain after we have gone and what physically happens to us after the process of dying, along with the need for us all to live in the now, living our lives as fully as we can. This film only plays once.

The arrangement on Tsunami is one of my favourites on the album. A decaying note under a simple piano line and lead vocal slowly builds like the incoming deadly wave, getting closer and closer. The band leave us with just the vocal line that soon becomes isolated, stranded and alone in a silent sea. Such a thoughtful and powerful piece of music.

Scared To Death is one of the jewels on this album, featuring luscious strings and feeling like a classic album track from the mid-70s.

“You’re so scared to be what you’re not yet
Hoping love is its own reward”

Derren Brown features on the intro to Fatally Human, another album highlight due to the strong production and string arrangement. I love how disembodied voices float over the slowly departing musical track, as silence finally reigns over all.

The genesis of Dead Club, Grief Is the Thing With Feathers, rounds off the final quarter of the album with two tracks written and recorded in collaboration with its author Max Porter. No punches are pulled on Man, and the album’s final track, its companion piece, Woman. It might be uncomfortable at times, but there is a searing honesty that the subject matter demands, throughout these two tracks and the album as a whole.

If you want more than just escapism in your music, and appreciate honesty, beauty and a little dark humour, then please give this album by Tunng a listen. Prepare to be moved.

Buy Tunng Presents…Dead Club from Amazon

Eating the Dead 07:14
Death is the New Sex 04:14
SDC 05:38
Three Birds 03:59
A Million Colours 05:41
Carry You 04:53
The Last Day 05:32
Tsunami 03:11
Man 03:32
Scared To Death 04:53
Fatally Human 06:20
Woman 04:22





Toyah Sheep Farming In Barnet deluxe edition review

12 11 2020

Cherry Red Records are releasing a remastered and expanded deluxe version of Toyah’s debut album Sheep Farming In Barnet as the first release of a reissue programme of Toyah’s entire Safari Records catalogue. The 2CD/1DVD set is released on 4 December 2020, with a limited edition white vinyl version of the main album also released on the same day.

The main album has been given a quality remaster by Nick Watson. Key tracks such as Neon Womb, Victims Of The Riddle, Danced and Race Through Space sound crisper and clearer than the previous CD release, and if you are a fan of this album, you will love this 2020 remaster.

The album is expanded with the single tracks Bird In Flight & Tribal Look, plus rare / unreleased recordings, the highlights of which are the almost hard-rock Gaoler, an early version of The Blue Meaning‘s Love Me and four tracks from the BBC drama Shoestring – live in the studio recordings of Our Movie, Waiting, Neon Womb and an electrifying version of Danced.

The second disc is dedicated to rare and archive material, including many early demos. Whilst the demos are not of the same high quality as the main album, they give a unique insight into the band’s development. Close Encounters (Demo) would later become Danced and some of Watch Me Sane‘s lyrics ended up on Waiting.

My favourite track from the demos is Problem Child, featuring an expansive arrangement, veering from the pop / new-wave sound of the time to a lovely almost progressive outro.

The alternative mixes include a version of Neon Womb with no saxophone (I’m so used to the sax version, this take jars a little for me), and a less produced, more live sounding alt mix of Our Movie.

My favourite alt version on this disc is Waiting (Alternate Vocal Mix), I’ve always loved the bubbling synth lines underpinning the deep bass line on this track, and Waiting also has one of my favourite Toyah vocals. This alt mix goes on a little longer than the album version, with no fade out.

The final disc is a DVD featuring two 2020 interviews with Toyah Willcox (The Story Behind The Album and Track-By-Track Album Commentary), a 1979 What’s On interview plus TV appearances from 1979 and 1980 (including The Old Grey Whistle Test) and a 2020 acoustic Session featuring performances of Neon Womb, Computer & Bird In Flight featuring Toyah Willcox (vocals) & Nigel Clark (guitar). Note: the DVD’s visual content & the remastered vinyl was not provided for this review.

The sleeve notes for the 2 CD/ 1 DVD version feature a scene-setting intro from Toyah Willcox and August 2020 notes from Craig Astley with input from former band-member & co-writer/guitarist Joel Bogen, along with lots of band pictures from the era making this the definitive version of Sheep Farming In Barnet.

Buy Toyah Sheep Farming In Barnet: 2CD/1DVD Deluxe Digipak from Amazon

Buy Toyah Sheep Farming In Barnet: Limited Edition White Vinyl 11 track LP

Disc One:

  1. Neon Womb
  2. Indecision
  3. Waiting
  4. Computer
  5. Victims Of The Riddle
  6. Elusive Stranger
  7. Our Movie
  8. Danced
  9. Last Goodbye
  10. Victims Of The Riddle (Vivisection)
  11. Race Through Space

Bonus Tracks

  1. Gaoler
  2. Bird In Flight
  3. Tribal Look
  4. Love Me (Dangerfield Session)*
  5. Tribal Look (Alternate Mix)*
  6. Our Movie (Shoestring Version)*
  7. Waiting (Shoestring Version)*
  8. Neon Womb (Shoestring Version)*
  9. Danced (Shoestring Version)*
  • Previously Unreleased

Disc Two:

  1. Computers (Demo)*
  2. Little Boy (Demo)*
  3. Close Encounters (Demo)*
  4. Watch Me Sane (Demo)*
  5. Jailer (Demo)*
  6. Race Through Space (Demo) *
  7. Elusive Stranger (Demo)*
  8. Problem Child (Demo)
  9. Israel (Demo)
  10. Christmas Carol (Demo)
  11. Race Through Space (Alternate Mix)*
  12. Neon Womb (No Saxophone)*
  13. Our Movie (Alternate Mix)*
  14. Waiting (Alternate Vocal Mix)*
  15. Indecision (Alternate Vocal Mix)*
  16. Computer (Alternate Vocal Mix)*
  17. Vivisection (Improvisation)*
  18. Love Me (Demo)
  19. Tribal Look (Demo)
  20. Guilty (Demo)
  21. Three-Sided Face (Demo)

