Record Review: Gleaming Spires “Welcoming A New Ice Age” US DLX RM CD

Live Spires, L-R: David Kendrick, Bob Haag, Jimbo Goodwin, Les Bohem © Bonnie Parkinson

By 1985, when album number three came around, Gleaming Spires had pretty much gone through the full Sparks band cycle, and the brothers were gravitating back to a self-contained unit with occasional help from Mr. Kendrick. This freed up time to put back into Gleaming Spires for a change. The end of the line came with Posh Boy/PVC and the band self-financed their third album; licensing it to Tabb Records, a recent L.A. indie label. Other changes were behind the boards, where Stephen Hague had begun his big time production career taking him to the UK and Greg Penny, who was drafted to produce the earlier “Party EP” followed through with the full length album. Penny ran with the brief, never flinching at the musical hall of mirrors that the band were planning on dragging him into.

gleaming spires - welcoming a new ice age cover art
Omnivore Recordings | US | CD | 2021 | OV-446

Gleaming Spires: Welcoming A New Ice Age DLX RM – US – CD [2021]

  1. Mercy
  2. Welcoming A New Ice Age
  3. Tearaway
  4. No One Coming Over
  5. Your Secret Room
  6. Bigger Than Life
  7. Things I Have Done To Our Love
  8. Blowing Up My Life
  9. What’s Coming Next
  10. Unprotected
  11. Harm
  12. Here Comes Mr. Funhog
  13. Dedication
  14. I Want More
  15. A Boy And A Girl
  16. Suspicious Minds
  17. It’s All Right Ma, I’m Only Bleeding – Eleven Blue Men
  18. Crumbling – Eleven Blue Men
  19. That’s It, Forget It

Maybe it was the times, but “Mercy” sounded that w new optimism was being allowed a showing in the band’s music. Having had their heads turned by the likes of Big Country enlivening the Pop charts, the band were now striving for some of their “big music” mojo for their own. Singer Les Bohem also adopted a new singing style for the album with a new prominence for vibrato. Fortunately not to excess. This pointed to the possibility for a new dignity for the formerly beleaguered band, as we may hear below.

But they didn’t abandon all of their founding principles. The title tracks still dealt in anthemic sounds, but with a more typical Spires lyric playing against the music. They embraced a frozen doomsday scenario that could have been straight out of J.G. Ballard, or more keenly, a writer I’d not heard of before… Anna Kavan [“Ice”]. Meanwhile, it was apparent that guitarist Bob Haag was interested in pursuing a Roger McGuinn tone in his playing. And the end result burst with vitality in dramatic contrast to the lyrical evocations of a frozen hell.

America it’s 1985… do you know where your mid tempo ballads are? “Tearaway” did its best to answer that rhetorical question. The delicate song featured synth bass that got within a hair’s breadth of delivering a fretless vibe, coupled with a genuinely pretty melody, but lyrically, the band were up to their old tricks. The a cappella break at the start of the coda functioned as a genuine show stopper for Bohem’s dignified singing. It takes a special band to traffic in mid-tempo ballads that I can actively enjoy, but they are out there, and Gleaming Spires are such a band.

Bold, Byrds-like chords from Bob Haag grabbed my ears right from the start of “No One Coming Over.” Mr. Bohem broke down any false hopes remaining to prop up one’s persona in the face of an indifferent universe that had other ideas. He lyrically invoked Jagger, Bowie, and Ferry to deconstruct any childish fantasies of approval that the listener might still be clinging to. Which the descending cold ending made painfully clear.

As if to reassure us that they had not forgotten their first stab at Country Music in 1978, “Your Secret Room” managed to return to the genre with new vigor. The backing vocals, from The Passionettes, were hitting a bittersweet spot and the violin patch that Jimbo Goodwin relied on for a little Nashville ambience were straight out of what used to be the Country Music playbook. Which is why I was astonished when what I first imagined to be a melodica solo was actually bagpipes, as played by Campbell Naismith for the song’s fascinating coda. It was obvious that the band were not just paying obeisance to the Big Music trend. More than ever, their eclecticism carried them wherever the songs required.

bigger than life poster

“Bigger Than Life” was a snappy Motown pastiche complete with a real horn section to give it that bounce and for a rare outing, the lyrics were actually bursting with an optimism as arbitrary limitations we self impose were cast off for dynamic growth. At least they seemed to. In actuality, the song was based on a film I’ve not heard of, Nicholas Ray’s “Bigger Then Life.” [1956] In it mild mannered schoolteacher James Mason has a fatal disease possibly treatable by experimental cortisone therapy, which leave the man psychotic. Stuck in a double bind where the drug may make him insane, yet without it, he would surely die. So yes, this song was actually another one of the iron fists in a velvet glove that Gleaming Spires delivered like few others! The vibe of the song fit right into the zeitgeist around 1985 that saw The Undertones pursuing much the same sound on their album “The Sin Of Pride.”

More extroversion was provided by “The Things I Have Done To Our Love.” That one burst out of the starting block sounding for all the world like the target that The Smithereens would be aiming for their entire career, which had yet to happen in 1985. It swung like hell, with a thunderous, snarling menace of real Rock power. It really gave the embittered lyrics a perfect, contemptuous setting in which to glower.

The bass and organ led on the second Country Music song the album offered. But can you think of any Country song with a metaphor as violent and final as “Blowing Up My Life?” The sweetly arranged backing vocals added another layer of irony to it all.

The stylistic wheel spun yet again for the thrill-packed rocker “What’s Coming Next,” which reminded me of late period Jam. Every few bars it sounded like the EQ on Bohem’s vocals was tweaked to provide yet another perspective. It was packed with jarring blasts of horns that didn’t add soul, only menace. The lyrics here were a litany of incredulity at the ceaseless peril permeating everything, everywhere. In other words, it was a perfect song for our times! The abrupt cold ending was strong enough to cause whiplash.

Through the repetition and constant stress

When general worries turn to specific dreads

You’re more prepared yet you feel it less

What’s coming next?

“What’s Coming Next”

Les Bohem admitted in the liner notes that “Unprotected” was his stab at writing a classic Roy Orbison ballad that can only be said to have thoroughly hit that bulls-eye perfectly. The high melodrama of the arrangement with the droning synth bass against the bass drum and finger snaps were certainly arresting. When the tattoos of snare drums finally arrived, it certainly added an elegiac finality to it all. It’s a crying shame that this one didn’t make the cut for “Mystery Girl” as it’s more than good enough for that disc.

