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Colourbox - The Singles (1982-1984)

Colourbox were a London-based (Edinburgh born) electronic outfit on the 4AD record label in the 1980s. They produced an electronically-based reggae and soul-influenced pop music, making remarkable use of the technology they had access to at the time. They released a number of records from 1982 until 1987. The band was formed by brothers Martyn Young and Steve Young, with guest singers until Lorita Grahame joined as a permanent member in 1983. The pressures of sudden success and the long running litigation caused by the use of samples ended up causing Colourbox to never record again.

 Colourbox - Breakdown (1982)

1. Breakdown

2. Tarantula

Colourbox - Say You (1984)

1. Say You (Extended)

2. Fast Dump

 Colourbox - Punch (1984)

1. Punch

2. Keep On Pushing

3. Shadows In The Room

The Cars - The Cars Unlocked (The Live Performances)(2006)

 

The CD is from a combination of 1984 and 1987 live-for-radio concerts (based on the sound and the setlist, along with the inclusion of both "Double Trouble" [1987 tour] and "Heartbeat City" [1984 tour]), fourteen songs, it's terrific. The Cars were always great musicians with interesting songs, but sometimes their studio albums were so polished that they could sound a bit sterile. This I feel was especially the case with the "Candy-O" album, which has many great songs, but after a while begins to sound almost as if a computer is performing rather than human beings. And while this live CD doesn't depart much from the studio versions, it's different enough, and being live - it's "raw" enough - to be very interesting and enjoyable. Again, the musicianship of the band is quite impressive, especially so given the circumstances of a live performance.
~www.amazon.com

 

01. Magic (Live)

02. Let's Go (Live)

03. Touch and Go (Live) 

04. Drive (Live) 

05. My Best Friend's Girl (Live) 

06. Tonight She Comes (Live) 

07. Moving In Stereo (Live)  

08. You Might Think (Live)  

09. Just What I Needed (Live)

10. Good Times Roll (Live) 

11. Hello Again (Live) 

12. Double Trouble (Live)

13. Nightspots (Live)  

14. Heartbeat City (Live)

 

Frank Tovey - The Fad Gadget Singles 79 - 85 (1986)

If you listen to Nine Inch Nails, Rammstein, Ministry, Orgy, or any other act in the electronic pop/industrial rock genre...then you HAVE to listen to Fad Gadget. Frank Tovey was doing things in 1982 that STILL sound innovative today. Electric drills, screams, collapsing new buildings, all wrapped around rock-solid songwriting. Fad Gadget is the most undeservingly forgotten act of the 1980s. Every track on the CD was re-recorded and re-mixed. Titles such as Back to Nature and Ricky's Hand hold their own with the newer stuff out there. This is what the darker side of electronic pop was like.
~www.amazon.com

01. Pedestrian
02. Coitus Interruptus
03. Lady Shave
04. Ricky's Hand

05. Back To Nature
06. Scapegoat
07. Life on the LIne
08. The Ring  
09. The Sheep Look up
10. Collapsing New People
11. Luxury

Ultravox - Vienna CD2 (Remastered Definitive Edition 2008)

Zapraszam do Wiednia na część drugą uczty z Ultravox...

Vienna CD2 2008 Digital Remaster

 1. Sleepwalk (Early Version)

2. Waiting

3. Face To Face (Recorded Live At St Albans 16/8/80)

4. King's Lead Hat (Recorded Live At The Lyceum 17/8/80)

5. Passionate Reply

6. Herr X

7. All Stood Still (12" Version)

8. Alles Klar

9. Keep Talking (Cassette Recording During Rehearsals)

10. Sleepwalk (Recorded Live In Rehearsals At The Lyceum 17/8/80)
 

Indochine - Unita (Best Of) (1996)

Unita: Le Best of Indochine collects various tracks from throughout the French new wave turned alt-rock band's career. Included are such cuts as "L'Aventurier" and "Des Fleurs pour Salinger," as well as a a live version of "3eme Sexe." Unita is a superb overview of Indochine's career for fans and newcomers alike. 