Disc Three (Ntsc – Region Free Dvd):

  1. The Story Behind The Album : 2020 Interview
  2. Track-By-Track Album Commentary: 2020 Interview
  3. Neon Womb: Acoustic Session 2020
  4. Computer: Acoustic Session 2020
  5. Bird In Flight: Acoustic Session 2020
  6. Race Through Space: What’s On 12/04/1979
  7. Toyah Interview: What’s On 19/04/1979
  8. Danced: The Old Grey Whistle Test 04/03/1980
  9. Indecision: The Old Grey Whistle Test 04/03/1980

Buy Toyah Sheep Farming In Barnet: 2CD/1DVD Deluxe Digipak

Buy Toyah Sheep Farming In Barnet: Limited Edition White Vinyl





Frost* 13 Winters artbook / boxset Review

10 11 2020

Frost* are releasing 13 Winters, a Limited Edition Deluxe 8-disc Artbook that contains remastered (and for Experiments In Mass Appeal a remix/remaster) of their three studio albums, plus the previously digital only Others EP, two live albums, the instrumental version of Falling Satellites, a rarities disc along with an artbook.

Frost* were formed in 2004 by Jem Godfrey, who was known for creating chart-topping hits for acts including Atomic Kitten, Shayne Ward and Holly Valance. Godfrey teamed up with John Mitchell (Lonely Robot, Kino, Arena, It Bites…) and other musicians to explore his earlier roots in progressive rock. Whilst modern progressive rock is at the forefront of Frost*, the songs also expose Godfrey’s pop skills, with strong melodies and hooks.

The Milliontown remaster is a subtle upgrade, with better separation and clarity, making the quieter parts more powerful but the heavy patches hit you hard with their renewed energy. This presents the album in its best light, and it is a pleasure rediscovering the band’s debut album. From the slow-building progressive-pop of Hyperventilate, that sets an early blueprint for the breadth of Frost*’s vision, to one of my favourite songs, the warm and nostalgic Snowman.

Black Light Machine highlights the power of this new remaster, and the closing song, the epic Milliontown, sounds stunning.

Whilst not a favourite of Jem Godfrey, I love the band’s second album, 2008’s Experiments In Mass Appeal. It does have more of an alt-rock feel than its predecessor, and is certainly more guitar based, but the pop sensibility remains. The version of Experiments In Mass Appeal in this boxset is a 2020 remix as well as a remaster.

Along with the rock tracks, such as the title track and Pocket Sun, the album delivers some touching slower paced, more melancholic pieces. My favourite of these is Saline. At times reduced to just a solo piano line, this is one of the most stripped back but hard-hitting tracks the band have ever released. When the strings kick in towards the end, you realise that Saline is such a powerful and emotional statement.

“And I don’t know if I can survive the feeling
Losing all that’s mine”

Falling Down is another personal favourite, and has remained so since its release back in 2008. Andy Edwards contributes some great drum patterns on this intelligent arrangement, as it shifts from light to dark moods. Toys reminds me of mid-period Mansun, and is stuffed to the brim with hook after hook. The Secret Song (aka the hidden track on Wonderland) is a fine way to end the album.

“And I’ll be fine
Don’t worry
Remember me…”

2016’s Falling Satellites is available as the full album plus an instrumental version in the 13 Winters boxset. The album features the mighty Craig Blundell on drums, who leaves his mark early on with Numbers and a song that reminds me of The Police in the verses, Signs. There is a strong feeling of consistency throughout Falling Satellites, which comes across as a real band album, and benefits from a subtle and sympathetic remaster.

Towerblock is a song of change and rebuilding, and the loss of the physical places where some of our memories live. A glitchy, stuttering production full of found sounds makes this track unique in the bands catalogue.

“(They’re all gone gone gone gone gone gone)
The height lines on my bedroom door
(They’re all gone gone gone gone gone gone)
My soldiers hiding under the floor”

Lights Out is another quality mid-tempo pop piece, and freshens the palette mid-way through the album.

Closer To The Sun is a late-night chillout track, with mesmerising percussion work, that mutates mid-song, featuring a solo from Joe Satriani as the arrangement becomes more progressive. Mix those genres Frost*! Which is something they do to even more dramatic effect on The Raging Against The Dying Of The Light Blues in 7/8, which starts off like a modern take on the blues genre before shape-shifting into a completely different beast as the song twists and changes.

The album ends with the short and sparse Last Day.

“Handprints in old concrete
Ghosts we leave behind”

Falling Satellive is the Falling Satellites album (minus opening track First Day) in a live performance with the same line-up as the studio album. The live version of Numbers gives off strong Synchronicity 1 (The Police) vibes. The album is a recording of the band’s gig at Dingwalls, London, in November 2017.

Shorn of a lot of the studio production effects, the songs work well live, with a heightened sense of energy and purpose. Lights Out and especially Closer To The Sun work well in a live environment. Be prepared for an interloper at the end of the final track, by the way. Don’t say I didn’t warn you.

The second live album, The Philadelphia Experiment, was recorded in 2009 and features a different line-up, including Dec Burke, Nick D’Virgilio and John Jowitt. It features one of the best humorous uses of intro music I have heard, and a solid set from the first two studio albums, including a live-looping Snowman and an electrifying Milliontown.