Gleaming Spires buy fireworks
Happy times on the road buying small explosives… what could go wrong?

None of the preceding songs… indeed, none of the band’s preceding career, could have prepared us for the last song on the last Gleaming Spires album. “Harm” certainly came by its title honestly. To begin with, it sported an unnerving varispeed backing vocal loop that was designed to provoke anxiety. Tribal drumming and Arabic synth lines didn’t coalesce as much as congeal into a semblance of a song. Then Les Bohem appeared, apparently singing the melody of an entirely unrelated song. It was a profound a disconnect as with Velvet Underground’s “The Murder Mystery.” Then the chorus appeared out of nowhere and the song tightened into Pop for a few bars. Then the punishment continued with Jonathan Gold’s frayed nerve cellos to maximize our anxiety. Then the song bore down on the listener like a runaway train, with Kendrick’s drums adding further body blows to the already harsh music. Ending after 5:30 like an act of mercy.


The next salvo of songs couldn’t have been more different. The band got the commission to write and perform songs in the teensploitation movie “School Spirit” and the next five songs constitute its unreleased soundtrack. The band also had their own “Rollercoaster” moment as they performed three songs in the threadbare movie to pad its running time to the federally mandated 90 minutes for feature length. “Here Comes Mr. Funhog” could not have been more lightweight to follow the punishment of “Harm.” Sounding better was a revisit of Bates Motel’s “Dedication” [a bonus track on “Songs Of The Spires”] given a goose of higher energy in its second incarnation. It’s a little more powerful than Pop this time; crossing the line into Rock.

“I Want More” and “A Boy And A Girl” skirted close to the mundane, but then again, they were written for the “School Spirit” soundtrack. The project came with built in limitations due to the theme of a horny ghost spying on girls. When the brief was “Ghost” meets “Porkys” [okay so “Ghost” didn’t exist yet …work with me here] even the least of these songs constituted pearls before swine. The concluding cover of the Elvis evergreen “Suspicious Minds” was like any cover of that tune: a fun time with a great song.

It was at this point where Gleaming Spires’ tale ended badly when with their first coast-to-coast US tour booked and ready to go when guitarist Bob Haag melted down and went AWOL. Bring an abrupt end to the band. Kendrick and Bohem gave it the old college try with their friend, Paul Cutler, on guitar. The only result was a two song session appearing here with an astonishing take on Bob Dylan’s “It’s All Right Ma, I’m Only Bleeding” that was 5:33 of breakneck pacing and breakneck singing where we can actually hear Les’ blow out his voice on the ceaseless torrent of lyrics that Dylan packed into the song. And Les was determined to get the song 100% correct, unlike many others who take a stab at it.

The original song, “Crumbling” actually has something going that might have been sufficient embers for a new spark, but all of the participants were ready to move on. Les had his career as a screenwriter to occupy his time and David was working with the intriguing DEVO spinoff project The Visiting Kids [which I’ve needed for years…] and was able to parlay this role into a berth in DEVO taking up the position of the departed Alan Myers.

The last track here was an unreleased curio titled “That’s It, Forget It.” The synth-laden instrumental featured sound bites of tweens talking about their friends and an upcoming party. And therein the tale of Gleaning Spires thus endeth. Not with a bang, but tweens giggling among themselves.

The trajectory of Gleaming Spires as projected from these reissues showed a band that was unafraid to shy away from any painful truths. In fact, they tended to focus on them with a laser-like intensity as their métier. Yet they managed to emotionally buttress the often painful lyrical content with superb Pop/Rock tunes crackling with inventive production and arrangements. Starting with Power Pop, then pivoting to electronic New Wave on their debut album. They further diversified their sound on their second album which was the now full band firing on all cylinders. Only to broaden their stylistic reach to near the point of rupture on this, their third album. Juxtaposing Country Music next to anthemic Rock, and Motown Soul. And finally the almost psychotic “Harm” marking the point where it finally collapsed into a fascinating black hole of music.

I suppose that their determination to explore the song as a means to an end instead of as an end unto itself was perhaps the band’s fatal commercial flaw. Having such a wide stylistic sweep generally works against even the most capable of bands. And this band were nothing if not capable. Their three albums painted a portrait of the trajectory of the Post-Punk period where it mutated into New Wave [“Songs Of the Spires”] then becoming the more successful New Music of the sort that actually made it onto MTV and the airwaves for a time [“Walk On Well Lighted Streets”]. All of that late 70s energy had dissipated by the time of “Welcoming A New Ice Age” where the band began exploring as many older styles to see how they might be a flattering fit as they did with the latest musical threads.

We can see at least 3-4 db of headroom throughout this example [Mercy] to avoid any ear fatigue or clipping

I’m just happy their their somewhat obscure oeuvre has managed to make it to the silver disc even at this late stage of the game! Just as important, the mastering my Michael Graves at Osiris Studios has given this material a full bodied snap with plenty of dynamic range. Just enough compression has been applied to give it the subtle push needed to pop…without popping our eardrums. And the packaging of the discs is fit to burst with informative liner notes as written and overseen by Chaim O’Brian-Blumenthal. It’s the first time I’ve heard of him with his production of this project and I hope it’s not the last. Fans of high caliber DLX RMs need all the help they can get in this fallen world. The disc ships in 48 hours, but you may pre-order below by hitting that button.

post-punk monk buy button

Join us tomorrow for an interview with David Kendrick, who was there for the whole ride.

