This is the most recent release in the line of Tones On Tail compilations that have emerged over the years, each of which have somehow or other managed to cast about in the rather slim collection of the band’s recorded material to draw from and repackage into something of appeal. This time out, the draw includes some previously unreleased versions which have been rooted out from the archives, some new sleevenotes from the ever accurate and illuminating Bauhaus archivist Andrew J Brooksbank, and detailed musician/instrument credits for each track (a first).
A vinyl only release in physical format, it wasn’t around for long and commands high figures on the second-hand market now, so if the unreleased versions sound tempting then your best bet is to take a look at one of the digital download vendors in the first instance.
Compilation albums from your favourite artists – do you like them, do you find them a waste of time? In many cases, where the proliferation of them becomes so vast that you can barely tell one from another (and I’m thinking, for example, of Gary Numan here, or Tears For Fears – damn it, Japan’s Hansa Records era has been well and truly milked over the years too with countless budget label compilations), you lose all track. For this post though, I’m going to look at a handful of David Sylvian compilation releases – and this really is the opposite end of the spectrum from the previous example. These are clearly very carefully curated and bring a lot to the table in what they offer by way of tracks not found elsewhere. ‘Everything and Nothing’ in particular I would consider to be a vital piece of the catalogue that has so much going for it.
‘Everything and Nothing’ (3CD digipak limited edition)
From 1982 onwards, David Sylvian’s solo and collaborative releases were released by Virgin Records and it seems only fair to say that he enjoyed a supportive relationship with the label. But by the year 2000, the deal was reaching its end and as Sylvian himself has acknowledged in interviews, he had his final chance to peruse the Virgin archives of his material from 1980 onwards – the results of that would inform the two compilations ‘Everything and Nothing’ (principally vocal material solo and in collaboration) and ‘Camphor’ (primarily instrumental material, again solo and in collaboration). Neither of these could by any means fit the ‘Greatest Hits’ compilation album template.
‘Everything and Nothing’ was available as a three disc limited edition initially and a standard two disc edition.
What is/was unique to this compilation?
In short, lots! Sylvian took advantage of this opportunity to rescue some tracks which been intended for the previous year’s ‘Dead Bees On A Cake’ album (and from earlier sessions too) but which had been left off due to being unfinished. If that gives off a hint of ‘leftovers’ of a second rate nature, let me just say that in ‘The Scent Of Magnolia’ and ‘Cover Me With Flowers’ we had top-drawer Sylvian material on offer – not to be missed. Elsewhere, several cuts were newly remixed from their original releases. Continue reading “David Sylvian compilations across the years – Part 1”
One of my all time favourite singles/EPs, this release just has so much going for it on many, levels. First off, the A side is a great song – and this somewhat meatier and beatier ‘rock’ arrangement is significantly different from the rhythm-machine-driven more minimal album version, by comparison. Secondly, the three extra tracks spread across the double-pack single are all top drawer Bill Nelson work and could equally have deserved a place on the contemporary ‘The Love That Whirls’ album, no question about it. Thirdly, that sleeve design – elegantly minimal, the early ’80s aesthetics that Bill exhibited were highly influential and this simple yet stylish choice of colourways was a winner.
Poring over the credits for both this single and the ‘The Love That Whirls’ album give some details away. On the single, the A side version of ‘Eros Arriving’ is credited as being produced by Chris Hughes and Bill Nelson and all instruments played by Bill Nelson with the exception of drums, played by Merrick. For the uninitiated, Chris Hughes and Merrick are on and the same person – Merrick the nom de plume of Chris Hughes as of one of the Adam and the Ants drummers of 1980-1981. And Chris Hughes more famously associated as producer and band member of Tears For Fears. Another name cropping up in those credits is Dave Bates, long-time A&R man at the Phonogram label and again a major crossover with Tears For Fears, having discovered and been long involved behind the scenes with them. Bates I believe was the A&R connection that go Bill Nelson on Mercury in 1981 and rescued ‘Quit Dreaming And Get On The Beam’ from its fate as the EMI-scrapped second Red Noise album. The Adam and the Ants connection doesn’t just stop with Chris Hughes/Merrick though – ‘Haunting In My Head’ features Bogdan Wiczling on drums, originally with the sadly neglected Fingerprintz, he would go on to join as drummer with Adam Ant in 1982 through 1985. Continue reading “Side-by-side: Bill Nelson ‘Eros Arriving’ UK 7″ and double-pack 7″ (Mercury WILL 4 / WILL 44, 1982)”
In a previous post we looked at the four track, promo-only Canadian ‘4 Cuts Deep’ cassette EP that was issued to help push Peter Murphy’s wonderful ‘Deep’ album from late 1989. This time out, while looking a little similar in passing, is the commercially release USA cassingle format for the ‘Cuts You Up’ single itself.
The last release by the short-lived The Sun And The Moon while they remained a working entity, ‘Alive: Not Dead’ is a wonderful four track EP that pointed in a positive direction for the quality of the band’s future work, only for that future to fail.