13 Winters features the first physical release for the Others EP from earlier in 2020. Featuring a stripped back line up of Jem Godfrey and drummers Craig Blundell / Andy Edwards, Clouda features wonderful harmonies and Exhibit A pushes the tempo to extremes.

Fathom is an orchestral piece, whilst Eat is a sample driven song, like Art of Noise on steroids. Drown pumps up the electronics and I look forward to hearing more songs that deviate from expectations from Frost* in the near future (a new album is being written and recorded at the moment).

The final disc is This And That – B-Sides And Rarities. Opening with one of the most ambitious Frost* songs, The Dividing Line is a 16 minute plus track that alternates between Goldfrapp-esque glamrock, quasi-classical / music-box breakdowns and some of the wildest riffage in the bands catalogue. The song is all over the place stylistically, it doesn’t follow the rules and shouldn’t really work, but the absolutely manic joy in the performance captures your attention and is a highlight of this set. The Dividing Line is certainly not for the faint-hearted!

British Wintertime is the strongest song on this disc and one of my favourite Frost* songs – a delicate, emotive goodbye. I never tire of this song, its one I often put on repeat. A beautiful, mesmerising piece of music.

There are four songs in demo form on this disc that offer a preview of how the finished studio tracks developed. The Towerblock demo is mostly found sounds, smashing and crashing over a skeletal arrangement. The demo of Closer To The Sun is interesting to hear, as it is even more electronic than the final version. A short demo take of Last Day is the final vocal track on the This And That – B-Sides And Rarities disc. The instrumental soundscapes of Hyperventilate Hypoventilate Paulstretch Test closes the collection, with its dreamlike waves of stretched sound.

Frost* 13 Winters is a quick and easy way to get hold of the band’s back catalogue, and the albums all sound better than they ever have (not that they originally sounded bad!). The set also includes an artbook containing images from the cover-art shots, an honest / self-critical interview with Jem Godfrey and album notes, including lyrics for the studio albums.


Buy Frost* 13 Winters on CD from Amazon

Buy from other retailers


As well as the limited physical release, the individual albums will be available digitally from the end of November 2020.

Disc 1 – Milliontown (2006) Remaster 2020

  1. Hyperventilate (Remaster 2020) 7:30
  2. No Me No You (Remaster 2020) 6:08
  3. Snowman (Remaster 2020) 3:54
  4. Black Light Machine (Remaster 2020) 10:08
  5. The Other Me (Remaster 2020) 4:48
  6. Milliontown (Remaster 2020) 26:09

Disc 2 – Experiments In Mass Appeal (2008) Remix/Remaster 2020

  1. Experiments In Mass Appeal (Remix/Remaster 2020) 7:54
  2. Welcome To Nowhere (Remix/Remaster 2020) 5:32
  3. Pocket Sun (Remix/Remaster 2020) 4:29
  4. Saline (Remix/Remaster 2020) 6:09
  5. Dear Dead Days (Remix/Remaster 2020) 6:50
  6. Falling Down (Remix/Remaster 2020) 5:50
  7. You/I (Remix/Remaster 2020) 1:05
  8. Toys (Remix/Remaster 2020) 3:05
  9. Wonderland (Remix/Remaster 2020) 5:54
  10. The Secret Song (Remix/Remaster 2020) 8:21

Disc 3 – Falling Satellites (2016) Remaster 2020

  1. First Day (Remaster 2020) 1:39
  2. Numbers (Remaster 2020) 4:21
  3. Towerblock (Remaster 2020) 6:13
  4. Signs (Remaster 2020) 6:35
  5. Lights Out (Remaster 2020) 3:51
  6. Heartstrings (Remaster 2020) 6:20
  7. Closer To The Sun (Remaster 2020) 7:20
  8. The Raging Against The Dying Of The Light Blues In 7/8 (Remaster 2020) 7:49
  9. Nice Day For It (Remaster 2020) 6:37
  10. Hypoventilate (Remaster 2020) 2:00
  11. Last Day (Remaster 2020) 3:25

Disc 4 – Falling Satellites – Instrumentals (2016) Remaster 2020

  1. First Day (Instrumental/Remaster 2020) 1:39
  2. Numbers (Instrumental/Remaster 2020) 4:21
  3. Towerblock (Instrumental/Remaster 2020) 6:13
  4. Signs (Instrumental/Remaster 2020) 6:35
  5. Lights Out (Instrumental/Remaster 2020) 3:51
  6. Heartstrings (Instrumental/Remaster 2020) 6:21
  7. Closer To The Sun (Instrumental/Remaster 2020) 7:20
  8. The Raging Against The Dying Of The Light Blues in 7/8 (Instrumental/Remaster 2020) 7:49
  9. Nice Day For It… (Instrumental/Remaster 2020) 6:37
  10. Hypoventilate (Instrumental/Remaster 2020) 2:00
  11. Last Day (Instrumental/Remaster 2020) 3:24

Disc 5 – Falling Satellive – Live 2017

  1. Numbers (Live at Dingwalls, London, 2017) 4:45
  2. Towerblock (Live at Dingwalls, London, 2017) 7:48
  3. Signs (Live at Dingwalls, London, 2017) 7:18
  4. Lights Out (Live at Dingwalls, London, 2017) 5:40
  5. Heartstrings (Live at Dingwalls, London, 2017) 6:02
  6. Closer To The Sun (Live at Dingwalls, London, 2017) 7:35
  7. The Raging Against The Dying Of The Light Blues In 7/8 (Live at Dingwalls, London, 2017) 7:49
  8. Nice Day For It… (Live at Dingwalls, London, 2017) 6:44
  9. Hypoventilate (Live at Dingwalls, London, 2017) 1:02
  10. Last Day (Live at Dingwalls, London, 2017) 3:45