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Record Review: Gleaming Spires “Walk On Well Lighted Streets” US DLX RM CD

gleaming spires week - tuesday
gleaming spires full band
L-R: Jimbo Goodwin, David Kendrick, Bob Haag, Les Bohem

By 1982, the band had gotten a foothold on KROQ-FM with the hit “Are You Ready For The Sex Girls,” and when gaps in the hectic Sparks schedule occurred, recorded their second album. As the first was intended as demos, with just Bohem and Kendrick with producer Stephen Hague, this time out they took it to the limits of a full band. Bob Haag from Bates Motel and Sparks was in on lead guitar, and keyboards were under the aegis of Jimbo Goodwin, who was the second keyboardist in Sparks. So this self contained unit had a dual existence; playing and recording with Sparks and playing and recording as Gleaming Spires during Sparks downtime.

gleaming spires - walk on well lighted streets cover art
Omnivore Recordings | US | CD | 2021 | OV-445

Gleaming Spires: Walk On Well Lighted Streets DLX RM – US – CD [2021]

  1. Mining
  2. You’re Right
  3. Big Surprise
  4. Walk On Well Lighted Streets
  5. Fun Type
  6. A Christian Girl’s Problem
  7. Happy Boy
  8. At Together
  9. The Making Love Project
  10. Yes I Can
  11. Funk For Children
  12. Does Your Mother Know?
  13. Christine
  14. Brain Button
  15. Funk For Children (Part II)
  16. Brain Button (Part II)
  17. It’s Kinda Like The Movies
  18. Are You Ready For The Sex Girls? (Full Band Version)
  19. All Night Party

While the second album was still a Posh Boy production, the distribution was through the larger indie PVC, so this one was also released in the Great White North. Their Sparks connection meant that France was also interested in releasing the records. The band got the jump on other bands by being the first to have a Mark Kostabi cover painting, as the band saw it in a gallery window and just had to have the rights to “Bed Of Nails” for the cover art! I’ll admit that it spoke volumes about the band’s themes.

It was readily apparent that the stakes had changed considerably from the time of the first album two years earlier. The full power of the band was immediately apparent from the album opener, “Mining.” David Kendrick powered the song with a rolling, shuffling drum pattern that put aside any notions of rhythm boxes as it propelled the song with a series of expert fills. The song had tension between the twangy tone of guitarist Bob Haag and guest artist Paul Cutler; who was further along the noise spectrum from Haag. As exhilarating as the expansive music was, the underlying lyrical metaphor was one of struggle.

Struggle didn’t even begin to cover the vibe of “You’re Right,” where the raw and painful emotions were matched by convivial music. The lyric set up a powerful metaphor of diffidence where the protagonist related a lifetime of doubts and inadequacy with a mirror, once again, figuring in the imagery.

I grew up watching myself in my own special mirror

I close my eyes and I’m standing in front of it still

I never had what it takes to become something bigger

Nervously watching for some little thing to go wrong

Something always goes wrong

“You’re Right”

“Big Surprise” managed to possibly surpass “You’re Right” with a fantastic lyric tackling a forensic examination of depression in the most upbeat, and even jaunty manner possible. More than any others, this band showed unusual willingness to cover the most painful territory possible in their songs. In such a way that even early Tears For Fears sounded like amateurs. Thankfully, they managed to provide a balm via the often cheery music.

The title track was where the Funk came to Gleaming Spires. For a change of pace, the lacerating self-doubt was put aside to examine mere paranoia, via an oblique commentary on actual civic signs designed to ease crime. The cavalier saxophone was courtesy of Jimbo Goodwin, but its presence only served to ironically underline the very real paranoia on display.

“Fun Type” was a song that I had recalled, once I heard it again. In 1981, Trouser Press had an added flexidisc for subscribers and this one was issued in the November 1982 issue of the magazine, which also had a great Sparks feature as well. The song was an outlier to nowhere as it was the only one of their songs that sounded like the more typical Posh Boy hardcore. At least in terms of its speedy tempo. Lyrically, this was more of a character study then the typical self-examination of Gleaming Spires. The oscillating two-note riff of the song recalled “Friday On My Mind” and once more Paul Cutler added his guitar to the mix. The shredding riff cold ending was pretty exhilarating.

Trouser Press | US | flexisdisc | 1982 | FLEX#I11

Next came an infectious blast of left-field inspiration that clearly showed that the band were capable of another volley onto the airwaves from their unusual vantage point. At least in spirit. “A Christian Girl’s Problem” had a loaded title concept, ripped screaming from a 1940’s teen advice pamphlet. So it was both witty and provocative.

What it also had, in spades, was what seemed to be an endless series of hooks crammed into the song following the deceptively downbeat intro. What a potent package this was for being a song that was larger than the sum of its parts. And all of its parts were most impressive. How was this one not a hit of even greater than “Sex Girls” proportions? Once heard, it sticks in the cranium all day long.

The other track on the Trouser Press flexi was the amazing “Happy Boy.” It was a compelling mix of an anthemic verse/chorus structure undercut by a haunting, minor key refrain. And through it all a whiplash beat set the anxious pace for it all.

By this point on the album, we realized that Les Bohem really put his heart on the lis in performing these songs. He might have changed his vocal style as it suited the song, but the intensity of it, and the commitment to communicate the depth of the feeling never ebbed. This really came home to roost on the climactic song “At Together,” which was a rare co-write between Bohem and producer Stephen Hague, who had no other writing credits on the two Spires album he produced. This song was performed with a relentless, operatic intensity as its exorcism of pain was realized in a classical rondo arrangement that never released its tension as it kept tightening the noose. It was a thrilling, if incredibly intense song that hinted at a Philip Glass influence that was surprising, but welcome.

After that peak of intensity, it was time for a relative lark, and “The Making Love Project” took an overly analytic lyrical point of view and married it to a backing track that had “science fair” written all over it. The typically heartbreaking lyric got a pass from the vibe of the arrangement. The closing “Yes I Can” was an almost goofy paean to who else but Sammy Davis, Jr. with all of the catch phrases and name dropping that Sammy just lived 24-7. Still, they managed to get a few pokes at Sammy’s seamy side into the tune; oblivious to its exaggerated bonhomie.


The next six tracks were the “Party EP” of 1984. “Funk For Children” was taking up the Funk baton of “Walk On Well Lighted Streets” and juxtaposing it with a chorus of children for maximum cognitive dissonance. The band cited The Gap Band’s hit “Early In The Morning” as an inspiration but the cheap thrills of hearing children performing emphatic grunts [“hunh!”] over toy instrument percussion perhaps belied the cynicism of the lyric. Nevertheless, I’ve been waking up with this song playing in the cranial Walkman® lately.

gleaming spires party EP cover art
The Vodka Label | US | EP | 1984 | VDK 5002

Next we had a pair of cover tunes. Both of them were examples of the power of this band just as a playing unit. The ABBA® deep cut “Does Your Mother Know” always suck with me as the not time the guys in ABBA® got to take lead for once. The result in Spires’ hands was a potent cocktail of euphoric Power Pop energy given a touch of New Wave moxie. And they managed to make it their own with the added aside “she knows” at the end of the chorus followed by the handclap hook. The cold guitar chord ending of the song had just enough reverb bleed to achieve a perfect climax. This flat out cooks. I’ve been listening to this song on a loop lately and it’s now the go-to version of the tune. Sorry, ABBA®.

