One record at a time: 349. Orchestral Manoeuvres in the Dark - Bauhaus Staircase

With this post we reach the final OMD records in my collection. "Bauhaus Staircase" was released in October 2023 and thanks the myriad of formats available it managed to reach number 2 in the UK album charts. 

I own the 'first edition' numbered yellow vinyl that was signed by Andy and Paul along with the split red and grey edition that was sold exclusively via their webstore. The 'first edition' remains sealed but the split colour copy is for playing.

At the time of release the band suggested this album could be their last studio recording. Whilst I have a feeing we will see a number of live albums released at the end of the current tour, it is a shame to think that another one of the artists I admire may choose to call it a day.

As with most of their recent albums "Bauhaus Staircase" offers us some great pop songs with heavy Kraftwerk influences. There are also one or two disposable instrumentals, a 'borrowed' idea and an old song that has been given a tweak. It has almost become the OMD album formula.

Highlights are undoubtedly the title track, "Look at you now", "Kleptocracy" and the magnificent "Veruschka". The single "Don't Go" was originally released to support the "Souvenir" compilation back in 2019 so its appearance here is a little surprising. Whilst admitting you like this song is a little frowned upon in the OMD fan community, I can't help but enjoy it. It might be best to describe "Slow Train" as 'being inspired' by Goldfrapp's "Train" - a track that permanently changed my eardrums when I heard it live back in 2010.

Personally I'm not too enamoured with the patronising "Anthropocene" or the equally annoying "Evolution of the Species", but they don't dent the fortunes of the album too much. If this is to be their last album then OMD can say the went out on a high. 4/5

One record at a time: 348. Orchestral Manoeuvres in the Dark - Atmospheric and Greatest Hits - Live at the Royal Albert Hall

Released in 2023 this recording was created the previous year during two nights at the famed Royal Albert Hall. This version is pressed on three orange LPs and housed in an generous tri-fold sleeve - it's a pretty lavish package. 

Whilst this is yet another Live Here Now album, it is much better than the previous ones I have looked at. For a start the sleeve design is much improved and this record also seems to have actually received a full post production mix. We know this album was properly mixed as its release was delayed as a result of Paul Hamphreys moving house and his studio not being set up. 

There is another Royal Albert Hall Live Here Now album by OMD dating back to 2016, but this newer record seems to justify its existence by presenting different content. As the title suggests, there is a mixture of the usual hits and some tracks the band consider to be atmospheric. The hits are easy to discern and most of the usual suspects are present and correct. "Ghost Star", "Statues" and "Stanlow" do seem to fit neatly into the 'atmospheric' selection but I find it harder to discern how "Bunker Soldiers", "Red Frame / White Light" or even "Pretending to see the future" fit this category. 

Still, the mix is good and the performance polished. Whether this is enough to justify yet another live release is left to the individual to decide. 2/5

One record at a time: 347. Orchestral Manoeuvres in the Dark - Live At Eventim Hammersmith Apollo

This translucent blue, triple vinyl set only exists for one reason - to make some cash. There's little artistic merit in this album as, whilst good, the performance is unremarkable. Essentially this is just another Live Here Now cash cow. 

For those who are unfamiliar with the concept, Live Here Now are a label that record concerts from the mixing desk and then release them under a licensing agreement with the artist. The benefit of this service is that albums can be made available almost immediately after the concert, with the down side being the unpolished and raw nature of the recordings.

I have mentioned the use of post production on live albums on this blog before. It's no secret that overdubs and edits are often used to present the best possible version of a live recording possible. Sometimes these changes amount to a little touching up (e.g. "101" by Depeche Mode or "Physical Presence" by Level 42) but it can also extend to outright subterfuge (e.g. "Destination Docklands" by Jean Michel Jarre or "Public Pressure" by Yellow Magic Orchestra).

This record however is totally unvarnished and every slight issue you would forgive in a live setting is preserved on disc. For instance, the snare drum on "Isotype" is far too loud and cuts into my eardrum like a razor blade. In fact all the live elements are allowed to dominate with the backing tracks left languishing in the background. The credits for the record do suggest Paul Humphreys mixed it, but it falls far below his usual standard if that is true. As this is such a mediocre recording, you might wonder why they went to all the trouble of pressing it on the audiophile's format of choice. Even more curious is my decision to buy it. 2/5

One record at a time: 346. Orchestral Manoeuvres in the Dark - Souvenir

2019 was the fortieth year of OMD and this is the inevitable singles compilation to mark the anniversary. 