~ Matt Collar

1 Kissing My Song
2 L'Aventurier
3 Les Tzars
4 Nuits Par Semaine
5 Des Fleurs Pour Salinger   
6 La Chevauchée Des Chants De Blé
7 Kao Bang
8 Un Jour Dans Notre Vie
9 Un Grand Carnaval
10 Le Baiser
11 Tes Yeux Noirs
12 La Machine A Rattrapper Le Temps
13 Canary Bay
14 Punishment Park
15 Savoure Le Rouge
16 3eme Sexe (Live)
17 Dizzidence Politik
18 La Buddha Affaire

Cause & Effect - Cause & Effect [Deluxe] (1990)

Cause & Effect were formed in Sacramento, California, consisting of founding members vocalist/guitarist Rob Rowe and keyboardist Sean Rowley. They originally released their debut in 1990 as a self-titled album on minor label Exile Records. C&E was subsequently picked up by BMG Music subsidiary, Zoo Entertainment, and a reworked version of their album was released in 1991 as Another Minute.

The re-released album spawned two top-ten dance singles, "What Do You See?" (number 8, Billboard Hot Dance Club Play) and "You Think You Know Her" (number 9, Billboard Hot Dance Club Play). "You Think You Know Her" also peaked at number 38 on the Billboard Hot 100 singles chart, becoming C&E's most well-known song. The title track "Another Minute" was released as the third single and peaked at number 75 on the Hot 100 singles chart and number 31 on the Hot Dance Club Play chart.
~http://www.answers.com/

1  The Echoing Green
2  Another Minute    
3  Something New    
4  What Do You See    
5  Farewell To Arms    
6  You Think You Know Her
7  New World
8  Nothing Comes To Mind    
9  The Beginning Of The End    
10  What Do You See (Arabian House Mix)
11  Echoing Green (Sean's Remix)
12  Figment Of Fashion
13  Unholy Day

Darkroom - A Test Of Time (1985)

The band formed in Edmonton, Alberta Canada in the early 80′s and was made up of Jim Gray (vocals), Jeff Schmidt (bass), Tim Palmar (drums), Alan Marks (guitar), and Wolf Radke (guitar, keyboards). Before the band eventually broke up in 1989, they released two full-length LPs, San Paku and A Test of Time.
Jim Gray also played a vampire in the mid-80′s TV series “The Little Vampire,” launching an acting career that would see him into the 90′s in front of the camera, then behind the scenes as a Hollywood set designer.

~http://rave-and-roll.com

1   In A Dream 

2   Test Of Time 

3   Don't Play With Breaking Hearts 

4   Put Away Your Toys 

5   The Wall's Too High
6   Broken English 

7   Lions Made Of Stone 

8   Fixing Pieces
9   Temptation 

Heaven 17 - Endless (1986)

Kolekcja 11-stu singli w wydłużonych wersjach zespołu Heaven 17 to dobry początek na zapoznanie się z ich muzyką dla tych wszystkich, którzy nie mieli do tej pory okazji posłuchać tego trio.

Taking their name from a fictional pop group mentioned in Anthony Burgess's novel, A Clockwork Orange, (where 'The Heaven Seventeen' are at number 4 in the charts with "Inside"), Heaven 17 formed when Ian Craig Marsh and Martyn Ware split from their earlier group, The Human League, and formed the production company British Electric Foundation (BEF).

Heaven 17 were always more than just another 80`s pop band. this Sheffield trio always had the fingers firmly placed on the new world of electronic dance music. This album acts not only as a greatist hits package but it`s non-stop mix of up-tempo tracks clearly shows the influence Heaven 17 had on many of the dance icons that would follow in the years to come. All the H17 hilights are here from the chart storming Temptation to the political and challenging Let`s all build a bomb (here in it`s remixed form).

 

1 Heaven 17 Megamix     
2 We Live So Fast
3 Penthouse & Pavement    
4 Let Me Go    
5 Temptation
6  Who'll Stop The Rain
7 (We Don't Need This) Fascist Groove Thang
8  Let's All Make A Bomb (New Version)
9 Counterforce
10 Crushed By The Wheels Of Industry
11 And That's No Lie
12  Sunset Now

Spear of Destiny - Outland (1987)

Outland is the fourth studio album by Spear of Destiny, released in 1987. It included the hit single "Never Take Me Alive" which reached no.14 in the UK singles charts in 1987 - Spear of Destiny's only Top 20 hit in the UK. Three other singles were released from the album, namely "Strangers In Our Town", "Was That You?" and "The Traveller", all making the UK Top 50.