Likewise, “Christine” has also stuck with me for a while now. I had to look it up but it’s a cover of an old song by The Equals, Eddy Grant’s old group from England in the late 60s. Les’ vocal had incredible charm as he related the rakish lyric of a guy pining for his girl’s best friend. With only her beast of a boyfriend keeping him on the straight and narrow.

Then came an original that showed how strange a space their heads were in. Or maybe the street person who accosted them and said that they couldn’t talk to him unless they pressed the button to turn his head on. The result was like a Zappa-goes-Funk track that had Mr. Bohem adopting what can only be called a Jagger-esque delivery [complete with “bay-behs”] to vocalize this extremely odd track. And then the rest of the EP was given to the band’s only extended remixes, “Funk For Children Part II” and “Brain Button Part II.” Sort of like the flipsides to James Brown 45s.

The former managed to just work at a little over six minutes. The middle section was an instrumental break before the track went into dubspace. But the same attention given to “Brain Button” crossed a line with me into excess. The 4:58 short version was pushing it by almost two minutes by my reckoning.

bad manners poster

The disc was rounded off with a trio of tunes from film soundtracks. First up was a film I had not heard of called “Bad Manners” [a.k.a. “Growing Pains”] where the song “It’s Kinda Like The Movies” was an odd one out with the song having been written by Ron Mael with Ron playing keys and Sparks producing their backing band, who sang the number. Well, the band’s original idea to have Sparks produce them finally came to pass at least here. And it sounded really good; sort of like a synthetic Beach Boys number with a rolling melody and definite layer of melancholy just beneath the glossy surface tailor made for Gleaming Spires. Strangely enough Sparks had several songs written for the movie but this song has now become the only track that’s ever seen commercial release.

Scotti Brothers Records | US | LP | 1984 | BFZ 39599

Finally, The band’s contribution to the “Revenge Of The Nerds” OST capped off this era of the band. The full band version of “Are You Ready For The Sex Girls” was given a nice gloss by Stephen Hague and it was potentially a version of the song that was ever so subtly goosed for potential airplay. It sat right in that sweet spot that The Cars rode to the top of the charts. The tempo felt just ever so slightly slightly faster and Les more clearly enunciated the song so that it sounded like he was singing “they are women without any faults” instead of “they are women without any thoughts” as I felt he was singing in 1981. The backing vocals were really well polished and featured new countermelodies to listen for. Best of all, they still used the odd sheep foley effects in the background of the middle eight. The closing “All Night Party” was a Greg Penny production and had a slight, minimal feel and lyrics that suggested that it was recorded specifically for the film and its plot. Though the massed vocals in the middle eight were quite nice.

The second Spires album approached the listener from a very different angle than the first one, due primarily to the full band creating a bigger sound. The band’s artistic POV didn’t shift much, but the greater coloration of the production managed to help their challenging lyrics go down more smoothly. If the first album was New Wave, this one was New Music. It was 1983, and the marketplace of ideas was moving forward, for better or for worse. By then, music of this stripe was beginning to get airplay on American radio and there were possibilities for bands like Gleaming Spires to slip through cracks in the industry’s walls that had not been available earlier.

Stephen Hague’s production was less quirky and more streamlined. In a year or two he would be cracking the US Top 40 with his productions and getting bands like OMD their first US hits. He had the right stuff here, but the promotion for this record was nonexistent to me at the time. PVC may have had greater reach than Posh Boy, but at least I had been aware of the debut album. I never knew about “Walk On Well Lighted Streets” until I started researching the band several years ago! And that’s a shame that’s been corrected by this fulsome reissue.

post-punk monk buy button

The band was now really a band and their playing as a unit with Sparks revealed their strengths in numbers here. Glorious songs like “Mining,” “A Christian Girl’s Problems,” and “At Together” revealed a group that that could seemingly do anything. The band’s trait of serving the song meant that their eclecticism really took off on this album. A barn burner like “Fun Type” almost blindsided me with its intensity. Following the thread now, I wondered where their muse would lead them on the third album?

Next: …Gleaming Spires Stay Frosty!

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Record Review: Gleaming Spires “Songs of The Spires” US DLX RM CD

gleaming spires week - monday

This week we delve into the vivid canon of Gleaming Spires; the Los Angeles band that began life as the Power Pop band Bates Motel in the late 70s to become Sparks backing band for their fertile 1981-1985 period that saw them finally get some airplay and respect in America. Concurrent with their period of playing with Sparks was their own, even more idiosyncratic band, Gleaming Spires.

Gleaming Spires first surfaced on L.A.’s Posh Boy label; as an outlier to the Punk and Hardcore that the label was perhaps best known for, to something that flirted with Pop. Albeit a Pop which was only superficially lightweight, with their penchant for upbeat melodic sensibilities reacting against the bitter emotional cores of their songwriting.

gleaming spires - songs of the spires cover art
Omnivore Recordings | US | CD | 2021 | OV-444

Gleaming Spires: Songs Of The Spires DLX RM – US – CD [2021]

  1. Going Hey Hey
  2. Are You Ready For The Sex Girls?
  3. While We Can
  4. When Love Goes Under Glass
  5. The End Of All Good Things
  6. Watch Your Blood Beat
  7. How To Get Girls Thru Hypnotism
  8. Talking In The Dark
  9. Big Hotels
  10. The Way Marlena Moves – Bates Motel
  11. Real Time – Bates Motel
  12. Only The Young Die Young – Bates Motel
  13. Dedication – Bates Motel
  14. Unexpected Overnighters – Bates Motel
  15. Real Love – Bates Motel
  16. Walk Right
  17. Life Out On The Lawn
  18. Somewhere
  19. Passion Pit

The album got off to an all-guns-blazing start with the brash, hyperkinetic opening salvo of “Going Hey Hey.” The rhythm box mashup was assisted ably by the garbage disposal loop that producer Stephen Hague brought to the table. In what was among his very first productions ever, as the “demo sessions” for the first Gleaming Spires album got the nod as the final product when the label though they sounded great as they were. And that was certainly the case as the next song proved beyond a shadow of a doubt.

With a title taken from a blurb in a sex newspaper, Gleaming Spires made their bid for immortality with the jaunty technopop of “Are You ready For The Sex Girls?” It all could have gone so wrong, but the irony slathered between the provocative title and the lyrics that clearly show that no one is ready for the sex girls. Meanwhile, Les Bohem’s bass line was cheekily cribbed from “Heroes” and set into a completely different context.

