The Walls Come Down:
The Unveiling Of BLANKET OF SECRECY
By Stephen SPAZ Schnee
1982 was a year filled with
excitement and change in the music world.
Punk had smashed things up a bit five years earlier, making way for a
new musical movement that had morphed into a myriad of subgenres including New
Wave, Post-Punk, Synthpop and Power Pop amongst others. During the year, many
artists released albums that are now considered ‘career defining’ moments
including Michael Jackson (Thriller),
XTC (English Settlement), Prince (1999), Madness (The Rise & Fall), The Jam (The Gift), Dexy’s Midnight Runners (Too
Rye Aye), Duran Duran (Rio)
and The Clash (Combat Rock). Even newer
bands were making their mark with debuts from ABC, Culture Club, R.E.M, Marshall Crenshaw, A Flock Of Seagulls and Yazoo
causing quite a stir on the scene.
One album that was released that year was the debut by a mysterious trio
by the name of
Blanket Of Secrecy. Released on Warner Brothers in the U.S. as
Ears
Have Walls and on F-Beat in the UK as
Walls Have Ears, the
album was a breath of fresh air that both accepted the challenge of musical
change while also remaining firmly rooted in the art of classic Pop
songwriting. Listeners may have been intrigued by the lack of information on the
identities of the band members, but the music spoke for itself. From the
opening track, “Say You Will,” to the instrumental closer “B.O.S. Theme,” the
album was filled with instantly memorable tracks that stuck with you long after
the needle lifted from the inner groove. The album was, and remains, a pure Pop
masterpiece.
“Say You Will” was lifted as the album’s first single and instantly
created a buzz. The opening acoustic
guitar hook was juxtaposed by a simple electronic backdrop that added a warm
atmosphere to the recording. The vocals
floated above the music like a cool breeze, inviting the listener into a world
where heartache and hope co-existed in equal measures. A stunner of a track, the song gained solid
airplay and was destined to become a hit.
But then, for reasons to be explained later, Warner Brothers pulled the
plug on the single and radio stopped playing it. “Say You Will” may not have
achieved the level of success that many had predicted (and that it deserved),
but there was still an album in the shops and there was still a chance for Blanket
Of Secrecy to leave their mark.
Some bands may have one great song in them and release an album that
doesn’t come close to living up to the single’s potential. Blanket Of Secrecy
had no shortage of great songs that equaled the majesty of “Say You Will” – “Yo
Yo”, “Close To Me”, “Remember Me And You”, “Tell Me Baby”, “Photograph”,
“Something I Don’t Need” and “Lovers” (penned by Huang Chung’s Jack Hues
and Nick ‘De Spig’ Feldman)
immediately come to mind. Not content to stick with one formula, every track on
the album was a revelation. Even if the
lyrical content wasn’t
always upbeat, the joy in creating each of the songs came through in the
recording.
While the songs and performances were top notch, much can be said of Roger Bechirian’s production. As an engineer or producer, Bechirian had
already been involved with many seminal recordings of the era including albums
from The Undertones, Squeeze, Elvis
Costello & The Attractions, Nick Lowe, Huang Chung, Lene Lovich, Dave
Edmunds and many others. He was one
of the few producers that a music fan could rely on when making purchasing
decisions – if Roger produced it, then it must be good! Up to this point, he
was in the same respected league of producers such as Clive Langer & Alan Winstanley, Hugh Jones, Pete Solley, and
a few others. It’s as
if Bechirian’s
involvement meant the quality of the album was most certainly guaranteed.
But just who were Blanket Of Secrecy? When the album came out, their
identities were shrouded in –you guessed it- secrecy. The album’s back cover
featured a photo of a trio with their backs turned towards the camera. The
songs were credited to
Tinker/Tailor
apart from “B.O.S. Theme”, which was penned by
Tinker/Tailor/Soldier. “Say You Will” was co-written by
Spy and “Yo Yo” credited
Sailor as co-writer. While some caught
wind of the identities of the main players (the name
Peter Marsh was used in several reviews), the record-buying public
were left in the dark. Huang Chung’s
Jack Hues and Hogg played on the album, but offered only musical assistance on
a few tracks. Ultimately, rumors began circulating that the members were from
well-known bands and couldn’t contractually reveal themselves. It was even suggested
that Blanket Of Secrecy was, in fact,
The
Attractions recording under a pseudonym. Alas, they mystery remained unsolved
… for
the time being.