1 Outlands   
2 Land Of Shame   
3 The Traveller
4 Was That You?
5 Strangers In Our Town
6 The Whole World's Waiting   
7 Tonight   
8 Miami Vice   
9 Never Take Me Alive
10 Time Of Our Lives (Original Version)
11 Pumpkin Man
12 Embassy Song
13 The Man That Never Was
14 Jack Straw

Pete Shelley - Homosapien (1981) (CD2006)

Homosapien was Buzzcocks frontman Pete Shelley's 1981 debut solo album, the title-track of which was released as a UK single the same year. The single was banned by the BBC, but was nevertheless a hit in several countries.

The album began as a collection of studio demos recorded by Shelley (and produced by Martin Rushent) for the next Buzzcocks' album. In the process, Shelley and Rushent grew enormously fond of the sound they had created in the studio, which featured an interesting blend of drum machines, synthesizers and sequencers coupled with guitars. Shelley, weary of the Buzzcocks' financial state, decided to leave the band after Island Records' Andrew Lauder offered him a solo record deal based on the demos.

Released at the start of the home computer boom, the album cover featured Shelley in a stylised 'office' leaning on a Commodore PET computer.

As was typical in the era, Homosapien had a different track listing in the United States, with three songs being excised and three single b-sides being added in their place.

In 1997, Razor & Tie Entertainment reissued the US version on CD with five bonus tracks taken from Shelley's follow-up album, XL1. In 2006, the original UK version was reissued on CD by Varep Records. It includes all the songs from the US version as bonus tracks, as well as two other b-side "dub" mixes.
~ wiki/Pete_Shelley

1 Homosapien
2 Yesterday's Not Here
3 I Generate A Feeling
4 Keats Song  
5 Qu'est-Ce Que C'est Que Ca?
6 I Don't Know What It Is
7 Guess I Must Have Been In Love With Myself  
8 Pusher Man
9 Just One Of Those Affairs
10 It's Hard Enough Knowing   

+ bonus tracks
11 Witness The Change
12 Maxine
13 In Love With Somebody Else
14 Homosapien (Dub)  
15 Witness The Change / I Don't Know What Love Is
16 Love In Vain

New Musik - Warp (1982) (CD2002)

 

Like Kraftwerk, New Musik were techno-pop pioneers; Warp is essentially Kraftwerk's futuristic dance music without the German accents and the icy hooks. If the tracks on Warp sound familiar, it's probably because the album's chilly keyboards and mechanical percussion helped to form the blueprint for '80s synth acts such as I Start Counting and Depeche Mode and the electronica artists that followed in the '90s like the Crystal Method and the Prodigy. That doesn't mean they're entirely original. "Here Come the People" opens up with funky riffs prevalent among club-oriented new wave bands from the early '80s; its robotic, monotonous vocals are snagged from Kraftwerk. Tony Mansfield (vocals, keyboards, guitars) has a thin voice that sometimes recalls Tim Finn of Split Enz. Unfortunately, Mansfield sings without emotion and his often cryptic lyrics are repetitive and uninvolving. If songs such as "Kingdoms for Horses" or "The New Evolutionist (Example 'A')" are actually about anything, a casual listener wouldn't be able to solve the puzzle. However, "A Train on Twisted Tracks," "I Repeat," and "The Planet Doesn't Mind" don't need comprehensible lyrics; they may not have much heart, but it can be fun listening to the lads play with their high-tech gadgets. [Originally released in 1982, Warp was reissued with bonus tracks in 2001.] ~ Michael Sutton




2002 Japanese reissue of 1982 album. Includes 5 bonus tracks for Japan, 'The Planet Doesn't Mind' (single version & 12 inch version), '24 Hours From Culture-Part II', 'Twelfth House' & 'Here Comes The People' (remix).
~www.cduniverse.com

1. Here Come the People
2. Going Round Again
3. A Train on Twisted Tracks
4. I Repeat
5. All You Need Is Love (New Musik)
6. All You Need Is Love (Beatles)
7. Kingdoms for Horses
8. Hunting
9. The New Evolutionist (Example 'A')
10. Green and Red (Respectively)
11. The Planet Doesn't Mind
12. Warp

+bonus tracks Japanese CD
13. The Planet Doesn't Mind (7" version)
14. The Planet Doesn't Mind (12" version)
15. 24 Hours from Culture - Part II
16. Twelfth House
17. Here Come the People (Remix)

Fra Lippo Lippi - The Best Of (2005)

The Best Of Fra Lippo Lippi includes tracks from Songs, Light And Shade, The Colour Album and Dreams in addition to one live track and a new track recorded in 1994 and not available elsewhere. For contractual reasons some of the songs have been re-recorded, but the original recording of 'Angel' is included, complete with Walter Becker's guitar playing.