The video made for the song might have cost about $96, but it made absolutely certain that their intentions could not be misconstrued as Leslie Bohem and David Kendrick, in matching red gingham aprons, baked a lemon meringue pie and made some damn fine coffee; establishing a role-reversal between the domesticated males and the free-wheeling females depicted in the song. The band were amazed as the song took off on their local KROQ radio to become a bona fide New Wave hit. Ironically, they were stuck half a world away in Germany, recording Sparks’ “Whomp That Sucker” album at the time and had to have their girlfriends hold the phone to the radio to hear the magic. If you’ve ever heard any Gleaming Spires song, changes are it was this one. And if not, then by all means sample below!

A more reflective mood was up next with the pensive “While We Can” being a crystalline ballad with rich guitar offsetting the contemplative rhythm box tempo of this song. Mr. Bohem stated in the liner notes that he was aiming for a vibe like that of “Heroes,” so a similar subdued grandeur underpinned the more typical lyrical fatalism of doomed romance that cast a long shadow over this album.

Speaking of fatalism, both “When Loves Goes Under Glass” and “The End Of All Good Things” [the last title may have been a hint…] took differing approaches with the former wedding tortuous metaphor to more dynamic music with the latter opting for another delicate synthetic ballad full of melancholy poise.

What was once “side two” began with the lush technopop of “Watch Your Blood Beat.” There, the rich music bed coupled with Mr. Bohem’s spirited delivery made me recall Todd Rundgren’s Utopia at their New Wave best. But Rundgren would have never twisted the lyrical knife the way that Gleaming Spires did here.

You watch your blood beat

You watch your blood beat

And you stagger underneath the weight that a loss of love creates

Impossible defeat of monumental length

“Watch Your Blood Beat”

gleaming spires - How To Get Girls Thru Hypnotism cover artBut none of the songs thus far had the brutal sense of emotional self-flagellation held within the dark heart of “How To Gets Girls Thru Hypnotism.” The duo looked to the books sold out of comic book ads in the past and the kicker on this song was that it was self-hypnosis that presumably bolstered your confidence so that you could act decisively on your desires, or maybe just not notice your failures so much.

In this actually harrowing song, Les Bohem was cracking as he struggled to build his self confidence to a higher level, while quaking with inadequacy. The rigid, martial lockstep rhythms sounded like a blend of modular synth patches with maybe some synth pads added on the top for emphasis. Unlike the 7″ version which I had, the full length album track lasted almost 90 seconds longer. The chaotic and punishing climax, complete with a woman’s harangue, mixed into the atonal music added insult to injury. This was a song that pulled no punches. At all.

It was great sequencing to follow this with one of the more positive songs here. “Talking In The Dark” dealt in quirky, slightly cartoonish New Wave song on a cha-cha chassis which built to an impressive crescendo as the backing vocals helped to lift Bohem’s vocals in the song’s fade. Just when we had some idea of exactly where Gleaming Spires had set their boundaries came the cinematic climax to the album.

“Big Hotels” was an exercise in building a complex, nostalgic narrative using a dramatic shift in the musical palette with just Hague’s accordion playing and delicate piccolo, to craft a song that reeked of Continental sensibilities. It made sense that the last song here would be another love’s lament, but the arrangement really threw the listener a curve ball and perhaps let the listener know that album number two could sound like anything.


The next six tracks were as drastic a volte-face as was possible as we finally got to hear the Bates Motel demos that pre-dated the band’s hookup with Sparks when they were competing in the Power Pop hotbeds of Los Angeles in the era of The Knack. Bohem’s childhood friend Andrew Gold produced the first four tracks by way of netting the band a contract and it is astonishing to my ears that captivating songs like “The Way Marlene Moves” fell on deaf ears!

Even harder to believe that this song was ground zero for the Kendrick/Bohem writing partnership. That anyone right out of the gate could craft such potent Power Pop perfection as this song, which chimed in on the one like a piledriver of Pop was almost inconceivable. The song had a backbeat for days that one could get wonderfully lost in. I’m stunned that it’s just reaching ears now, over 40 years later. At the very least, it has all of the right stuff necessary to have been the start of a Bates Motel cult on the Yellow Pills series back in the 90s. By rights, there should have been an indie 7″ of this on Bomp Records that exchanged hands for an easy three figures…for the last 30 years!!

And the rest of it wasn’t chopped liver, either! “Real Time” gave the mic to guitarist Bob Haag and he acquitted himself roundly as the track would have slotted effortlessly into the same FM airwaves that saw The Cars turning heads. And “Only The Young Die Young” was a stone cold classic as well. A short, sharp Power Pop attack that sported a fantastic lyric that I can’t believe no one had thought of before. Fans of early Joe Jackson will need this.

The band also had two more Bates Motel demos that were self-produced and didn’t suffer for not having a pro like Andrew Gold at the boards. Perhaps the third Bates Motel Power Pop classic from this batch was the incredible “Unexpected Overnighters.” Yep, the song is about exactly what you think but even in this hopeful scenario, the band have looked beyond the obvious.

I envy you your quiet life of lonely expectation

Worlds of possibility are with the desperation

Of those unexpected overnighters

“Unexpected Overnighters”

The last Bates Motel demo was the unexpected country music of “Real Love.” Made when country wasn’t cool and only Elvis Costello dared to cross that line in the Rock sand. It began a thread that the band would get back to develop much further down the line.

gleaming spires life out on the lawn cover art

Then the program shifted back to Gleaming Spires. The non-LP B-side “Walk Right” was the flip side to “How To Get Girls Thru Hypnotism” with another gleaming serving of technopop that was lyrically dark beneath the shiny textures. The disc was capped by the contents of the “Life Out On The Lawn” EP with the title track proffering Gang-Of-Four Art Funk over a martial beat. If we thought that we knew Gleaming Spires after the first album, this waxing from the following year was as radical a shift as possible. The dissonant sprawl of a song almost had whiffs of Zappa as it progressed to its roaring conclusion.

A surprising yet melancholy cover of “Somewhere” from the “West Side Story” score pitted Bohem against a heartbeat rhythm box that eventually swelled to incorporate a chorale of synths as he gave the song all of the fortissimo that it demanded. The concluding “Passion Pit” laid down a hymn of self-laceration where a minimal synth bed and a fatalistic drum track that sounded like accompaniment to an execution.