With an album in the shops and the support of their record company,
plans were afoot to put the band out on the road, which would have revealed
their true identities while exposing the band to a bigger audience. Tentatively scheduled to tour as the opening
act for Tom Petty & The
Heartbreakers, Blanket Of Secrecy finished up recording their second album so it
could be released in a timely fashion. But just as things began to move
forward, Blanket Of Secrecy evaporated into thin air. The tour was cancelled, “Say
You Will” was
deleted, their second album was shelved and the band simply disappeared. Some
had speculated that they may have never actually existed as more than a one-off
side project, but time has proven otherwise…
Some 20 years later, in the age of the internet, die-hard Blanket Of
Secrecy fans found each other in forums, on blogs and on websites devoted to
lesser-known bands. The rumors were
still active, but the fans’ dedication to the band remained strong, even though
little was known about them. That is,
until a fan by the name of Gary Maher
stepped forward. Seems he had done a
little research back in 1984…
“When
I called Warner Brothers, some secretary told me who the band members were.” Gary
explains. “The
names didn't mean much to me except for Roger's, but I wrote the names down on
an index card, stuck it in my copy of the album and forgot about it. Years
later, I came across the index card and realized that their identities were
still shrouded in secrecy to the rest of the world, so I started to spread the
word.”
What Gary
had discovered unmasked the trio once and for all - the members of Blanket Of
Secrecy were Roger Bechirian (AKA
Soldier/director, executive producer, keyboards, percussion and backing
vocals), Pete Marsh (AKA Tinker/lead
vocals, guitar, keyboards, percussion and backing vocals) and Andrew Howell (AKA Tailor/bass, guitar,
keyboards, percussion and backing vocals). Maher had, indeed, cracked the case,
but now that enquiring minds knew who
they were, they obviously wanted to know what,
when, where, why and how!
For the first time ever, all three members of Blanket Of Secrecy have
decided to set the record straight, once and for all. No rumors.
No gossip. Just facts.
STEPHEN SPAZ SCHNEE: Tell
me a little bit about your careers before Blanket Of Secrecy.
ROGER BECHIRIAN: I was house engineer at Eden
Studios in London. I worked with a broad
range of artists and producers, developing my own style of recording and later
production. I left after seven years to
go my own way with the help of manager Jake Riviera.
ANDREW HOWELL: I had been a bass player in the
school band and played one of my first gigs at The Royal Albert Hall to
celebrate the 200th anniversary of American independence on July 4th,
1976. I did that with Michael J McEvoy
(American) who is now a successful film and TV composer. From there, I joined a Punk outfit called The
Rats who changed their name to The Red Lights after The Boomtown Rats turned up
from Ireland.
PETE MARSH: After splitting with my
band Easy Street in ‘79, Polydor signed me as a solo artist. I worked for a while with film composer and
legendry synth man Vangelis. We wrote
and produced four tracks, one of which, "Don’t Be Foolish", was a
single released in 1980. I also recorded
and released a version of "Close To Me" (then called “You Say You
Wanna Love Me”) which was produced by Godley And Creme (10cc). I then formed a New Wave band, Twist. We gigged for a while and recorded an album
which was produced by Roger Bechirian, whom I had worked with before on Easy
Street stuff. With Roger’s
encouragement, I bought myself a TEAC 4-track reel to reel recorder, a nice
microphone, a drum machine and keyboard and started to experiment.
SPAZ: How did the three of you meet?
ANDREW: I went on a tour in Paris, France
with a guy called Frankie Marshall, where we did a session for a publisher
recording one of their up and coming songs.
Pete Marsh joined us to perform the vocal track and that’s
where we formally met. From there, he
asked me to do a session on his demos and that’s where it all began. It was on the demo session that I first met
Roger
ROGER: I had known Pete for some time. Easy Street would spend time at Eden studios
recording demos. As a young trainee
engineer, I got those sessions and we became good friends. I later produced an album for Pete with his new
band Twist. It was around that time I
was introduced to Andy.
PETE: I met Andy at one of The Red Lights
gigs in South London and later on we worked in Paris. I knew he was a great bass player and very
talented musician. I was looking for
someone to collaborate with on my new songs and Andy's approach was
perfect. We wanted to make a record that
was Pure Pop but eclectic and different.
With Roger’s
encouragement, the B.O.S. project started to take shape.