1 Shouldn't Have to Be Like That  3:50
2 Angel 5:11
3 Love Is a Lonely Harbour 4:50
4 Light and Shade 5:22
5 Naive 4:25
6 Beauty and Madness 4:41
7 Everybody Everywhere 3:51
8 Crazy Wisdom 5:56
9 Everytime I See You 5:11
10 Even Tall Trees Bend 4:13
11 Coming Home 4:19
12 Thief in Paradise 3:33
13 Leaving 3:51
14 Mother's Little Soldier 4:09
15 Dreams 5:15

VA - WESTSIDE Best Of (2004)

WESTSIDE MUSIC to wytwórnia muzyczna, którą założyli w 1984 dwaj panowie: Achim Völker oraz Horst Vay. Od początku byli zainteresowani nowymi trendami w muzyce elektronicznej/syntezatorowej. Lista wykonawców z ich płyt obejmuje min.:
AXODRY
CAMOUFLAGE
CELEBRATE THE NUN
MCL (MICROCHIPLEAGUE)
MOSKWA TV
~http://www.thesecondfuture.net

The Sisters Of Mercy - Temple Of Love (cover versions)

Oryginalnie utwór Temple Of Love wydany został w październiku 1983 roku na 7'' oraz 12'' singlu. Wersja maxi-singlowa trafiła na drugie miejsce listy niezależnych wydawnictw, a w większości muzycznych magazynów pojawiły się bardzo przychylne recenzje.

Życie jest krótkie, a miłość kończy się o świcie...

With the fire from the fireworks up above me
With a gun for a lover and a shot for the pain at hand
You run for cover in the temple of love
You run for another but still the same
For the wind will blow my name across this land

In the temple of love you hide together
Believing pain and fear outside
But someone near you rides the weather
And the tears he cried will rain on walls
As wide as lovers eyes

In the temple of love: Shine like thunder
In the temple of love: Cry like rain
In the temple of love: Hear my calling
In the temple of love: Hear my name

And the devil in black dress watches over
My guardian angel walks away
Life is short and love is always over in the morning
Black wind come carry me far away

With the sunlight died and night above me
With a gun for a lover and a shot for the pain inside

You run for cover in the temple of love
You run for another it's all the same
For the wind will blow and throw your walls aside
With the fire from the fireworks up above
With a gun for a lover and a shot for the pain

You run for cover in the temple of love
I shine like thunder cry like rain
And the temple grows old and strong
But the wind blows longer cold and long
And the temple of love will fall before
This black wind calls my name to you no more



In the black sky thunder sweeping
Underground and over water
Sounds of crying weeping will not save
Your faith for bricks and dreams for mortar
All your prayers must seem as nothing
Ninety-six below the wave
When stone is dust and only air remains

In the temple of love: Shine like thunder
In the temple of love: Cry like rain
In the temple of love: Hear the calling
And the temple of love is falling
Down

In the temple of love: Shine like thunder
In the temple of love: Cry like rain
In the temple of love: Hear my calling
In the temple of love: Hear my name

In the black sky thunder sweeping
Underground and over water
Sounds of crying weeping will not save
Your faith for bricks and dreams for mortar
All your prayers must seem as nothing
Ninety-six below the wave
When stone is dust and only air remains
the only haven you can trust

And the devil in black dress watches over
My guardian angel walks away
Life is short and love is always over in the morning
Black wind come carry me far away

With the fire from the fireworks up above
With a gun for a lover and a shot for the pain you

You run for cover in the temple of love
I shine like thunder cry like rain
And the temple of love grows old and strong
But the wind blows longer cold and long
And the temple of love will fall before
This black wind calls my name to you no more

In the temple of love you hide together
Believing pain and fear outside
But someone near you rides the weather
And the tears he cried will rain on walls
As wide as lovers eyes

In the temple of love: Shine like thunder
In the temple of love: Cry like rain
In the temple of love: Hear the calling
And the temple of love is falling
Down

1. Aion - Temple Of Love (3:49)
2. Crematory - Temple Of Love (4:45)
3. Deadlock - Temple Of Love (3:06)
4. Desire - Temple Of Love (6:23)
5. Die My Darling - Temple Of Love (7:19)
6. Endless - Temple Of Love (4:15)
7. Technova - Temple Of Love (4:42)
8. The Man With 2 Faces - Temple Of Love (2:28)
9. The Sisters Of Mercy - Temple Of Love (Extended Version) (7:38)
10. The Sisters Of Mercy - Temple Of Love (Techno Mix) (7:52)
11. The Sisters Of Mercy - Temple Of Love (Touched By The Hand Of Ofra Haza) (8:07)
   

VA - Best Beats From WESTSIDE (1986)

WESTSIDE MUSIC to wytwórnia muzyczna, którą założyli w 1984 dwaj panowie: Achim Völker oraz Horst Vay. Od początku byli zainteresowani nowymi trendami w muzyce elektronicznej/syntezatorowej. 