Welcome to the passion pit

Make yourself at home

You’ll be here for half your life

And you’ll always be alone

“Passion Pit”

Wow. This band didn’t pull any punches and their fists were always aimed at their own faces! Their introspection led to levels of devastating self-critique miles beyond any other New Wave bands that I could name. It’s to our considerable benefit that their facility with perky melodies coupled with the inventive production [and playing] of a young Stephen Hague, raring to go after the collapse of Jules + The Polar Bears, allowed “Songs Of the Spires” to be anything but a wrist slitting downer of Titanic proportions.

The band have duly cited Hague’s boundary pushing approach to sound design [they compare him to Brian Eno in this regard] as being intrinsic to the success of the album. One other thing that this reissue sheds light on was the cover design, which had confounded me for 40 years. The three color print job with heavy Dom Casual type made the LP look like one of those self-released albums that littered the pages of Re-Search’s “Incredibly Strange Records” volumes! What were they aiming at with such a diabolically dated design?

As it turned out, the cover art was a very specific pastiche of a Lawrence Ferlinghetti/Kenneth Rexroth poetry album that Fantasy Records released in 1961! Curse me for the novice! It was the kind of reference that children of the 50s like Bohem and Kendrick would have gotten but one that sailed over this child of the 60s head. Mystery solved.

We are lucky to finally have “Songs Of The Spires” on the silver disc after all of this time. Particularly in the ebbing years of the format! For albums not yet issued on CD, I’m inclined to assume that by this point it would never happen. And that this has happened just weeks after I was planing to make my own CDs was utterly delightful. Particularly when Gleaming Spires were far more that the Sparks-lite that I erroneously assumed they were for far too long! While their mojo as musicians made albums like “Angst In My Pants” classics, their own songwriting was far, far darker than that of their “day job.” Inasmuch as I love the New Wave trope of bouncy, jovial music coupled with sombre lyrical content, I have to admit that I’ve never heard it quite as powerfully than in the hands of Gleaming Spires! “Songs Of The Spires” in in a class all of its own in that regard!

And yet, this reissue is also coupled with one of the best Power Pop releases I’ve ever heard! The six Bates Motel demo tracks will rightly be feted by Power Pop fans the world over as having at least three stone cold classics of the genre! And the other three cuts are hardly an embarrassment. That the recordings, made just two years apart paint such a radical shift of style and vision attest to the artistic growth of these musicians. After such a foundation as the one laid here on the first CD, one truly got the impression that Gleaming Spires could go anywhere, and do anything. Pre-order is strongly suggested.

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Next: …The Sophomore Leap

Posted in Record Review | Tagged , , | 6 Comments

Coming Next Week: Gleaming Spires Week

David Kendrick + Les Bohem await the inevitable

Next week we will be diving deep into Omnivore Recordings’ ambitious program of DLX RMs of the three Gleaming Spires albums on the silver disc. And to cap it off, we’ll have an interview with David Kendrick where we discuss not only Gleaming Spires but also DEVO and Sparks… and the Magic of ABBA!

Same Monk Time…Same Monk Channel!

Posted in metablogging | Tagged , | 2 Comments

Paul Haig Ultrabox Of “The Warp Of Pure Fun” Now Unleashed By Les Disques Du Crépuscule

Paul Haig finally gets some BSOG love…

It’s deeply saddening. I am clearly an admirer of Paul Haig, and yet I only have nine of his titles in my Record Cell. Most of them singles. And all of them hard-fought purchasing battles over the last 36 years. Throw in a few of his posthumous releases of his friend Billy MacKenzie on his own Rhythm of Life label, and that makes an even dozen titles. The latter I did buy directly from his former online store. Still, given his talent and taste…a shameful state of affairs.

the sails of my life in the right direction. Les Disques du Crépuscule have now compiled and issued a 4xCD boxed set of god devoted to Haig’s most popular title “The Warp Of Pure Fun.” His 1985 opus and second solo album that saw him working with Alan Rankine, who produced the sessions. I only have the “Big Blue World” 12″ from the album, and it was a winner with a great cover of Suicide’s “Ghost Rider” as one of the B-sides. Well, that gets severely outclassed by the definitive 4xCD set now out. Let’s examine the goods.

Les Disques du Crépuscule | BENELUX | TWI 669

Paul Haig: The Warp of Pure Fun – BENELUX – 4xCD [2021]

Disc 1 [Album + B-sides]

1. Silent Motion
2. Heaven Help You Now
3. Love Eternal
4. This Dying Flame
5. Sense of Fun
6. Scare Me
7. Big Blue World
8. The Only Truth
9. One Lifetime Away
10. Love & War
11. Ghost Rider (b side)
12. Endless Song (b side)
13. Dangerous Life (b side)
14. The Executioner (Mix *1)
15. Closer Now (b side)
16. Trust (b side)
17. World Raw(b side)

Disc 2 [Unreleased Tracks/Demos]

1. City Life (1984 demo)
2. Judgement Coming (1984 demo)
3. Love & War (1984 demo)
4. The Only Truth (1984 demo)
5. Heart of Song (1984 demo)
6. Crawling (1984 demo)
7. Fear and Dancing (1984 demo)
8. One Lifetime Away (1984 demo)
9. Trust (1984 demo)
10. Shining Hour (1984 demo)
11. World Raw (1984 demo)
12. All Our Love (1984 demo)
13. Love Eternal (12″ Mix)
14. Shining Hour (lost album)
15. One Lifetime Away (lost album)
16. Fear and Dancing (lost album)
17. All Our Love (lost album)
18. Love & War (lost album)

Disc 3: [Remixes]

1. Heaven Help You Now (12″ Mix)
2. This Dying Flame (12″ Mix)
3. The Only Truth (12″ Mix)
4. The Executioner (Mix *2)
5. Scottish Christmas
6. Theme from ‘The Persuaders’
7. Change of Heart
8. Work the System
9. Heaven Help You Now (Mantronik Mix)
10. The Only Truth (US Remix)
11. The Executioner (Mix *3)
12. The Only Truth (Instrumental)
13. On This Night of Decision

Disc 4: [Live/Demos]