SPAZ: When you first started writing and
recording the tracks, was it your intention to become a recording entity or
just to release a little creative steam and write a few songs?
ROGER: From my point of view, I was never
going to be on stage or any of that. I
wanted to record and produce the records and have a hand in the direction of
the band with our then-manager Jake.
PETE: Roger convinced Jake and Peter
Barnes from Plangent Vision Music (UK publisher), of the potential in the band,
time at Ampro Studio was booked by Jake. The studio at that time belonged to
Nick Lowe. It was originally built by
Tony Visconti in the basement of his house and some of the great Mark Bolan and
Bowie tracks were recorded there. We
spent a couple of months recording demos and some of the tracks went on to
become masters on the B.O.S. album. On the strength of those recordings, Jake
negotiated a deal with Warner Bros. Records in Burbank, and we swiftly made
plans to go to Rockfield Studios in rural Wales to finish the album.
ANDREW: There was no doubt in my mind that
this was going somewhere. Once the demos
were finished, Roger and Pete asked me to join the project full time, and full
time it was. Oh no, dear me no, this was
never a little thing.
SPAZ: Who came up with the whole idea of
recording under pseudonyms…? It was a brilliant concept that established
that B.O.S. were more focused on the music, and not a desire for
celebrity. But do you think it
ultimately hurt the band?
ANDREW: A pub-based brainstorming
session.
ROGER: We, Andy, Pete, Jake and I, had met
at a pub near Jake's office. We were
trying to come up with a name. Jake had
the idea of keeping things secret. He
didn’t want it known that I was a part of a band because he didn’t want to
distract from my engineering and producing career. Crazy but true! So thinking of ‘secret’ led
to all the slogans people got used to in the war: 'Careless talk costs lives',
'Walls have ears'… which led to ‘a blanket of secrecy.’ So there’s the name,
there’s the concept, a hole in one! After that, the names for each of us came
from the idea of spies code names. All a
bit silly, but it worked.
ANDREW: It was a brilliant concept but as
the whole thing collapsed anyway, I don’t think it did us any harm. In fact, it helped to create a kind of “cult”
image for the band.
PETE: A difficult concept to market but,
at the time, I thought it was brilliant!
SPAZ: The album certainly contains plenty
of electronic elements, but how did you feel about the project being lumped in
with the Synthpop brigade?
PETE: True, the album has been branded
Synthpop by some commentators but there was a lot of real playing going
on. We were always looking for
performance and spontaneity.
ROGER: I didn’t think about that. We had a unique sound.
ANDREW: We were certainly ahead of our
time in the way we approached the writing and recording process. I don’t suppose we could be referred to as
much else by those who pigeon hole music.
But it didn’t sum us up very well.
We were much better than that. I
wouldn’t call a Casio 202 and a tiny little drum machine “plenty of electronic
elements.” The album was “played.” We
had no drummer and had to overdub different parts of a real kit to build the
rhythm tracks. No sequencers, no midi,
and no flying faders mind you - we had a filthy great desk and Studer A80 24
track machine to play with. I suppose
they’re electronic.
SPAZ: How were the songs written and
recorded? Did one of you come up with an
idea and the three of you would build upon it?
ANDREW: Pete and I would get together
at his place in Blackheath and just mess around with a Dr. Rhythm drum machine, a Casio 202, a guitar,
an acoustic and bass to see what would happen.
Then we started to build the ideas on a four track reel to reel. It didn’t always work but that was the usual
approach to the things we wrote together.
Once we had an idea on tape, Roger would listen to it and, once the deal
was struck, then we went to Ampro Studios in Shepherds Bush to do proper 24
track versions.
PETE: It was a blast - lots of ideas
bouncing around. The backing tracks were
always being updated but when it felt right, it was time for me to record my
vocals. Sometimes I couldn’t better the
guide lead vocal so it would survive.
Next was my backing vocals which took ages, sometimes up to 24 tracks mixed
down to stereo pairs. In those days, the
recording process was long and laborious.
Roger was very much the technical brains behind the project. He would engineer and use his studio
expertise to create a recording environment that was relaxed and fluid.
ROGER: Andy had a bigger input with the
finished article, although he might not admit it. We all, Jake, me, his publisher and various
A&R people involved in the project, could see the enormous talent in him.