Disc 6 – Others – EP

  1. Fathers 4:54
  2. Clouda 6:54
  3. Exhibit A 5:35
  4. Fathom 3:58
  5. Eat 4:39
  6. Drown 5:59

Disc 7 – The Philadelphia Experiment – Live 2009

  1. Intro (Live at The Keswick Theatre, Glenside, 2nd May 2009) 2:06
  2. Hyperventilate (Live at The Keswick Theatre, Glenside, 2nd May 2009) 5:55
  3. Wonderland (Live at The Keswick Theatre, Glenside, 2nd May 2009) 4:56
  4. Black Light Machine (Live at The Keswick Theatre, Glenside, 2nd May 2009) 10:29
  5. Snowman (Live at The Keswick Theatre, Glenside, 2nd May 2009) 6:18
  6. Saline (Live at The Keswick Theatre, Glenside, 2nd May 2009) 6:16
  7. Milliontown (Live at The Keswick Theatre, Glenside, 2nd May 2009) 25:58
  8. The Other Me (Live at The Keswick Theatre, Glenside, 2nd May 2009) 7:19

Disc 8 – This And That – B-Sides And Rarities

  1. The Dividing Line 16:50
  2. Lantern 3:45
  3. British Wintertime 6:29
  4. The Forget You Song 2:24
  5. Numbers (Day 1 Demo) 4:14
  6. Towerblock (Day 1 Demo) 3:01
  7. Heartstrings (Demo) 5:00
  8. Closer To The Sun (Demo) 7:16
  9. The Raging Against The Dying Of The Light In 7/8 (Day 1 Demo) 7:54
  10. Last Day (Demo) 2:48
  11. Hyperventilate Hypoventilate Paulstretch Test 8:53

Buy Frost* 13 Winters on CD from Amazon





Lunatic Soul – “Through Shaded Woods” album review

16 10 2020

Lunatic Soul release their new album Through Shaded Woods on KScope on 13 November 2020, on single CD, limited double CD and vinyl.

Lunatic Soul is the solo studio project of vocalist and multi-instrumentalist Mariusz Duda (Riverside). Album number seven Through Shaded Woods explores the darkness of Slavic and Scandinavian folk.

Previous Lunatic Soul albums have been very electronic affairs. Through Shaded Woods is a virtually electronic free zone, with more acoustic and electric guitars than previous releases and for the first time, Duda plays all the instruments.

Through Shaded Woods opens with the hypnotising and trancelike Navvie, an upbeat and rousing call to arms that conjures up “the souls of the dead” and along with several tracks on the album, signals a feeling of rebirth and positivity. Not a bad feeling in these strange times we are currently living through.

The second longest track on the album, The Passage, is one of the most rewarding tracks as you journey Through Shaded Woods. This is the darkest Duda gets on the album, with a piece that starts off relatively bright and sparse, working towards the razor-sharp dark metal riffs that propel the powerful middle section.

“I’m thinking out loud
passing former gods
turned into trees
am I in the real life
or am I in the realm of make-believe”

The riffs fall away quickly but the tempo remains high on one of the strongest tracks on the album.

The title track twists and turns, with light percussion underneath the trademark Lunatic Soul harmonies and a feeling of paranoia, amplified by the heavily processed lead vocal. Lycanthropy lingers in the dark forests of Duda’s lyric.

“eyes on every corner
shining in the dark”

As we hit the half-way mark, the mood of Through Shaded Woods lifts. Oblivion has a wonderful drum and guitar interplay, as melodies sneak in and out of the intriguing rhythm arrangement. Where previously synths would have laid the textures, on this album the same effect is offered by vocal layers.

Summoning Dance is the longest track, and as throughout the whole album, it offers up its secrets over repeated plays. The guitars give the main rhythmic thrust, underpinned by a simple kick pulse. I dare you to keep still whilst listening to Summoning Dance. The music hints at a simpler, more pagan and earth-connected time, and works so much better if you give your full attention and immerse yourself in the performance.

“so why do I feel
like I already failed”

Photo: Tomasz Pulsakowski

The Fountain features one of my favourite Mariusz Duda vocal performances. There is a real lightness of touch, and a lovely slightly rasping timbre that suits the aching melancholy of the song perfectly.

“stream of sounds
wash away the darkness from my soul”

Through Shaded Woods stands alone in the Lunatic Soul catalogue. It works so well as a complete body of work, as it flows with more consistency than previous albums. It has quickly seeped into my soul and is one of my favourite albums of 2020.

Navvie [04:03]
The Passage
[08:57]
Through Shaded Woods
[05:51]
Oblivion
[05:03]
Summoning Dance
[09:52]
The Fountain
[06:04]

Bonus tracks contained on disc 2 of the Limited Edition CD:

Vyraj [05:32]
Hylophobia
[03:20]
Transition II
[27:45]





Airbag – All Rights Removed & The Greatest Show on Earth limited edition vinyl re-issues

9 10 2020

Karisma Records are re-issuing Airbag’s All Rights Removed and The Greatest Show on Earth on November 20 2020 on limited edition vinyl, with both albums remastered for vinyl by White Willow / The Opium Cartel’s Jacob Holm-Lupo.

Airbag’s second album All Rights Removed was originally released in 2011. The 2020 remaster is released as a heavyweight double vinyl in gatefold cover, pressed on red vinyl.

The Norwegian band’s third album The Greatest Show on Earth was first released in 2013, and this 2020 heavyweight vinyl remaster is pressed on blue vinyl.

Jacob Holm-Lupo has offered a subtle and sympathetic remaster for vinyl. No brick-walling here – there is no real volume difference, just a little more punch and the synths really sparkle in this redux. This is the best these albums have ever sounded..

