Album: Jeopardy
Year: 1980
Label: Korova
Producer: Nick Robbins, artist
Best song: "Unwritten Law" OR "I Can't Escape Myself"
A little bit punk, a little bit not.
If you've ever heard any comparisons between The Sound and Joy Division, this is where those comparisons stem from. The mechanical metallic feelings that songs like "I Can't Escape Myself" and "Desire" evoke are quite similar to those Manchester fellows -- but that's really where comparing other bands to The Sound should end. Sure, they were a product of their time and it shows. Basically a punk band that was tired of playing punk. Their punk roots come out in fast tempo rockers like "Words Fail Me," "Heyday" and "Resistance." But the ambition to be more than just a punk band shines through on some of the more moody tracks like "Missiles" and "Hour Of Need." Because of this it makes for a somewhat uneven record. Highlights are quite clear and the record is great is small doses, but just kind of overwhelming all at once. Overall, it's quite a debut album. One that shows where the band had been and hints at the potential they would finally achieve a few years down the line.
~Austin
ABOUT THE REMASTERED EDITION...
In 2002, Renascent reissued the album digitally remastered, sounding superb (the only discrepency I have is with "Missiles" which sounds like it was recorded differently than the rest of the album), and with an EP release appended (1981's Live Instinct). The EP is four songs (two from the proper album, the other two from the band's debut EP release, Physical World) recorded from a live performance in early 1981. It's a pretty good live document of the band and contains two songs you probably wouldn't find otherwise.
Album: From The Lion's Mouth
Year: 1981
Label: Korova
Producer: Hugh Jones, artist
Best song: "Contact The Fact" OR "Winning"
OK, we're here now.
This is where the patience pays off with The Sound. And considering this is only their second album, that seems sort of like a ridiculous thing to say. But this is where the band really came into their own and found their signature sound. The statement is made right off the bat with the triumphant pound of "Winning." A song that would become a live show opener until the band's demise six years later, it's easily one of their best ever songs. And it's an important song because it distances The Sound from their gloom mongering contemporaries. While their peers were known to have doomy outlooks on life, Adrian Borland declares, "I was going to drown, then I started swimming. I was going down, then I started winning." The song is also a good reference point for how the rest of the album sounds. Mostly mid-tempo numbers with atmospheric, minimal keyboards, the bass taking lead melody more often than not and catchy, toned down guitar riffs. There are no indications that they used to be a punk band to be found here. Practically everything about the album seems right. Generally, most bands and artists have at least one record where all the right pieces seem to fall into exactly the right place at exactly the right time. That's this record for The Sound. Every song is a winner, the band is incredibly tight and the track sequencing is flawless.
~Austin
ABOUT THE REMASTERED EDITION...
Renascent sort of stayed true to Adrian Borland's wish of reissuing the album as is with nothing extra by placing a hidden track titled "Hothouse" at the end of the disc. As if the album weren't good enough already, the track (which was a non-album single) only makes it better. The remastering, again, is fantastic.
Album: All Fall Down
Year: 1982
Label: Warner
Producer: artist
Best song: "Party of the Mind" OR "Song And Dance"
Hey record label, fuck off.
Somewhere between the release of From The Lion's Mouth and this album, the band was moved up to Korova's parent company, Warner Music. The major label tried to coax the band into recording some hits because, as we all know, critical praise doesn't always sell records. The band responded with this. THIS. Not exactly Metal Machine Music, but by no means an appeasement to a record label wanting a hit. Things start on a relatively accessible note with "Party of the Mind" being among the band's best of their catchier material and the slower, more atmospheric, acoustic guitar driven "Monument." Kind of a surprise, actually, because now the songs sound like very catchy and radio-worthy tracks. But from there, things take a turn for the different. Not bad, not good. Just different. All Fall Down is one of those records that you will either be disinterested with or heavily intruiged by right off the bat. Either way, you won't like it on the first listen as much you will on the second, third, fourth, etc. The songs as a whole are very strong, they just take a while to get used to. Where previous Sound material was very clearly and conventionally written, some of these songs avoid choruses and traditional structure altogether. Some songs are so layered, you may not notice certain parts, even after several listens. From straight pop moments ("Party of the Mind" and "In Suspense") to challneging post-punk dissonances ("All Fall Down" and "Calling The New Tune") to flat out epics ("Glass and Smoke"), it's a mixed bag for sure. I can't imagine what I'd thought of it had it been the first album of theirs I heard, but it wasn't. And even now I'd say it's one of their most challenging pieces, and I also think it's their best. So there.