Here we have no less than three slabs of Optimal Media's finest heavyweight vinyl with a cut by Miles Showell at Abbey Road Studios. Yes the packaging is a little lifeless and dull, but the music sounds extraordinary and I have no hesitation in recommending this pressing. Looking back at the invoice I can see I paid a mere £25 for this album. What a bargain. 

The only minor quibble is the fact that the sleeve is rather large and doesn't fit into any conventional protective sleeves - but when that is the worst you can say of a record, you know it must be good.

"Souvenir" is quite comprehensive and features forgotten singles such as "Red Frame/White Light", "Shame" and "Never Turn Away" which are often omitted from lesser compilations. The initiated will appreciate the more exhaustive track listing and the passing fan will still be presented with all the hits they crave. Forty tacks is a lot to swallow in one go, but as the songs are presented chronologically and spread across three discs, this set is easy to dip in and out of. Highly recommended. 4/5

One record at a time: 345. Orchestral Manoeuvres in the Dark - Live With The Royal Liverpool Philharmonic Orchestra

In 2017 OMD released a single called "What Have We Done". If that song had been made available a year later, it wouldn't have been unreasonable to assume it was a reference to this record.

You see "Live With The Royal Liverpool Philharmonic Orchestra" is something of a car crash and is probably the worst thing OMD have ever put out. Not only does this album sound bad, but the route to purchasing it also proved to be tortuous for me.

Back in 2018 I was an avid user of the Pledge Music platform and when this album was launched I decided to back it. What I didn't realise was that Pledge Music had begun experiencing severe financial issues and projects had begun to fall into trouble. 

On the scheduled release day this album was made available digitally with a promise of the vinyl arriving in the near future. However, as time went on it became increasingly apparent that I wasn't going to receive my records. From what I can discern, Pledge Music decided to use everyone's money (including that belonging to some artists) to keep themselves afloat and had stopped fulfilling orders.

To be honest, having heard the digital files of this album, I wasn't too worried about the absence of my triple clear vinyl and was resigned to the financial loss. Pledge Music was put into administration in the summer of 2019 and closed its doors soon after. During the death throws of the business I think there must some kind of clear out as my order was finally posted some six months after it was promised. I was both relieved and crestfallen in equal measure.

OMD seem to be entering into the same cycle that Gary Numan is stuck in where he releases an album, embarks on an extensive tour and then releases at least one (sometimes more) live album before starting the process all over again. I understand that the income model for musicians has changed and that nobody is forcing me to buy these records, but it does besmirch their legacy just a little bit. OMD existed for more than twenty years and ten studio albums without feeling the need to release a live recording. Yet since they reformed in 2006, we have had to endure at least seven of them.

In an attempt to break the monotony of their concerts and live albums, OMD decided to perform for two nights with the The Royal Liverpool Philharmonic Orchestra. The trouble with this idea is that OMD have never really used an orchestra in any of their records and very few of their songs lend themselves to such arrangements. When other artists attempt this sort of thing they tend to use the orchestra to augment the original production and create a more vibrant sound. "Orchesography" by Wang Chung or "Concrete" by Pet Shop Boys or are good examples of this approach. 

Unfortunately OMD went in a different direction and decided to rely solely on truly tortuous orchestral arrangements and some live vocals. Half of the time the orchestra sound out of tune with both each other and the vocalists. The finished recording is only slight above bootleg quality and it doesn't flinch in presenting every rough edge and bum note. Terrible stuff. 1/5

One record at a time: 344. Orchestral Manoeuvres in the Dark - The Punishment of Luxury

Here we have the box set of "The Punishment of Luxury" that featured an exclusive transparent red LP alongside a couple of CDs and a DVD. 

By the time this album came around in 2017 it felt like OMD had settled into a natural cadence of releasing and touring new material every 3-4 years. Since reforming in 2006 the band had also begun to move to an increasingly electronic sound and this record moves us a step further down that road.

If I had to guess I would say that Paul and Andy's favourite Kraftwerk album is "The Man Machine" as this record borrows from every motif, riff and beat on that seminal masterpiece. In fact, you could argue that OMD were carrying the flag for the Düsseldorf electro pioneers at this point as they were the only artists left producing pure electro-pop with commercial appeal.