All Rights Removed sees the band shift their sound up a gear. The album opener is a heady mix of classic and progressive rock, with guitarist Bjørn Riis rising to the fore on most tracks.

White Walls is full of Dave Gilmour influenced guitar runs and textures, and is one of my favourite songs in the Norwegion band’s catalogue. Dim the lights and turn up the volume.

The mid-section bass, keyboard and guitar prelude before the song kicks back into full power is a joy to experience.

“Cos nothing ever stays the same…”

The tempo remains constant with The Bridge, before the space-rock of Never Coming Home (it reminds me of Signify era Porcupine Tree) leads into the atmospheric instrumental Light Them All Up.

The album closes with one of the band’s most popular tracks (in terms of 1 million Spotify streams) with the 17 and a half minute Homesick. The song is stunning and this is the best I have heard this masterpiece sound. Heading off into Tangerine Dream and Pink Floyd territory in the mid-section, this is a journey you really want to take.

The Greatest Show on Earth adds a slight metal element to the band’s palette, on top of their more atmospheric layered sound from previous releases.

Redemption is a slow-burning modern prog piece, with spurts of heavy, gasoline fuelled choruses. Silence Grows moves the intensity down a couple of notches, with a powerful song that would not have sounded out of place on David Gilmour’s On An Island album. The instrumental sections sound amazing thanks to the superb Jacob Holm-Lupo vinyl master.

The Greatest Show on Earth is an album built to be heard in one sitting, and so works best in the vinyl format, when you can give it your full attention, and not break into individual tracks on streaming platforms.

There is a great use of vocal harmonies, atmosphere and restraint to build the mood on the albums second longest track, Call Me Back.

Surveillance (part 2​-​3) is the 16 minute album closer. Taking some of the mood of Porcupine Tree’s Stars Die, Surveillance (part 2​-​3) is a story of isolation and moves from an emotive, quite traditional arrangement to something darker and more experimental as it progresses.

“No need for you to be here
The comfort of my TV screen is all that I need”

All Rights Removed & The Greatest Show on Earth are limited edition releases, so if you missed out on getting these wonderful modern progressive albums on vinyl a few years ago, now is your chance. Links to buy the albums on Burning Shed and Amazon are below.





1978 – The Year The UK Turned Day-Glo compilation review

24 08 2020

1978 – The Year The UK Turned Day-Glo is a new 3 CD set from Cherry Red, released on 28 August 2020.

The 79 tracks (from a marketing view-point, maybe there should have been 78 tracks!) cover the well-known punk and new wave hits from the year, along with lesser-known regional acts from Manchester, Scotland and Northern Ireland. The collection also includes an entertaining 48-page booklet that includes details on every track included in the compilation.

The first CD features some of the era’s big-hitters. Opening with Sham 69’s Borstal Breakout from January 1978, followed by one of the hardest-hitting singles by The Stranglers, 5 Minutes. The percussive Emergency by 999 is another highlight, as is the early Gary Numan release – Oh! Didn’t I Say by Tubeway Army.

Automatic Lover by The Vibrators fits in with the short-lived power pop movement of bands such as Tonight (Drummer Man) from the Spring of 1978. She’s So Modern by The Boomtown Rats reminds you what a powerful force the band were from 1978 to around 1981, with an amazing run of pop / new wave hit singles.

A pre-fame Japan offer Don’t Rain On My Parade and are a world away from the sound they settled on from Quiet Life in late 1979, that showcased their move from new wave guitars to something more sophisticated on the cusp of the 80s synth-pop explosion.

Concrete Jungle by The Coventry Automatics is an early track from the band that would soon become The Specials, with their mix of new wave and ska already starting to develop into the style they would use so successfully from 1979 onwards. The Only Ones Another Girl, Another Planet was unbelievably never a hit but is a classic single from this year, and sits well in this collection.

Magazine contribute the early single Touch And Go. Irish band Pretty Boy Floyd And The Gems Spread The Word Around is a song I missed at the time, but is worthy of inclusion here. The Steve Lillywhite produced When The Tanks Roll Over Poland Again by The Automatics has a great guitar sound and Jilted John’s only hit single (produced by Martin Hannett!) is one of the biggest selling tracks on this album.

The second CD opens with the track that gave the compilation it’s name, X-Ray Spex with The Day The World Turned Day-Glo, a song that has aged well. What a guitar sound! Up Against The Wall by the Tom Robinson Band is driven by a powerful guitar riff from the late, great Danny Kustow.

Tyne and Wear band The Carpettes (who I saw at least once in my local venue, Woolwich Tramshed) supply 2ne1, whilst the Midge Ure fronted Rich Kids offer the title track from their only studio album, Ghosts Of Princes In Towers, an album I still love.

Another couple of favourites sit on CD 2 – the John Foxx fronted Ultravox with Slow Motion and the Status Quo pastiche / Mike Oldfield mentioning Heads Down No Nonsense Mindless Boogie by Alberto Y Lost Trios Paranoias. I’ve still got a double 7″ vinyl of this single somewhere. I must dig it out.

The third and final disc opens with my favourite Public Image Ltd song, their debut single Public Image. Stiff Little Fingers 2nd single Alternative Ulster and Life’s A Gamble by Penetration are also highlights. Penetration’s Pauline Murray releases a new solo album in the Autumn.

Johnny Thunders full-length album version of You Can’t Put Your Arms Around A Memory is included here, although I prefer the short, stripped back Pete Wylie (Wah!) version, as part of the Hope (I Wish You’d Believe Me) single in 1983. The Saints Are Coming by the Skids features some of Stuart Adamson’s earliest incendiary guitar lines. Again, the compilers choose a deeper cut from one of the era’s biggest bands with In The Crowd from The Jam’s All Mod Cons album.