SPAZ: How did you get involved with Jack Hues
and Hogg from Huang Chung? Was “Lovers” ever
recorded (though unreleased) by Huang Chung or did they write that for B.O.S.?
ANDREW: I didn’t
know Jack. He was a friend of Pete and
Roger’s who
had worked with Huang Chung before.
PETE: I had known Jack for some
years. We even did some gigs together
in South East London. One day, he played
me a new song called "Lovers." He said it wasn’t
suitable for his Huang Chung project and he suggested I try it. I loved the song and Roger and Andy
agreed.
ROGER: They were all part of the Deptford
posse, Pete, Jack, Chris and Glen from Squeeze.
They all knew each other and their wives all knew each other. Jack didn’t think that “Lovers” was
right for Huang Chung and offered it to Pete.
I wanted it orchestrated and asked Jack to do the arrangements, which he
was delighted to do.
PETE: Jack wrote a fabulous orchestral
score. I still have the original
manuscript.
ROGER: He also conducted the string
section. I'll never forget the string
players, after getting the take in the studio, all taping their bows on their
music stands, clapping for Jack’s first time conducting and what
they felt was a good score.
SPAZ: “Say You Will”
received a lot of attention when it was released as a single and is still
fondly remembered as your most well-known track. Were there any other songs off the album
that were earmarked as being the follow up single?
ROGER: “Close to Me”
SPAZ: The album was titled Walls Have Ears in the UK but Ears Have Walls in the U.S. Do you remember why the title change?
ANDREW: We got into the idea of mixing
things up a bit. I thought it went with
the concept but we had lengthy discussions as to whether anyone (America,
sorry!) would get it. I prefer Ears Have Walls: otherwise, it’s
just Elvis Presley.
SPAZ: How did the front and back cover
art come about?
PETE: When the album was ready for
release, we worked with the brilliant artist Barney Bubbles on the cover
design. He created a unique plasticine
model which was then photographed (The original model disintegrated shortly
after Barney’s
death in 1983). Photographer Brian Griffin went to great lengths to disguise
our identities. We ended up with a very
moody and evocative video for the single “Say You Will”
which was directed by Barney and lit by Brian in his studio where the whole
film production took place.
SPAZ: Was there a lot of material left
over from the album sessions?
ANDREW: There was quite a bit of material
overall. We had been very busy and
prolific little bunnies. The extra ideas
went on the second album but there are a few others floating around. I think Roger and Pete have numerous
cassettes of the four track stuff. I ate
mine.
ROGER: I will have some of them out as
exclusive tracks and later as part of the second album launch.
SPAZ: Had the band played live by this
point? Or were there at least plans to
play live?
ROGER: Not at that point. But during the making of the second album,
Jake came to Rockfield studios, where we were recording, and told us we were on
Tom Petty's world tour! We had to think about getting a band together.
ANDREW: Pete and I did one little gig at a
South London pub in Lee Green, The Old Tigers Head, to try things out. There were plans afoot, after the release, to
do a world tour supporting Petty but sadly not to be. That would have been a blast.
SPAZ: What is the story behind the
unreleased second album?
ANDREW: Jake was so convinced the first
album would be massive and we’d be too busy touring to get back to
the studio. So, after the first one was
finished, we took a short break and went back to Rockfield to lay down some
more tracks.
ROGER: Jake didn’t
feel we would have time to record and get it out in time otherwise. It features some amazing guest stars.
PETE: We couldn’t
wait to get back in the studio because we had so much new material and wanted
to keep the creative flow going as long as possible. Fortunately, Roger was able to get us back
into Rockfield again. We recorded a
number of new songs live in the studio with Attractions drummer Pete
Thomas.
ANDREW: Personally, I think the second
album had a great deal of promise and there are loads of tracks on it that
easily match Walls Have Ears.
SPAZ: Pete appears on Nick Lowe’s The
Abominable Showman album (produced by Roger), which also features an
unreleased Blanket Of Secrecy song. Was
Roger working with Nick at the same time as the B.O.S. album?
ROGER: I was producing the album with
Nick. I brought Pete in for backing
vocals. Pete also did the backups for
me on a Robert Ellis Orrall duet with Carlene Carter.
PETE: Yes, Nick covered one of our songs,
"Cool Reaction.”
SPAZ: What happened after the Walls Have Ears release?
ANDREW: You know that famous image of an
Angel on one shoulder and the Devil on the other whispering in our ears? Well
let’s
just say that the Devil won out. I
should state that this was not the whole band/team. It came totally out of the blue and
devastated us especially Roger and I, Jake was particularly hit.