~Austin
ABOUT THE REMASTERED EDITION...
Renascent graciously added three tracks to the 2001 reissue that were originally left on the cutting room floor. They are all great and add much to the original album, the best of the lot being the chilling "As Feeling Dies."
Album: Shock of Daylight EP
Year: 1984
Label: Statik
Producer: Pat Collier, artist
Best song: "Dreams Then Plans"
We are, like, SO indy, bro!
Surprise! The last record got them dropped from their label. Shocker. Well, they inked a deal with indy label Statik and released this EP in 1984, sounding like they just drank a fifth or Gatorade. None of the gloomy overtones that loomed over All Fall Down are present here. All of the songs have clear verses and choruses, jangle with catchy melodies, and have a very easy going attitude about them. The Sound Lite, you might ask? Not really. While they've definitely got a better attitude this time around, it's still the same band. And they're still writing the same strong material. The whole of the potential showcased on this EP would be filled out the following year with the release of their next full length but this is a fine document of a previously unsure band finding its balance again.
~Austin
Album: Heads & Hearts
Year: 1985
Label: Statik
Producer: Wally Brill, artist
Best song: "Total Recall" OR "One Thousand Reasons"
Let's make an album out of this new found self esteem!
Right off the bat, Adrian Borland sounds so damn sure of himself. And to no surprise, really, because the previous year's EP release (Shock of Daylight) found the band in their most confident form in years. A lot of the same formulas used on From The Lion's Mouth are used on this album as well: mostly mid-tempos, heavy lead basslines, and catchy jangly guitar riffs. Adrian Borland has shifted his topic matter ever so slightly as well to revolve more around personal relationships and interactions. The songs are some of the band's finest compositions and the production provided doesn't hinder them at all (which is quite nice, considering other records from the time sound very dated). At once, it's the band's most accomplished and accessible work to date. It sounds exactly like what you'd expect a band with The Sound's history to sound like at this point in time; and I mean that in the best possible way.
~Austin
Album: Counting The Days
Year: 1986
Label: Statik
Producer: artist
Best song: Well, uhhhmm...
Totally unnecessary compilation.
I suppose at the time it was useful, but even that seems unlikely. This was a compilation released by Statik in 1986, spanning The Sound's entire career. Seems funny saying that because it takes only a few songs from their first two albums, completely ignores All Fall Down and focuses mainly on Shock of Daylight and Heads & Hearts, which were still fairly new releases at the time. I guess if you're a collector, you might be interested in finding this (good luck!), but you're probably better off just going with Renascent's recent reissues because this compilation includes nothing that they haven't remastered and subsequently improved upon.
~Austin
Album: In The Hothouse
Year: 1986
Label: Statik
Producer: artist
Best song: I'm really having a hard time choosing...
The obligatory live album...
Being that they come off so polished and accomplished on their studio recordings, it's kind of a shock to hear The Sound come out right off the bat and rock a little heavy, mess ups and all, on "Winning." Adrian Borland sounds like he's singing to save his own life, really giving the tune a completely different life. And most of the record goes the same route. The setlist is generally excellent, with all of their albums getting a least a little representation; All Fall Down receiving only one song ("Red Paint"), the main focus being on the then newer Heads & Hearts material and there's a few numbers from the first two albums album as well ("Missiles" in particular receives an excellent rendition). Even "Prove Me Wrong" gets an early run through here; it would end up on the band's next studio record. As most live albums go, mostly only fans will be interested but the band gives the material just enough of an edge and shakes things up just enough to make this an excellent live document.
~Austin
ABOUT THE REMASTERED EDITION...
Renascent reissued the album in 1997, remastered with two bonus tracks: live renditions of "Monument" and "The Fire" from a 1994 performance.
Album: Thunder Up
Year: 1987
Label: Play It Again
Producer: artist
Best song: "Barria Alta," "Shot Up And Shut Down" OR "I Give You Pain"
The best danged swan song I've ever heard.