The title track that opens proceedings is an attack on the vacuous pop culture and social media nonsense some people seem to fill their lives with. The second song "Isotype" is quite different lyrically as it is an ode to the International System of Typographic Picture Education, but both tracks are firmly rooted in the same electronic soil. The magnificent "What Have We Done" is less charged and makes for a nice change of pace, but you can still hear the electronic sensibilities straining to burst out. Honourable mentions must also go to "The View From Here" and the marvellous "One More Time" which are great songs with clear and precise production.

Aside from these highlights there is a series of shorter and largely instrumental tracks that tackle subjects such as art history, machine guns and industrialisation. There's an unexpected expletive amongst the synths of  "Kiss Kiss Bang Bang" and only "Robot Man" stands out for all the wrong reasons.

This is a record of almost unadulterated synth heaven where only the occasional blast of bass guitar is allowed to peek through the digital sheen. Whilst this sleek version of Kraftwerk does sound very good, it is a step away from the traditional sound of OMD. As much as I love the electronic nature of this music, it might have benefited from being dialled back a tiny bit to reveal some of the grit below the surface.  4/5

One record at a time: 343. Orchestral Manoeuvres in the Dark - English Electric

Having re-established themselves with their previous album, OMD upped the ante with "English Electric" in 2013. This is the original 'limited edition' LP that even came with a free CD (it doesn't seem that long ago that this used to happen). The sleeve is a trademark OMD effort with a large die cut window that uses the inner sleeve to compete the image. Unfortunately the designer didn't take the opportunity to put an drawing of an English Electric DP1 prototype train on the front, but you can't have everything.

There's no doubt that this record is a concerted effort to recapture the authentic OMD sound and return them to the electronic music fold. Or as Paul Humphreys described it, "Get rid of all the organic stuff."

The Kraftwerk-esque "Metroland" is simply superb and instantly provides evidence that Paul was more closely involved in the creative process this time around. The Kraftwerk influence continues as they decide to resurrect the Electric Music track "Kissing the Machine" that Andy co-wrote with Karl Bartos some twenty years before. Whilst this version is a good effort, I can't really see why they chose to include it. The fact that there are four new songs included on the CD single of "Night Café" suggests there was more than enough material lying around, so maybe they just liked the song so much they felt compelled to include it.

"Dresden" lays bare the pain Andy faced in his personal life and it sounds like "Stay With Me" was Paul's opportunity to do the same. Both are good songs with strong melodic components and their contrasting styles make for welcome variety. Once again we see a historically important woman used as a metaphor on "Helen of Troy" and "Our System" is yet more Kling-Klang infused goodness.

Another feature of this record is the inclusion of short instrumental pieces. Whilst the tracks themselves are pleasing, I'm not a fan of leaving little bits and pieces dotted around an album. But then OMD have never really been about conforming and following the crowd, so this sort of thing comes with the territory. Whilst I used to think this album was a little light on content, I now see it is actually rather concise and doesn't outstay its welcome. For me, the move to electronic music was most welcome and this is a really good album as a result. 4/5

One record at a time: 342. Orchestral Manoeuvres in the Dark - History of Modern

What better way to celebrate three years of working through my record collection than with an album titled "History of Modern"?

Andy and Paul reformed Orchestral Manoeuvres in the Dark in 2006 and released this album four years later. Originally I bought the box set that included a double LP with a unique sleeve, but more recently I have purchased the 2023 reissue on white vinyl too.

The tracks included here are a mixture of previously discarded material and some new songs of varying merit. Of the older material "Sister Mary Says" is purported to have been composed in 1981 and there is a tacit suggestion it shares some of its DNA with "Enola Gay". The song sounds nothing like its illustrious predecessor and isn't really close to the quality the band used to generate; but it is a fair effort nonetheless. The single "If You Want It" is a leftover from Andy's work with Atomic Kitten and is another well executed if uninspiring song. The only tracks that really don't deserve to be on the record are "Sometimes" and the terrible "Pulse" which drag the overall quality of the record down quite steeply.