PETE: I was tempted by other offers. Basically, I lost my way and I regret it!
SPAZ: What other projects have you been
involved with since B.O.S.’
demise?
ANDREW: I went on to work with Simon Byrne and Roger on an album
Called Dream Crazy which got signed up to Epic Records in New York. We wrote “Heart And Soul”, which appeared on The Monkees album Pool It, which Roger
produced. After that, I did some work
with a few of Roger’s projects, helping singers with backing tracks and
ideas. I did an audition for The Kim Wilde band but I was too good! Kim
was cool though and a friend of Carlene
Carter, who the Blankets worked with on C’est C Bon. I helped produce Dr. And The Medics’
first single and recorded (in my studio) a few local bands. I fell in love and quit the biz. I much prefer being with Alex.
PETE: I carried on songwriting and got
involved with a music library. In 2006,
I moved to France and teamed up with some brilliant French musicians. I’ve written loads of new songs and
done many concerts. I’m
really enjoying playing live again.
ROGER: I carried on engineering and
producing, later setting up my own production company in New York. I then
drifted into management, signing Tom McRae to BMG. He basically began the whole
singer/songwriter movement. Then Irish band Bell X1 signing to Island/Universal. They
became the second biggest band out of Ireland after U2 (whom they supported),
playing to stadium audiences and gaining a following around the world.
SPAZ: Were you aware of the band’s
internet presence over the years and the well-deserved respect and devotion of
your fans? Are you still surprised by the effect your music has had on people?
Gary Maher certainly made his mark by ‘exposing’ the
band’s
members a while back…
ANDREW: I only became aware of it when
I did a free trial on the internet and found Gary’s page. It was through him that Roger and I got back
in touch after a 12 year gap. I AM BLOWN
AWAY by the fact that we have any fans at all.
I had no idea that the music had had such an effect. In fact, Gary almost made me cry at one
point telling me how much he loved the album.
When he found out I was only 22 at the time, he commented on how mature
an album it was for someone so young to be involved in. Mature? Moi? Anyway, I count Gary as a real
inspiration as well, so there!
PETE: I’m surprised and very pleased that
the band has so much interest on the internet.
I’ve
spoken with Gary and really appreciate his devotion!
SPAZ: While you are all in touch these
days, did you manage to stay in contact over the years?
ROGER: I'd been in touch with Andrew but
not with Pete until recently.
ANDREW: We had previously got back together
as B.O.S. and some new songs were recorded but that was a long, long time
ago. I bumped into Pete at a giant DIY
store in Charlton and it turned out we had been living just round the corner
from each other (literally), in Plumstead SE18, for about 11 years! Anyway, I’ve
seen more of Roger than Pete.
PETE: When Roger told me he wanted to
remaster the album, I contacted Andy and suggested we write some new
stuff. Over the last six months, we’ve
written and recorded 16 new songs. I’ve
really enjoyed it. We did it all on the
internet, exchanging files and ideas on the web. You couldn’t do that in the ‘80s. Now, it’s up to Roger to mix it
SPAZ: What inspired Roger to go back and
remaster the album for release?
ROGER: Its part of an ongoing idea I have
to release a bunch of things I've been part of over the years.
ANDREW: For me, there is a need for
closure. A lot of time, money and hard,
although enjoyable, work went into the album and Roger applied all his many and
various talents to the tracks. Indeed
the whole album is a part of him and it only exists, as it does, because of
him. He is a consummate professional as
well as a creative genius and therefore, this is something that just has to be
done… although,
he would probably never admit it. That’s my
opinion anyway.
SPAZ: How do you feel about the project
now, some 30 years later? Do you believe
that it has stood the test of time?
ROGER: Yes I do, strangely. I'm not sure if it’s
down to the fact that I know the work so totally. Every fader push, EQ tweak, FX, performance,
and over dub…
every little detail. But I do think we
had captured a certain magic between us, we created something new and
unique. It was a magical moment.
PETE: I feel the album still sounds
original. Memorable songs, great
performances, great vocals, brilliant production.
ANDREW: I still love the whole idea of
having been involved on such an amazing project. Project seems such a mercenary term. It was the best and the worst of my musical
experience. And we wouldn’t be
having this conversation if it hadn’t stood the test of time.