A label switch, but no switch in sound, as this album picks up right where Heads & Hearts left off. Rumors say that, at the time, the band thought it to be their finest work. I could see how someone would say that; it's their most polished album by far. It's quite an interesting record within the band's discography, especially considering it would turn out to be their last. It seems like a transition record, like something really good was just around the corner. But it wasn't meant to be as the band would call it quits, not even bothering to tour for the record. It's quite consistent especially on side two, sort of retreating to their darker side (think Lion's Mouth-All Fall Down era). Specifically, the last three tracks find the band seemingly previewing a developing sound that could have possibly evolved into something great. Instead, it's a prototype that serves as a lasting document of how great the band was and how much greater they could've become.
~Austin
HOW TO ACQUIRE THE ALBUM...
Even though they haven't reissued it, Renascent has this album for sale in the store on their wesbite (click the "Shop" link at the top).
Album: Shock of Daylight AND Heads & Hearts
Year: 1996
Label: Renascnet
Producer: Pat Collier, Wally Brill, artist
Best song: So many choices...!
Great two-fer with previously unreleased tracks as well!
In 1996, Renascent reissued the band's 1984 EP and 1985 full length on one disc with two extra bonus tracks. It makes for a great 19 track disc that plays out well like the consistent compilation that it is. Since the originals are practically impossible to find, this compilation is invaluable.
~Austin
Album: Propaganda
Year: 1999
Label: Renascnet
Producer: artist
Best song: "Cost Of Living," "Physical World" OR "Missiles"
The Outsiders' last album or The Sound's first album? You decide.
Renascent issued this collection of early home recordings made in 1979 by a makeshift lineup of either The Outsiders (the band from which The Sound was born) or The Sound (the band ADrian Borland formed after the demise of The Outsiders). It was recorded when Adrian Borland was tired of playing punk and was looking for his next muse. The band hasn't quite found it yet but these home recordings are of interest because they are surprisingly raw and, more often than not, they rock out a little bit. Borland's biggest influences are more apparent here than on any other of The Sound's recordings: The Velvet Underground, The Stooges, and artsy folks like Patti Smith. As is the case for all of The Sound's material, the influences are clear but they do not sound derivative. The main thing with this album is that it seems like the sort of thing only devoted fans would like to hear -- which is why I personally passed on it for so long. But I was mistaken because to me it sounds perfectly at home as The Sound's proper first album. Some early versions of Jeoprady tracks show up, most of them fairly similar, but all of them more guitar oriented than they would end up. Overall, this is The Sound at their most raw and guitar heavy. Keyboards and Bi Marshall's various woodwinds are used very sparingly, if at all on some songs. It's quite a good record, basically. The fidelity of the recordings is less than stellar, but that's to be expected because it was recorded in the Borland house, with Adrian's father performing engineer's duties and the band's only means of communicaing with him being opening the door and yelling down the staircase. Some interesting sidenotes: the liner notes are absolutely fascinating, written entirely by Adrian Borland, only months before he took his own life; and the album's original release date was the exact same day that Adrian sadly did just that. Far from just a footnote.
~Austin
Album: The BBC Recordings
Year: 2004
Label: Renascnet
Producer: Dale Griffin, Tony Wilson, artist
Best song: "I Can't Escape Myself," "Unwritten Law" OR "Missiles"
Assorted radio and live recordings from the band's peak years.
This is quite a treat for fans, let me say that right off the bat. It's a two disc set, remastered brilliantly, of some of the band's recordings they did for the BBC radio network. The first disc is comprised of live in studio re-recordings from the band's earliest days; 1980 and 1981, respectively, and they pull out some of the album standouts from each year. They really rip through the majority of the tunes with a lot of energy, giving "Unwritten Law and "New Dark Age" in particular definitive renditions. The second disc contains two short recorded live for radio broadcast performances; the first one from around Lion's Mouth-era and the second from Heads & Hearts-era (the second one is especially great, finding Adrian in a particularly angry and inspired mood). Drummer Mike Dudley's liner notes are equally as entertaining (as they are on all the band's reissues where he wrote them) and they even find him declaring, "I can't believe how good we sound!" In the end though, it's a fantastic treat for fans who simply can't get enough (like yours truly), but of little interest to casual listeners.
~Austin