My favourite moments are "The Right Side?" and "Green" which sound like they had a much greater input from Paul Humphreys. There's a fantastic love song to four German middle aged men in the form of "RFWK" and the title track has an infectious melody. When I went to see them play on the tour that accompanied this record, it felt like there was a new energy in the air. This record is far from perfect, but it did help solidify relationships in the band and gave sufficient encouragement for them to continue to expand their oeuvre. 3/5

One record at a time: 341. Orchestral Manoeuvres in the Dark - Universal

The original LP of "Universal" from 1996 is a collector's item that can fetch hundreds of pounds. Realistically, the 2021 reissue we have here is the only way the majority of us will be able to listen to this album from vinyl. I purchased a copy of this record as soon as it was made available, but the second one only came into my possession a few weeks ago. 

Whilst looking at the OMD online store I happened to see damaged stock being sold for a mere £5. The record itself was guaranteed to be in perfect condition but it was suggested the sleeve would be disfigured in some way. However, when I opened my parcel I found everything to be in perfect condition. So I now have two.

When I first bought this album on CD I wasn't that impressed by it. By 1996 it seemed the only genre of electronic music anyone was interested in was dance. Having failed with his attempt to dress up his composition for the dance floor on previous album "Liberator", Andy McCluskey decided to go to the dark side. In his own words, "It was important for me to abandon some of the electronic stuff: nobody in the mid‑1990s really wanted '80s synth‑pop any more, which is essentially how OMD were perceived."

In most contemporary articles the word "organic" seems to be used to describe the sound of this record. The aim seemed to be to create something akin to the sound of Pulp and Andy even went as far as hiring their engineering team to produce the record. The fact that some of the songs on this record were written alongside former Kraftwerk member Karl Bartos gives you some idea of just how deep the poison of Britpop sank into nineties music (Bartos himself would go on to create his own 'guitar pop' album a couple of years later, but I'm sure we will come back to that abomination eventually.)

The title track has a two minute long intro that suggests experimentation was not entirely dead, but the Korg M1 "Universe" preset really should have been put out to pasture years ago. As the song progresses we can hear guitars, bass and drums alongside dominant backing singers. A good song, but OMD this is not. Similarly the other single taken from the album, "Walking on the Milky Way" has a strong melody but its jangling guitars and repetitive nature detract from the overall effect.

Not content with borrowing from Britpop alone, McCluskey appropriates other genres from the nineties with the psychedelic rock of Primal Scream on "New Head" and the Asian influenced sounds of Kula Shaker imitated on "Very Close to Far Away". "Gospel of St Jude" is a noble effort, but such music doesn't suit an OMD record at all. This album seems to move through many styles, but none really fit.

On the plus side "Moon & the Sun" is a magnificent song and "That Was Then" has a tension that builds to a magical conclusion. "The Boy from the Chemist is here to see you" is close to the traditional sound of OMD and the use of Korg M1 piano on "Victory Waltz" may be lazy, but it does at least bring back memories of "Sugar Tax". 

Unfortunately this album was not a commercial success and a disillusioned Andy McCluskey decided to draw the curtains on OMD in 1996. Whilst I was sad at the demise of the band I understood why it needed to happen and there was plenty of new music to fill the void for me back in the nineties. I want to give this album a higher score, but without rose tinted spectacles or the ephemeral joy of receiving a copy for £5 I am forced to go low. 2/5

One record at a time: 340. Orchestral Manoeuvres in the Dark - Liberator

A few weeks ago I was idly flicking through eBay when I noticed a listing for the original pressing of "Liberator" priced at £12.99. "That's a fair price for a record that is getting scarcer," I thought. It was only as my eyes focused that I realised the price was actually £129.99. 

On further inspection I saw another copy for the slightly lower price of £109.99 and a signed copy at an eye watering £199.99. Admittedly these records don't seem to be selling, but the mean price on Discogs where they do sell is still around £30.

I find these prices staggering as I bought my copy ten years ago for the princely sum of £7 - and that was overpriced. I can only assume that all of the original copies have now been squirrelled away in people's record collections and demand has exceeded supply. Even a reissue in 2021 doesn't seem to have dented demand for the original. I guess this is just a sign of how the popularity of vinyl has increased in recent years.

The demand for this vinyl is quite puzzling as the album has been largely dismissed by Andy McCluskey as "messed up" and it doesn't seem to win many plaudits from fans either. Personally, I recall hearing the lead single "Stand Above Me" being played on the radio prior to the album's release and I was impressed enough to buy the CD single. This track is clearly an attempt to repeat the formula used by the hit "Sailing on the Seven Seas" but it falls well short of that high watermark. 