SPAZ: With the digital re-release of Walls Have Ears, what is next for B.O.S.?
ANDREW: The release of the previously
unheard second album but only the Good Lord knows exactly what then. If it takes off to a reasonable degree then
there are other songs all ready to go, enough for a third album. Anyone interested in funding it?
PETE: Hopefully, at least three more
albums. Keep the dream alive!
SPAZ: If possible, can you share your
memories of the album’s
tracks?
“Say
You Will”
ROGER: I knew this was the hit. I wanted the acoustic guitar riff to sound
like an earthquake. I spent ages choosing
the right ad-libs from Pete at the end of the song. He sounds amazing.
ANDREW: Without a shadow of a doubt at
all, “Say You Will” is the most fantastic song I have ever worked on. The bass line and acoustic guitar riff are
totally brilliant. The vocals awesome… I
remember being face down on the desk with the monitors at full blast not able
to believe what I was hearing. There are
some pretty good sound systems around today but to be in the control room at
Rockfield studios on the night the mix got played back blows them all
away. There I said it - best musical
moment in my life.
“Young Heart”
ANDREW: “Young Heart” has
a fast and finger-stretching bass part which I wrote in the key of F! I can
still feel the pain in my left hand today, but a great Pop song and well worth
the blisters.
“Love
Me Too”
ANDREW: Another great and quite fast song
with a brilliant vocal from Pete… again!
“Remember
Me And You”
ANDREW: “Remember Me And You” was
great fun to record, a real rolling along track with a brill catchy
chorus.
“Long
Cool Glass”
ANDREW: “Long Cool Glass” had
a bottle of wine being opened on tape.
We deliberately got the timing wrong so we could drink a load of the
stuff. Unfortunately, the more we
drank, the more out of sync we got. We
got there in the end but felt very ill the next day..
“Photograph”
ANDREW: “Photograph” is
one of my favorite tracks. I love the
bass line and guitar echoes. And if you
believe in that sort of thing, the lyrics are almost prophetic. “You could have been a star,
travelled the world far and wide.”
“Yo Yo”
ANDREW: Pete wrote “Yo Yo” with
an old mate of ours, Ron Chadwick, who was a surrealist artist, I have a
painting of his hanging on the wall in my music room. It’s the Beatles with storm clouds
gathering in the distance. Again, very
fast with loads and loads of vocals and a very infectious feel and chorus.
“Close
To Me”
ANDREW: “Close To Me” is
another favorite. Fantastic feel and the
sounds are mainly from the old Casio which made the track so special, too much
of anything else would have lost it.
“Something
I Don’t
Need”
ANDREW: Good idea. I remember Roger spending hours creating the
effects on the vocals in the middle section “Ahhs.” Great sound.
“Tell
Me Baby”
ANDREW: Real rocky track which tested Pete’s
stamina, not! He sang this with relish and real feeling as well. Late night session I recall.
“Lovers”
ANDREW: Like I said before, great string
arrangement by a very skilled musician (Jack Hues) and a fantastic job by Roger
who put his heart and soul into the track.
ROGER: Great vocal performance and great
string arrangements.
“B.O.S.
Theme”
ANDREW: “B.O.S. Theme” started life with me, I think, but
grew in the studio. Started out as a bit
of fun but ended up with a very haunting sound. I loved playing on it. It should have been picked up for TV.
ROGER: I recorded rain outside the studio
and mixed it in to the chorus. Andy’s
bass parts are just great and made the tune.
“Feather
In My Hand”
ANDREW: Another killer riff with some cool
power chords in the chorus, quirky vocal in the verse and another excellent
example of Pete’s
vocal range.
“In
The Garden”
ANDREW: I seem to recall that grew out of
something else and starts to point to where we were going. Weird and wonderful… that’s
really all I can say.
ROGER: The backing track was from something
else I had been working on. Everything
else was pasted on top.
Thirty years after the album was released, Roger has gone back to the
original tapes and remastered them.
While there have been numerous bootleg versions floating around on the
internet over the past decade, the band is officially reissuing the album as it
was meant to be heard. The warmth of the recording and the full and crisp sound
brings the band’s music to life again.
The timelessness of the songwriting and performances still sound fresh
and invigorating. This release will be
rapturously embraced by their long-time fans, but it also gives a whole new
generation the opportunity to hear one of the greatest unsung Pop albums of the
past 30 years.
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