The punk-pop of Destination Venus by The Rezillos is a forgotten tune from this era. Flashing In The Subway by pub-rockers Tyla Gang comes from the more blues / Dr Feelgood side of new wave rock. RIP Sean Tyla. 10:15 Saturday Night by The Cure is a less obvious choice for this compilation, and so stands out amongst some of the more standard new wave blueprint tracks.

If you are a fan of punk and new wave and want to delve deeper than the hit singles, this Cherry Red compilation offers good value for money and is an entertaining collection from a vintage year for music.

Buy 1978 – The Year The UK Turned Day-Glo on Amazon

Disc One

Borstal Breakout – Sham 69
5 Minutes – The Stranglers
Emergency – 999
Don’t Tango On My Heart – The Doll
Oh! Didn’t I Say – Tubeway Army
Automatic Lover – The Vibrators
I’m A Boy – Cyanide
Bad In Bed – The Electric Chairs
Lost Lenore – Attrix
Stuck With You – Zones
Party Clothes – Subs
You’re A Disease – The Outcasts
She’s So Modern – The Boomtown Rats
I’m Civilised – Menace
Moonmidsummer – The Freshies
The Kids Are Alright – The Pleasers
Don’t Rain On My Parade – Japan
Concrete Jungle – The Coventry Automatics
Another Girl, Another Planet – The Only Ones
Touch And Go – Magazine
Spread The Word Around – Pretty Boy Floyd And The Gems
When The Tanks Roll Over Poland Again – The Automatics
Stella’s Got A Fella – Social Security
Chloroform – The Bleach Boys
Jilted John – Jilted John
Rat Up A Drainpipe – The Members
Glandular Angela – The Exits
Why Don’t You Do Me Right? – Alternative Tv

Disc Two

The Day The World Turned Day-Glo – X-Ray Spex
Up Against The Wall – Tom Robinson Band
Central Detention Centre – Gyro
Ain’t Got A Clue – The Lurkers
The Backstreet Boys – Patrik Fitzgerald
Nobody Loves You When You’re Old And Gay – Dead Fingers Talk
I Can’t Resist – The Reaction
I Can’t Wait – The Jolt
Kinnel Tommy – Ed Banger
Loving A Killer – The Stoat
A.C.A.B. – The Rowdies
Start All Over Again – No Sweat
I Believe – The V.I.P.S
2ne1 – The Carpettes
Ghosts Of Princes In Towers – Rich Kids
Kung Fu International – John Cooper Clarke
Ringing In The Streets – The Ripchords
Slow Motion – Ultravox
Love Is Blind – Nightshift
Rock’n’roll Ain’t Dead – The Questions
Cortina Cowboys – Blue Steam
Birmingham Reggie – The Others
Live In A Car – UK Subs
It’s Alright – The Turn
Teenage Vice – The Teardrops
Heads Down No Nonsense Mindless Boogie – Alberto Y Lost Trios Paranoias

Disc Three

Public Image – Public Image Ltd
Alternative Ulster – Stiff Little Fingers
Light At Your Window – The Detonators
Fibre – Spizzoil
Life’s A Gamble – Penetration
28/8/78 – Scritti Politti
Europeans – Europeans
Take The Cash (K.A.S.H.) – Wreckless Eric
You Can’t Put Your Arms Around A Memory – Johnny Thunders
The Saints Are Coming – Skids
It’s The New Thing – The Fall
Alphaville – The Monochrome Set
In The Crowd – The Jam
Starry Eyes – The Records
Weekend Girl – The Bozos
Destination Venus – The Rezillos
Flashing In The Subway – Tyla Gang
10:15 Saturday Night – The Cure
Larger Than Life – The Parrots
Wrong Street – Nicky & The Dots
New Town – The Vitamins
Love Song – Passage
What She Wants, She Needs – Eater
Never Met Suzi – Time Machine
White Christmas – Slush





Tim Bowness – Late Night Laments album review

7 07 2020

Tim Bowness releases his latest solo album, Late Night Laments, on Inside Out Music on August 28th 2020.

The album is available in a double-CD package version as well as on vinyl (including a limited edition blue vinyl from Burning Shed). Late Night Laments was co-produced by Bowness and Brian Hulse, mixed by Steven Wilson, with mastering by Calum Malcolm (The Blue Nile, Prefab Sprout). The album’s beautiful artwork is by Jarrod Gosling (I Monster/Regal Worm).

Late Night Laments is consistent in the mood and pace of the music, but is widely unpredictable lyrically – touching on generational divides, ideologically motivated violence, social exclusion, and a much-loved children’s author’s mental breakdown.

Opening with the most musically uplifting track, Northern Rain sets the scene for the rest of the album. Icy cold 80s synths and minimal percussion are the order of the day throughout. Northern Rain is a mix of The Blue Nile, topped up with the pop melancholy of Deacon Blue’s masterful Raintown (in part due to the backing vocals from Melanie Woods).

“the world we knew is dying,
and maybe that’s okay”

The temperature drops further for I’m Better Now, with dark lyrics and heavily processed Björk Vespertine era beats. A performance highlight on this track is the guitar work from Kavus Torabi, that sits atop the washes of chilling synths.

“two seconds of hate,
a lifetime of grieving –
I couldn’t wait to stick the knife in”

Darkline has a feel of no-man’s returning jesus, with the discordant angular arpeggios, and featuring some fine synth work from Richard Barbieri, who Tim worked with on the Flame album.