Lista wykonawców z ich płyt obejmuje min.:

AXODRY

CAMOUFLAGE

CELEBRATE THE NUN

MCL (MICROCHIPLEAGUE)

MOSKWA TV

~http://www.thesecondfuture.net

 

Berlin - Dancing In Berlin (1987)

Berlin - amerykańska grupa muzyczna z nurtu new wave, której liderem oraz wokalistką jest Terri Nunn. Zespół został założony w 1979 roku.

Ich pierwszym znaczącym hitem była kontrowersyjna piosenka "Sex (I'm A...)" (1982), której emisji zakazały niektóre amerykańskie stacje radiowe. Lecz prawdziwą sławę przyniosła zespołowi nastrojowa piosenka "Take My Breath Away", która pochodzi z filmu Top Gun (1986). Za tę piosenkę grupa zdobyła Oscara 1986 za najlepszą piosenkę. Singel z tą piosenką (1986) jest do dziś najlepiej sprzedającym się singlem zespołu, a sama piosenka stała się ogromnym międzynarodowym przebojem. Poza tym zespół wylansował dwa duże hity: "The Metro" i "No More Words".

1. Masquerade - Extended Version

2. Like Flames - Extended Version

3. Sex (I'm a...) - Long Version

4. Dancing In Berlin - Dance Re-Mix

5. You Don't Know - Extended Re-Mix

6. The Metro - Re-Mix

7. No More Words - Dance Re-Mix
  

JOHN FOXX & MOTOR interview

MOTOR: ‘On 'Metamatic' you famously used the CR-78 drum machine. Do you think the album benefited from the exclusive use of one drum machine?’

JOHN FOXX: ‘Oh yes –you got a real sonic identity right away – just plug the drummer in and off you go. There was a lot of bunk mythology about drums in those days – bands routinely spent days getting a drum sound in studios. Used to drive me nuts.

The CR78 was so brilliant, you could get down to the serious business of sound mashing right away – plus you could put it through lots of those little effects boxes that conventional engineers sneered at. They read technical specs and had forgotten how to listen. But all the high spec boxes were crap. Far too polite.  It was the wee cheap ones with the nasty sounds that were truly revolutionary.

At the time, the CR78 also seemed such a little box that no one took it seriously. It was intended for cabaret work  - so you didn’t have to pay a drummer and carry a kit around. Not meant for anything significant.

Drums, on the other hand, were very serious - complex and heavy, with a big skilled guy to hit them hard, loads of mystique - specialist microphones all at different angles and mounted on specific stands– it had all become a daft set of studio conventions. Like getting married is now - you get coerced into spending twenty grand and giving all your friends and family a two-week holiday. Totally unnecessary.

I remember thinking my way clear of it all by using something I learnt in art school – the concept of relative scale. If you allow a thing enough space, it can be as big as you like. So I gave the CR78 all the drum space on the record. That gave it room to expand into a proper presence, rather than being a wee add-on, and it also made Metamatic sound very different from anything else around at the time.

Another quirky thing about that machine - it was a very unhip, non-dancing but capable Japanese programmer’s idea of western rhythms, from a cabaret/ lounge point of view - with fundamentally inaccurate waltz, samba, bossa nova, disco and rock thrown in. Pretty wild. You couldn’t fail to get something challenging out of that.’

MOTOR: ‘Do you think it’s an advantage or disadvantage for electronic musicians today have an overwhelming amount of soft and hardware instruments available to them?’

JOHN FOXX: ‘Another valuable thing I learnt in art school is that limitations can be a positive advantage. If you can do absolutely anything, then your work will most likely be a mess.

Operating from self imposed strictures breeds a certain elegance that people  seem to instinctively recognize.  I guess it’s a relief from the real world, which is a jumble of incoming incoherence.