If we're honest we would have to say that most of the material on this album is pretty middling with few highs to be found. "Everyday", "Dollar Girl" and "Heaven Is" are all fairly good compositions but their execution is a bit confused. I'm not sure what possessed Andy to record a cover version of a Velvet Underground song and the faux rave of "Agnus Dei" is best forgotten. Yet, I like this album very much as it reminds me of the summer of 1993 and some good times in my life. Objectively this isn't one of the band's best, but it is special to me. Still not worth £130 though. 4/5

One record at a time: 339. Orchestral Manoeuvres in the Dark - Sugar Tax

The original line up of OMD disbanded in 1989 but rather than throw in the towel, Andy McCluskey decided to continue the project alone. Aspirations for success in America and an inclination towards experimentation were put to one side and the band were born anew.

In an attempt to garner radio play and mass appeal the bass guitar and drums were replaced by the sounds of the Korg M1 and contemporary dance beats. The new approach seemed to work as "Sugar Tax" racked up platinum sales across Europe and was seen as a return to form. My copy of the record is the original 1991 pressing as this is one of few OMD albums that hasn't seen a repress since its release.

The album opens with the lead single "Sailing on the Seven Seas" which is a pleasing pop romp with a distinctive drum refrain. This song proved to be a big hit and must have buoyed Andy's confidence in the new incarnation of OMD. There's more straight up dance-pop in the form of "Pandora's Box (It's a Long Way)" and "Call My Name" which have that all important radio friendly sound. Another highlight for me is "Walk Tall" which has a fantastic synth bassline, Kraftwerk inspired beats and Roland D-50 presets scattered in the mix.

Personally I have always been disappointed by the cover version of "Neon Lights" on this record as the use of an unrelated female singer robs it of any impact. "Apollo XI" is 100% certified album filler and I have never been a big fan of the single "Then You Turn Away".

A good chunk of the album reflects on the break up of the band and Andy's relationship with fellow founding member Paul Humphreys. "Was It Something I Said" and "All That Glitters" are classic break up songs that have some bite but they pull back from anything too caustic and bitter. "Big Town" is slated as a reflection of the music business but, like a lot of these songs, the lyrics are ambiguous enough to leave the interpretation open to the listener. 4/5

One record at a time: 338. Orchestral Manoeuvres in the Dark - The Best of OMD

Released in 1988 this compilation always struck me as as a strictly commercial enterprise that was driven by Virgin Records.

The fact that Paul and Andy are featured on the cover is an immediate giveaway that something was different here. The decision to focus purely on the band's biggest hits and ignore whole swathes of material also points to this being a purely mercenary exercise. The phrases "Best of" and "Greatest Hits" are not synonymous and to my mind this record is actually the latter.

The original  LP I am listening to here is a fairly straightforward affair that presents fourteen of their biggest hits in chronological order. There is no room for either of the singles from "Dazzle Ships" and only one effort from their most recent album "The Pacific Age" got a look in. The version of "Tesla Girls" on this record is cited as being being unique to this compilation but it doesn't sound substantially different to my ears.

On the plus side there is a new song called "Dreaming" which is really rather good. I have always been mystified as to why this song didn't do well in the charts as it ticks all the right boxes for me. I guess it might have missed out on radio play and as we know, if it wasn't on the radio in the eighties, it didn't sell.

Despite these shortcomings, the record company must have done something right as this album recorded triple platinum sales and remains their biggest seller to date. For a long time this was the career defining retrospective that closed the book on the original line up of OMD. As a whistle-stop tour of their early years this remains a fine addition to any collection; but if you want something that truly befitting the title "Best of", you will have to cast your net much wider. 4/5

One record at a time: 337. Orchestral Manoeuvres in the Dark - The Pacific Age

By the time "The Pacific Age" was released in 1986 OMD had left behind any notion of producing art and where firmly a cog in the commercial machine (blame "Dazzle Ships"). For a band that started out with much loftier ambitions, this position was clearly untenable and the break up of the group became an inevitability. 

Yet the hits this album does contain are amongst my favourites. The single "(Forever) Live and Die" is one of the very best songs the band has ever made and "We Love You" is pretty accomplished in both production and composition. I have always liked "Shame" and the final song "Watch Us Fall" makes for a perfect ending. The trouble is, everything that surrounds these nuggets is pretty bland stuff.