“I turn to rust as the planet burns”

We Caught The Light features Bowness on “several echoed ukuleles”, that underpin the song and add its initial rhythm. The double bass from Colin Edwin and drums from Evan Carson add a mid-70s feel, and the vocal arrangement is constantly evolving, especially on the end section, where Bowness is joined again by Kavus Torabi and Melanie Wood (Knifeworld).

The Hitman Who Missed contains one of the strongest arrangements on the album, from sparse bass and piano instrumentation to a more expansive middle section, that drops and re-builds at several points. Another song that harks back to earlier times, with some lovely vibraphone from Tom Atherton, who proves that there is room for the instrument beyond Left Bank Two (Take Hart).

Photo by Mark Wood

Credit must go to Tim’s main musical foil on this album. Brian Hulse adds keyboards, occasional guitar and some fascinating drum programming throughout Late Night Laments.

One of the most emotional tracks is one of the sparsest, with Never A Place. Bowness often writes songs that are built on repeating, decaying and evolving riffs, and this is a perfect example. The melodies grow from inbetween the slabs of heavily processed sequenced keyboards and noise, and deliver something unique and unexpected. A definite album highlight for me, and a track I find myself returning to often. And the vibraphone is back for this song too, another plus point for me.

The Last Getaway arrangement reminds me somewhat of a gentler exploration (than no-man’s soft shoulders from flowermouth) of Suzanne Vega’s experimentation on her 99.9F° album. This is the heartbreaking song that Tim describes as being about a much-loved children’s author.

“I hated how I’d feel,
so I struck the only deal.”

Hidden Life would not have sounded out of place on the first Bowness / Chilvers album. A cheap drum machine and just Bowness / Hulse, no guest contributors here.

A combination of the musical nods to The Associates (Breakfast) and the instrumentation / arrangement gives a real late night 80s feel as the album heads to its conclusion.

One Last Call is a perfect end to the album, and my favourite lyric and vocal performance on the album. The song is heart-wrenching, and is up there with Post-its, truenorth, Dancing For You and Nowhere Good To Go in the sad songs say so much category.

The mood reminds me a little of the delicate If Leaving Me Is Easy from Face Value. In fact, Phil Collins would have killed for this song back in the early 80s. The good news is, Tim does not have a paint pot on his piano, so all appears good in the house of Bowness.

“I thought that I was empty
and empty I’d remain”

One Last Call evokes the weightless feel of the early hours, and before you know it, the album abruptly ends, leaving you wanting more, so back to the beginning you go.

Photo by Mark Wood

Whilst this is musically a million miles away from Lost In The Ghost Light, Late Night Laments shares a musical cohesion that makes for a very rewarding and emotional listening experience, and the album holds a unique and satisfying position in the Bowness solo catalogue.

PRE-ORDER THE ALBUM

Buy the album on CD and vinyl (including an exclusive blue vinyl) from Burning Shed

Buy the Late Night Laments CD from Amazon

Late Night Laments (38:50)

  1. Northern Rain (4.49)
  2. I’m Better Now (3.52)
  3. Darkline (3.57)
  4. We Caught The Light (3.56)
  5. The Hitman Who Missed (3.21)
  6. Never A Place (4.41)
  7. The Last Getaway (4.55)
  8. Hidden Life (5.05)
  9. One Last Call (4.15)

Produced by Tim Bowness and Brian Hulse
Mixed by Steven Wilson
Mastered by Calum Malcolm

Northern Rain, Darkline, The Hitman Who Missed, Never A Place and The Last Getaway written by Tim Bowness and Brian Hulse

I’m Better Now, We Caught The Light and One Last Call, written by Tim Bowness

Hidden Life written by Tim Bowness, Brian Hulse and Pete Morgan

Tim Bowness – vocals / backing vocals / synths 2, 9 / samples 2, 9 / ukuleles 4 / fx 2, 6
Brian Hulse – synths / keyboards / guitars / programmed drums / backing vocals 4

with

Tom Atherton – vibraphone 1, 4, 5, 6, 9
Richard Barbieri – synths and synth solos 3, 7
Evan Carson – drums and percussion 1, 4
Colin Edwin – double bass 4, 5, 9
Alistair ‘The Curator’ Murphy – dianatron 5
Kavus Torabi – glissando guitar and guitar solo 2 / backing vocals 4
Melanie Woods – backing vocals 1, 2, 4

The bonus disc on the CD edition features five unreleased pieces, four from the Late Night Laments sessions and one – featuring Peter Hammill and Adam Holzman – a Flowers At The Scene outtake.

Cheerleaders For The Damned (extras)

The Other Side (4.11)
Beauty In Decay (3.43)
Beyond The Firing Line (4.19)
Cheerleader For The Damned (2.52)
War Games By The Sea (3.00)





News: Prince – Sign O’ The Times | Remastered & Expanded

25 06 2020

The Prince Estate is continuing to release his studio albums in expanded form, complete with material from his legendary Vault. Considered by many to be his masterpiece, Sign O’ The Times is being issued on vinyl and CD, remastered and overflowing with extras.

The super deluxe edition (8 CD and 1 DVD) includes all the audio material that Prince officially released in 1987, as well as 45 previously unreleased studio songs recorded between May 1979 and July 1987, and a complete live audio performance from the June 20 1987 show on the Sign O’ The Times Tour at Stadium Galgenwaard in Utrecht, The Netherlands.

Also included is a brand-new DVD containing the complete, previously unreleased New Year’s Eve benefit concert at Paisley Park on December 31 1987, which was Prince’s final performance of the Sign O’ The Times Tour stage show and his only on-stage collaboration with jazz legend Miles Davis.

Weighing in at a hefty price, this is a real collectors edition – and includes a 120-page hardcover book with previously unseen images and hand-written lyrics.