1. Scare Me (live in Japan 1985)
2. Blue For You (live in Japan 1985)
3. Heaven Help You Now (live in Japan 1985)
4. Love Eternal (live in Japan 1985)
5. Interview (live in Japan 1985)
6. Ghost Rider (live in Japan 1985)
7. Big Blue World
8. Heaven Sent (live in Japan 1985)
9. Magdalena 82 (live in Japan 1985)
10. The Only Truth (live in Japan 1985)
11. Testimony (demo)
12. Wrapped (demo)
13. Reach the Top (1985 demo)
14. Eastworld (1985 demo)
15. In-Flight Entertainment (1985 demo)
16. Bridges (1985 demo)

There were four singles released from the album. How do we shape up in terms of inclusion?

paul haig big blue '82 cover art
Les Disques Du Crépuscule | BENELUX | 12″ | 1984 | TWI 231

Paul Haig: Big Blue World – BENELUX – 12″ [1984]

  1. Big Blue World [extended]
  2. Ghost Rider
  3. Endless Song
paul haig - the only truth cover art
Les Disques Du Crépuscule | BENELUX | 12″ | 1984 | 12TWI390

Paul Haig: The Only Truth- BENELUX – 12″ [1984]

  1. The Only Truth [extended]
  2. The Only Truth [music only]
paul haig the only truth UK cover art
Les Disques Du Crépuscule | UK | 12″ | 1984 | ISX 198

Paul Haig: The Only Truth- UK – 12″ [1984]

  1. The Only Truth [US Remix – Mantronik Mix]
  2. The Only Truth [instrumenta;]
  3. Ghost Rider
paul haig - heaven help you now cover art
Les Disques Du Crépuscule | BENELUX | 12″ | 1985 | TWI624

Paul Haig: Heaven Help You Now- BENELUX – 12″ [1985]

  1. Heaven Help You Now [extended]
  2. World Raw
  3. Heaven Help You Now
  4. Chance
paul haig love eternal cover art
Les Disques Du Crépuscule | BENELUX | 12″ | 1986 | TWI660

Paul Haig: Love Eternal- BENELUX – 12″ [1986]

  1. Love Eternal
  2. Trust
  3. Dangerous Life

The prognosis looks aaaaalmost perfect. It seems like the “Big Blue World” 12″ mix got shoehorned into the middle of disc 4. These things are not always tidy. All of the extended versions are accounted for. Only one B-side track, “Chance,” from “Heaven Help You Now,” is not here. All of the various and sundry loose tracks from Crépuscule compilations are all here. If you’ve not heard Haig’s version of John Barry’s “Theme From Persuaders” you’re in for a treat!

All in all, this seems to be a definitive deep dive into the ’84-’86 period of Haig, with his very active release schedule captured here along with another deep trawl through the archives with almost half as much unreleased live and studio sessions. Given that I only have a single 12″ and the “Persuaders” theme in my Record Cell, buying this seems like a no-brainer. Particularly with the low UK price of £22.00 [inc. P+P!]. The Crépuscule webstore says the Euro/Stateside distribution will be through Burning Shed and Darla, but a glance at those stores does not yet show the product in inventory. If worst comes to worst, the Euro/US costs [inc. P+P] will be a not deal-breaking £25/£30 or €29.30/$41.50. You know the drill.

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Posted in Scots Rock, Want List | Tagged , , , , , | 11 Comments

Breaking The Ice With Bette Bright…43 Years Later

bette bright
Bette Bright had a brief solo career outside of Deaf School

I never heard Deaf School until sometime in the early 90s when a friend have me the US 2xLP compilation of “2nd Honeymoon/Don’t Stop The World” and I finally got to hear the fascinating group. Sure, I’d heard the name a few times, but that sort of English Hothouse Art Pop never “transplanted well” in the land of AOR at the time.

[…Flash forward 30 years]

It was last year when I was [finally] giving credence to the thought that maybe I should get all of the Bette Bright solo material for a neat and tidy REVO edition? Goodness knows that I saw several of the Bette Bright singles in the import bins throughout the New Wave Prime period of 1980-1983 but at the time, I could not have named anyone in Deaf School, and hearing even that band was almost a decade in my future. In the context of 1981 and onward, Bette Bright was just another singer I’d never heard.

As I said, last year, I finally bit on her one solo album when a favorite dealer in the States had an inexpensive copy. Now my goal is to get the bonus tracks for the inevitable CD-R to compile it all. Here’s what it will entail:

bette bright -rhythm breaks ice UK LP sleeve
Korova | UK | LP | 1981 | KODE 4

Bette Bright: Rhythm Breaks The Ice – UK – LP [1981]

  1. When You Were Mine
  2. On A Night Like This
  3. Hello, I Am Your Heart
  4. All Girls Lie
  5. Take What You Find
  6. Talking Whispers
  7. Thunder And Lightning
  8. Shoorah, Shoorah
  9. Some Girls Have All The Luck
  10. Tender Touch
  11. Hold On

The LP was produced by the Clanger/Winstanley team who were by 1981 a very established production team, but one where Clive Langer had gotten his start as the guitarist in Deaf School before joining Allen Winstanley as half of the production team by the late 70s. The album was released in 1981, but most of the solo singles had a different band/branding. In 1978-1979, Bette had a band called The Illuminations who had released a few singles on Radarscope Records.

bette bright + the illuminations - my boyfriend's back cover art
BBRadar Records | UK }| 7″ | 1978 | ADA 18

Bette Bright + The Illuminations: My Boyfriend’s Back – UK – 7″ [1978]

  1. My Boyfriend’s Back
  2. Hold On I’m Coming

The first solo single was a pair of classic pop covers. The Angels Pop classic and the Isaac Hayes Soul classic. The Illuminations were like a Who’s Who of [largely Liverpudlian] British pop. Ian Broudie, Glen Matlock, Rusty Egan, Clive Langer, and Henry Priestman were all playing on the track. The cover was courtesy of Malcolm Garrett branded as Amatory Images.

bette bright + the illuminations - the captain of your ship  cover art
Radar Records | UK | 7″ | 1979 | ADA 21

Bette Bright + The Illuminations: The Captain Of Your Ship – UK – 7″ [1979]

  1. The Captain Of Your Ship
  2. Those Greedy Eyes

Her second single from 1979 was in another [very rhythmic] Garrett cover. This time named as Active Images! Speaking of covers, the A-side was the Reparata + The Delrons tune, which I’m not familiar with. And the B-side was a band-penned tune. I saw this one a LOT back in the day, but never bit.

bette bright hello, this is your heart
  cover art
Korova | UK | 1980 | KOW 3

Bette Bright: Hello, This Is Your Heart – UK – 7″ [1980]