Opening track "Stay (The Black Horse and The Universal Wheel)" has probably the most pretentious title of any OMD song (and it has some strong competition in this regard) but it sounds like safe, middle of the road nonsense. To my mind OMD had moved so far away from their natural sound that it's a wonder they had any of their old fans left - but then this record was created to win over Mary-Lou in Kansas City and not the people who bought their debut back in 1979. 

"Southern" is an instrumental that screams, "I am album filler" and the Fairlight samples on "Flame of Hope" have not aged well at all. "Goddess of Love" was so disposable it was also used as a b-side and "The Dead Girls" is enough to send me to sleep. For a long time this album was the band's valedictory and it felt like they were going out with a whimper. 2/5

One record at a time: 336. Orchestral Manoeuvres in the Dark - Crush

1985's "Crush" saw OMD develop their polished pop with one eye firmly set on American audiences. In order to pander to their new target demographic, the band engaged the services of producer Stephen Hague and scattered guitar, acoustic drums and brass over their synth-pop creations. The plan didn't really work for America and it certainly didn't work for me.

In my youth I didn't have a high regard for this album as it wasn't electronic enough. My immature palette required strong hooks and lots of synthesisers (I guess it still does really) and this album just didn't deliver either. Today I can forgive the deficiencies in the execution and I have more patience to dig deeper, but this will never be my favourite OMD album. 

"So In Love" and "Secret" are obvious radio friendly singles that would grace any album from the era. If you dare to investigate further you will find that songs like "Women III" are their equal in every way and deserve a bigger audience. "88 Seconds to Greensboro" really shouldn't be any good as it is largely a live recording of the band playing conventional instruments - clearly an outrage to synth-pop - but it actually sounds quite good.

On the downside, the profanity in the title track is unnecessary and pulls an already dull piece down into the mud. I also detest the superficial commerciality of "Hold On" as it is cheesier than a mouse's packed lunch. Still, there is enough here to keep this album credible. 3/5

One record at a time: 335. Orchestral Manoeuvres in the Dark - Junk Culture

After the commercial disappointment of "Dazzle Ships", OMD seemed determined not to be found wanting next time around. Any pretensions to art were left behind and 1984's "Junk Culture" focussed on accessible pop. 

In order to realise their new album the band elected to use a Fairlight CMI and relocate to AIR studios in Montserrat. Inevitably these changes leached into the record and the result can be something of an acquired taste.

One of the best examples of this new sound is the dub influenced title track which employs the Fairlight, plenty of percussion and some annoying horns. At the extremity "All Wrapped Up" goes for the full calypso experience and even includes a brass arrangement courtesy of Tony Visconti. All well and good if you like that sort of thing, but unfortunately I do not.

The version of "White Trash" on the album is far too slow and nowhere near as good as the demo available on the deluxe CD edition. "Locomotion" and "Tesla Girls" are catchy and you can hear that producer Brian Tench was determined to deliver some radio friendly singles here. Another single "Never Turn Away" is rather dull, but at least it doesn't have steel drums or other incongruous embellishments. "Hard Day" finds Andy singing in a different key to the rest of the band which creates a rather tortuous experience for the listener.

Closing track "Talking Loud and Clear" is a bit twee but it does seem to find a closer balance between sounding pop whilst remaining true to the natural sound of the band. My copy of this LP has the free 7" single with "The Angel Keeps Turning (The Wheels of the Universe)" which is five minutes of self indulgence that is only of interest to hardcore fans. 2/5

One record at a time: 334. Orchestral Manoeuvres in the Dark - Dazzle Ships

What were Andy and Paul thinking when they released this record? Having achieved platinum sales and numerous plaudits for their third album, they decided to sacrifice their career at the alter of art for the follow up.

For OMD, commercial success did not equate to credibility and only a record made up of samples, sound collages and musique concrète could possibly restore their artistic integrity. 

Today you could argue that they achieved their goal as "Dazzle Ships" is seen as an intellectual album that pushed the boundaries of contemporary pop. Yet back in the day it was widely panned and did not sell well. I'm not even sure this record sells today as I have seen the recent 40th anniversary coloured vinyl edition being offered for as little as £15. 