Compare walking into a minimalist room to a teenage bedroom. Or try putting all your favorite food onto one plate - it doesn’t make a good meal.’

MOTOR: ‘Many of electronic producers today are less musically trained, but much more computer savvy than say the 80's. Everything today fits neatly into genres. These genres become big and then die in the space of a few years. Do you think the lack of human soul and musicality on much of the new electronic/dance music contributes to its short lifespan?’

JOHN FOXX: ‘Things haven’t changed much. I clearly remember a period in the 1960’s when there was a new dance every week –the Watusi, the Frug, the Twist, the Hitchhiker etc – and a new single to go with it  - we don’t remember most of em at all.

I think there is room for both long and short-term stuff - Like the difference between newspapers, magazines and novels – all reading matter, but each aiming at different kinds of longevity or immediacy.

Musicality is vital - but not conventional musicality which is built on observing conventions that can efficiently disable you from engaging with anything truly new.

As for Soul – I think that might mean an ability to make what you have available transmit what you want to communicate.’

MOTOR: ‘How do you feel about soft synths - do you think they capture the original synths they aim to emulate? I was always a big fan of the Pro One and the Arp 2600 for example, but I rarely incorporate them in my songs because of the pain of controlling them and recalling sounds/presets. Sampling these synths creates loop based music, but loses the fluidity of the original synths.’

JOHN FOXX: ‘Yes it’s interesting. You can’t shift a sample too much, and softies are useful up to a point but they are too nice to get really rough. If you want something truly mucky and disobedient, then get an old analogue machine. It’s back to that careful engineering and technical spec stuff - the bad behaviour gets ironed out – but that’s what you really want. That’s the whole point. The sound always has to feel bigger than its medium, otherwise it will seem too feeble and passive.

Pushing the envelope is utterly vital to any useful kind of music. Otherwise it just lies down contentedly on the sofa and gets fat on Cowell.’

MOTOR: ‘If you were to record 'Metamatic' today, would you still use the same instruments?’

JOHN FOXX: ‘Well, I guess I wouldn’t record Metamatic today – Then I was trying hard to write about what I was living through, while everyone else seemed to be trying to make the ultimate punk or prog or pop record.

I found it wasn’t easy writing about the present, because of course its always unrecognized at the time. But give it ten years or so and everyone begins to go “oh yea – now I get it”. 

It’s the driving forward using the rear view mirror syndrome - that’s what humans do. We’re going forward in time but can’t see ahead at all. All its possible to see is the past. So we don’t recognize the future until it’s gone. Then we know what it was. By then, of course, we’re into another unrecognized present. Hilarious, makes you wonder how we ever got out of the swamp.

I guess Metamatic is getting recognized now, because we have that particular past finally in view for the first time. Took about thirty years and I don’t have enough lifespan to do it all again. It’ll have to be the Watusi next.’

  

+1 - Young Europeans (1985)

    
+1 is a swedish 80s synthpop band made up of Ulf Alvedahl (aka Hull Alvvalley), Thomas Larsson, Thoth, Caj Ehrling and Magnus Wahl (aka Bonk Wahl).

They had three hit songs on the Swedish Trackslistan charts in ‘85-‘86.
The band released one album called Young Europeans in 1985 and the singles (I Don’t Want To Be Left Alone) Tonight, Nevermore (with varied mixes and b-sides) and Young Europeans (7”).

1 - (I Don't Want To Be Left Alone) Tonight 

2 - Peace Army (Long Version) 

3 - Indian Shadows 

4 - Thousand Reasons 

5 - (I Don't Want To Be Left Alone) Tonight (Maxi Cut) 

6 - Young Europeans 

7 - Nevermore 

8 - P.I. 

9 - Arabian Princess 

10 - Peace Army (Short Version) 

11 - Soldier 

   

Sad Lovers & Giants - La Dolce Vita (Live in Lausanne) (1999)

Zespół Sad Lovers and Giants gościł już wcześniej na łamach bloga:
sad-lovers-giants-epic-garden-music
sad-lovers-giants-melting-in-fullness
sad-lovers-giants-feeding-flame
dzisiaj proponuję w uzupełnieniu płytę z trasy koncertowej z roku 1988.

1 Close To The Sea

2 In Flux

3 Alaska

4 Cowboys

5 Like Thieves

6 Sleep

7 Echoplay

8 One Man's Hell

9 Imagination

10 Colourless Dream

11 Return To Clocktower Lodge

12 Clint