The super deluxe edition (like the 1999 super-deluxe) is likely to sell-out, and become a collectors item. If you are fan of Prince, the super deluxe is a treasure trove of unreleased music, plus one of the greatest albums of all time in remastered form. Dig deep, it will be worth it!

Pre-order the Super-Deluxe CD edition

Super Deluxe Edition 8 CD+ DVD Set

Remastered Album (CD 1)

Sign O’ The Times
Play In The Sunshine
Housequake
The Ballad Of Dorothy Parker
It
Starfish And Coffee
Slow Love
Hot Thing
Forever In My Life

Remastered Album (CD 2)

U Got The Look
If I Was Your Girlfriend
Strange Relationship
I Could Never Take The Place Of Your Man
The Cross
It’s Gonna Be A Beautiful Night
Adore

Single Mixes & Edits (CD 3)

Sign O’ The Times (7” single edit)
La, La, La, He, He, Hee (7” single edit)
La, La, La, He, He, Hee (Highly Explosive) (7” single edit)
If I Was Your Girlfriend (7” single edit)
Shockadelica (“If I Was Your Girlfriend” B-side)
Shockadelica (12” long version)
U Got the Look (Long Look) (12” edit)
Housequake (7” edit)
Housequake (7 Minutes MoQuake)
I Could Never Take The Place Of Your Man (Fade 7” edit)
Hot Thing (7” single edit)
Hot Thing (Extended Remix)
Hot Thing (Dub Version)

Vault, Part 1 (CD 4)

All tracks previously unreleased

I Could Never Take The Place Of Your Man (1979 version)
Teacher, Teacher (1985 version)
All My Dreams
Can I Play With U? (featuring Miles Davis)
Wonderful Day (original version)
Strange Relationship (original version)
Visions
The Ballad Of Dorothy Parker (with horns)
Witness 4 The Prosecution (version 1)
Power Fantastic (live in studio)
And That Says What?
Love And Sex
A Place In Heaven (Prince vocal)
Colors
Crystal Ball (7” mix)
Big Tall Wall (version 1)
Nevaeh Ni Ecalp A
In A Large Room With No Light

Vault, Part 2 (CD 5)

All tracks previously unreleased

Train
It Ain’t Over ‘Til The Fat Lady Sings
Eggplant (Prince vocal)
Everybody Want What They Don’t Got
Blanche
Soul Psychodelicide
The Ball
Adonis And Bathsheba
Forever In My Life (early vocal studio run-through)
Crucial (alternate lyrics)
The Cocoa Boys
When The Dawn Of The Morning Comes
Witness 4 The Prosecution (version 2)
It Be’s Like That Sometimes

Vault, Part 3 (CD 6)

All tracks previously unreleased

Emotional Pump
Rebirth Of The Flesh (with original outro)
Cosmic Day
Walkin’ In Glory
Wally
I Need A Man
Promise To Be True
Jealous Girl (version 2)
There’s Something I Like About Being Your Fool
Big Tall Wall (version 2)
A Place In Heaven (Lisa vocal)
Wonderful Day (12” mix)
Strange Relationship (1987 Shep Pettibone Club Mix)

Live In Utrecht (CD 7 & CD 8)

All tracks previously unreleased

Intro/Sign O’ The Times
Play In The Sunshine
Little Red Corvette
Housequake
Girls & Boys
Slow Love
Take The “A” Train/Pacemaker/I Could Never Take The Place Of Your Man
Hot Thing
Four (With Sheila E. Drum Solo)
If I Was Your Girlfriend
Let’s Go Crazy
When Doves Cry
Purple Rain
1999
Forever In My Life
Kiss
The Cross
It’s Gonna Be A Bea
utiful Night

Live At Paisley Park – December 31, 1987 (DVD)

All tracks previously unreleased

Sign O’ The Times
Play In The Sunshine
Little Red Corvette
Erotic City
Housequake
Slow Love
Do Me, Baby
Adore
I Could Never Take The Place Of Your Man
What’s Your Name Jam
Let’s Pretend We’re Married
Delirious
Jack U Off
Drum Solo
Twelve
Hot Thing
If I Was Your Girlfriend
Let’s Go Crazy
When Doves Cry
Purple Rain
1999
U Got The Look
It’s Gonna Be A Beautiful Night Medley (featuring Miles Davis)

Please note – video content is exclusive to the physical DVD and will not appear on digital download or streaming versions of the Super Deluxe Edition set.

Pre-order the 3 CD edition

Deluxe Edition 3 CD Set
Remastered Album + Single Mixes & Edits

Remastered Album (Disc 1)

Sign O’ The Times
Play In The Sunshine
Housequake
The Ballad Of Dorothy Parker
It
Starfish And Coffee
Slow Love
Hot Thing
Forever In My Life

Remastered Album (Disc 2)

U Got The Look
If I Was Your Girlfriend
Strange Relationship
I Could Never Take The Place Of Your Man
The Cross
It’s Gonna Be A Beautiful Night
Adore

Single Mixes & Edits (Disc 3)

Sign O’ The Times (7” single edit)
La, La, La, He, He, Hee (7” single edit)
La, La, La, He, He, Hee (Highly Explosive) (7” single edit)
If I Was Your Girlfriend (7” single edit)
Shockadelica (“If I Was Your Girlfriend” B-side)
Shockadelica (12” long version)
U Got the Look (Long Look) (12” edit)
Housequake (7” edit)
Housequake (7 Minutes MoQuake)
I Could Never Take The Place Of Your Man (Fade 7” edit)
Hot Thing (7” single edit)
Hot Thing (Extended Remix)
Hot Thing (Dub Version)








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