So what is wrong with this album? Well, truth be told there isn't too much amiss. Tracks like "Time Zones", "The Romance of the Telescope" and "Silent Running" are really good compositions and the singles "Telegraph" and "Genetic Engineering" have true pop potential. What seems to drag the album down is the production. 

I definitely get the sense Andy and Paul had a new toy in the form of the EMU Emulator and decided to go to town with it. When pop tunes are allowed to emerge they are soon drowned in a sea of radio tuning, sonar pulses and vocal samples. Whilst earnest in intent, this approach didn't suit a casual pop audience and the album didn't even come close to matching the expectations of the record company.

In fact, you could argue that the break up of the band started with the commercial failure of "Dazzle Ships". OMD wouldn't dare return to such lofty concepts again and a constant push for commercial success led to dissatisfaction in the band. When they went their separate ways in 1989 OMD were still running on a treadmill designed to regain the sales flushed away by "Dazzle Ships". Still, it's quite a good album.

The second disc of the 2023 remastered version contains a number of demos and a live track that add twenty minutes of music. These early versions are only of interest to aficionados, but then that is exactly who the 40th anniversary edition is aimed at. An original copy with a die cut sleeve will cater for the needs of the majority. 3/5

One record at a time: 333. Orchestral Manoeuvres in the Dark - Architecture and Morality

I own two copies of the original pressing of "Architecture and Morality" from 1981 as a result of a mistake. 

I bought my first copy in 2014 and it contained a flyer for the OMD fan club. I smiled at the antiquated looking application form and its request for payment by cheque or postal order and promptly threw it in the bin. Or at least I think I put in the bin, but equally I could have simply lost it. I don't really recall.

Either way, the flyer was nowhere to be found when I realised its presence made an original pressing of the LP more desirable. I searched eBay for months for a listing that contained the flyer, but there were none to be found. I wasn't fussy about the condition of the replacement LP as I could just take out the piece of paper and give the vinyl away to a charity shop (something I did in order to get the merchandise flyer for Jean Michel Jarre's "The Concerts in China") but there was literally nothing being listed on eBay. Eventually I gave in and bought a copy from an online store for slightly more than I wanted to pay. So now I have two copies of this LP, but only one contains a flyer. You never know, someday I might find the other one.

As with almost all OMD albums "Architecture and Morality" is somewhat juxtaposed to its predecessor. Where "Organisation" was dark and brooding, this album allows chinks of light to fall in the darkness. You still get the feeling Paul and Andy created these cracking pop songs as a by-product of their experiments in sound, but the success of tracks like "Joan of Arc (Maid of Orleans)", "Joan of Arc" and "Souvenir" meant this album sold very well and has become regarded as one of the seminal moments in eighties synth-pop. In fact the singles taken from this album were so influential that they were released as a box set to mark the albums 40th anniversary rather than the parent album itself. 

"She's Leaving" is a great 'single that never was' and "Georgia" is a perky bop that would take pride of place on many a lesser artists record. On the artistic and more experiential side, opening track "The New Stone Age" was meant to shock an audience looking for synthpop and the title track strongly points to the bewildering sound collages that were to come on future albums. A classic. 4/5

One record at a time: 332. Orchestral Manoeuvres in the Dark - Organisation

I own two versions of "Organisation" on LP. The first record has a black sleeve and was bought from eBay over ten years ago. I acquired the second copy more recently as I wanted to own the original pressing. Whilst the silver version is indeed from the first batch made available in 1980, I later learned that there was also a limited edition including a free 7" single that is even more desirable. Record collecting can be an exhausting hobby. 

Having released their first album in February 1980, OMD delivered their second effort only eight months later. Clearly the music business moved at a much faster pace back in the early eighties. Despite being released hot on the heels of its predecessor, this album is a sharp contrast to the band's debut. "Organisation" found the band in a darker and more reflective mood drawing on the influence of  contemporaries such as Joy Division. Even the bright and colourful packaging has been replaced by a brooding monochromatic image. 

The album kicks off with the perky single "Enola Gay" which is insanely catchy and was a deserved top ten hit here in the UK. Whist the synth riffs and jaunty Roland CR-78 congas may suggest this is a frothy pop tune, the lyrics talk about the dropping of an atomic bomb on Hiroshima and the horrors of war. Wherever you look on this record there is a dark underbelly.