  1. Hello, This I Am Your Heart
  2. All Girls Lie

The third single from the following year [see the pattern?] showed a shakeup. The Illuminations were gone, and now the branding was strictly Bette Bright. Label allegiance shifted from Radarscope to The Bunnymen’s Korova imprint. All firmly Liverpudlilan in scope. The two songs seem to be on the album, but does anyone know if the single tracks were recut from the album sessions for a single, as was common on that time period?

bette bright + the illuminations - when you were mine cover art
Korova | UK | 1981 | KOW 14

Bette Bright + The Illuminations: When You Were Mine – UK – 7″ [1981]

  1. When You Were Mine
  2. Soulful Dress

Another year, another single. This time, Bette was first to strike on the already classic Prince tune from the year prior. I saw this one in the import bins as well as its picdisc version to excess. The non-LP B-side is why I need to buy it now. The Illuminations branding is back, but Messrs. Egan, Matlock, and Priestman had all moved on.

bette bright + the illuminations - some girls have all the luck cover art
Korova | UK | 1981 | KOW 18

Bette Bright + The Illuminations: Some Girls Have All The Luck – UK – 7″ [1981]

  1. Some Girls Have All The Luck
  2. Tender Touch

Bette’s last solo single was another cover. This time of The Pursuaders 1973 classic that has had many cover versions with Rod “The Mod” Stewart having by far the biggest hit with it. Has anyone ever heard the original? The B-side is also from the album. Can anyone state whether the versions here were from the album or not? I always get nervous at assuming that they are and then finding out that I bypassed some “buried treasure” tracks a decade [or more] later. Fortunately, most of these singles are easy to source from American dealers. I just need the chump change to buy them. So join me in seven years when I’ll relate the actual making of the CD that’s shaping up…in my mind [taps cranium].


Posted in Assorted Images, Want List | Tagged , , , , , , | 9 Comments

Want List: OMD Celebrate “Architecture + Morality’s” 40th Anniversary With Something Besides A Boxed Set Album Reissue

OMD architecture + morality the singles 12" set
triple color vinyl is out there… but also a single CD

I had certain plans for today’s post, but that flew out of the window when I caught wind of an upcoming release from OMD, which was apparently released to social media last Friday! Sure, sure. I’ve been on the OMD mailing list for as long as they had one. “Had” being the operative word, since now they don’t even send out emails to the faithful any more even when an upcoming release is the news. The last post on their moribund website is almost a year old. So now I guess everything is only released to culturally toxic social media. Nice! I found out about this on one of the remaining web forums still extant in 2021! Sigh.

No matter how poorly they communicated this news to me, a person who has bought many releases through their web store and online campaigns, the fact of the matter is that the band are having yet another tour focusing on their top selling “Architecture + Morality” album which is 40 years old on November 6th, 2021. I spent all of late 1980 and 1981 in thrall to the compelling music that OMD was making and I remember buying that LP at the Record Mart Warehouse in Orlando in the fall of 1981 as soon as it hit the sacred import bins.

The album would go on to have three Top 5 UK singles issued from it, which, in retrospect, seems a little crazy. The album was a challenging program of more Art than Pop, but tell that to the throngs that bought every single from the album like it was an Adam + the Ants record at the time.

The band reissued a DLX RM of the album in 2007, with the sole extended A-side, and all of the singles B-sides appended plus a bonus DVD of their “Live At Drury Lane” home video from that tour. Conventional wisdom says that when the 40th anniversary of your multi-million selling career best album came around, you would issue a three figure box to squeeze the faithful and pack it with 4x LPs, 2xCDs, and maybe Steven Wilson’s 5.1 mix on DVD. Perhaps some tchatchkes like a key ring or T-shirt.

What they’ve done is much kinder to our budget, and frankly more interesting. They are releasing a compilation called [straightforwardly]: “Architecture + Morality: The Singles.” The single A/B sides from the various releases are all present and accounted for, but the other half of the material is previously unreleased demos and live material to sweeten the pot. We have the choice [still!] of buying this on a 3x 12″ EP set on colored vinyl, or a convenient CD with 18 tracks. Though the record edition looks fine, I will be opting for the CD. I’ve got to stretch my music budget responsibly. Here are the offerings.

OMD architecture + Morality the singles cover art
The cover is actually metallic silver, so the simulation of the surface as shown online will have to do.

OMD: Architectire + Morality The Singles – UK – CD [2021]

  1. Souvenir
  2. Motion & Heart (Amazon Version)
  3. Sacred Heart
  4. Souvenir (Demo)
  5. Choir Song (Rough Mix)
  6. Motion & Heart (Live at Drury Lane, 1981)
  7. Joan Of Arc
  8. The Romance Of The Telescope (Unfinished)
  9. Joan Of Arc (Live at Drury Lane, 1981)
  10. Joan Of Arc (Rough Mix)
  11. New Song (Georgia Demo)
  12. She’s Leaving (Demo)
  13. Maid of Orleans (The Waltz Joan of Arc)
  14. Navigation
  15. Sealand (Demo)
  16. Submarines
  17. Maid of Orleans (Demo)
  18. Joan Of Arc (Maid of Orleans) (Live at Drury Lane, 1981)

That’s a healthy playlist with the familiar versus the unknown. Their recent “Souvenir” boxed set celebrating the band’s 40th anniversary had a full disc of demo material but none of this is repeated from that set. We’ve got seven demos, all of the A-sides as performed live from the Drury Lane show, and an eighth song [“Submarines”] that’s all new.

The colored vinyl set as shown at the head of the post features three six track EPs, in burgundy, red, and purple colored vinyl with sleeve art inner sleeves to fit within a triple gatefold silver, embossed cover. The CD has all eighteen tracks. The 12″ set is selling for a fairly moderate $50.00 in the OMD web store, with the CD at $16.00.

The shipping of the 12″ set from the UK to America will probably cost almost twice as much as the cost of the item itself, so we Yanks are fortunate that we have the option of buying at the US Rough Trade store as well. Rough Trade US will be $63.99 for the 12″ set but I guarantee the shipping will be scant. The CD from Rough Trade US is actually one cent less than from the OMD web store. So anyone with an interest into one of OMD’s most commercially [and artistically] fertile periods might want to check out the twin option buttons below.


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Posted in Core Collection, Designed By Peter Saville, Want List | Tagged , , , , | 12 Comments