Songs like "2nd Thought" and "VCL XI" also have bouncy basslines and electronic percussion, but the nonsensical lyrics of the latter and the haunting choir sounds on the former add a sinister edge that fit the mood. Two of my favourite tracks are "Statues" and "Promise" which point to the sound of future OMD records with their increasing reliance on synthesizers and electronics. I know my next statement will be an anathema to OMD fans but I have to be honest: I find "Stanlow" dull and uninteresting. Yes it has an OK tune and the old Korg MicroPreset gets a run out, but it just drones on and on with nothing exciting or inspiring happening. With that off my chest I will summarise more positively by saying this is a much better album than their debut and points to the sound of what was to come 3/5

One record at a time: 331. Orchestral Manoeuvres in the Dark - Orchestral Manoeuvres in the Dark

I was never a big Orchestral Manoeuvres in the Dark fan growing up and aside from "Souvenir", I don't recall hearing their music in my youth. I think my lack of interest in the band may have stemmed from a perception that they weren't really a 'proper' electronic group.

To some extent this notion is born out by this album as the only synthesisers used were the toy like Korg M500 Micro-Preset and a Korg MS-20. The majority of the noise on this record is created by bass guitar, lead guitar, organ, electric piano and saxophone. With the exception of the Roland CR-78 drum machine, everything is played by hand and there is no programming to speak of.

In fairness OMD weren't unique in this regard and, if you look at the charts for 1980, you will find surprisingly little music that was purely electronic. Artists such as Jarre, Vangelis and Kraftwerk came close to some sort of purity, but big chart singles of the day such as Visage "Fade to Grey", Devo "Whip It" and Ultravox's "Vienna" all relied heavily on traditional instruments. Early synth-pop gave the impression of being electronic, but if you lift the lid, it isn't nearly as sophisticated as you might think.

As a result of my electronic snobbery I didn't buy OMD's eponymous debut until about 2007 and I only purchased this vinyl when it was re-released in 2018. Whilst his record will never be my favourite by the band, I am now more accustomed to its style and can appreciate its charms. 

Highlights on this record have to be the debut single "Electricity" and its b-side "Almost". "Electricity" was an attempt to copy the style of Kraftwerk but as it was recorded using a very restricted palette of sounds, it ends up sounding unique. "Mystereality" is a good song that can even withstand a noisy saxophone warbling over the top. The album version of hit single "Messages" is a little rough around the edges when compared to the single mix but it still satisfies. "Pretending to see the future" sounds slightly  derivative but only the terrible "Dancing" deserves "nul points" from the jury.

The pop material on this album is definitely much stronger than the attempts at artistry or experimentation. I think this is probably my other issue with early OMD; they wanted to be experimental but didn't realise they were actually better as hitmakers. 2.5/5

I still hate Record Store Day.....

So I still hate Record Store Day. More than ever in fact.

This year I changed tactic slightly. Rather than pretend I wasn't interested and just turn up in the afternoon, I decided to go and look in the morning. However, I vowed I was not going to queue.

There are two independent stores in my local city centre: at 9.30 one store had a queue about 400 yards long and the second shop was so deserted I assumed they weren't participating in the eBay enhancing festival of greed. Just to be sure I asked in the second store if they had any record store day releases available.

"Ask me for what you want and I'll tell you," said the weary guy behind the counter. Only then did I notice the sure signs of a Record Store day battle: barrier ropes being stowed away, leaflets strune on the floor and notices about queue jumping and the maximum number of purchases (in bold font).

"Errr do you have Erasure 'Violet Flame Remixes?'" I enquired as casually as possible.
"Ohhhhh no. That sold out." Damn, "Any others?"
"Hmmmmm Blancmange or Orchestral Manoeuvres in the Dark?" I said out of hope rather than any expectation.
"Yeah got one left of each of those."
"Brilliant, I'll take them both please. How much is that?" I asked tentatively, not quite able to believe my luck.
"Errrr that will will be £31 please"
"Sorry, I thought you said £31. I only wanted the one 12" singe and the 10" single."
"Yeah mate. £31"

At this point I shouted, "Are you f**king kidding me?" I also grabbed the nearest passing record company executive (or Record Store Day representative) and screamed in their face: "Do you think I'm made of money you miserable bastard? What kind of gig is this? You thieving asshole! Talk about taking advantage! Do I have to pull my pants down and bend over too? I hate you and this whole sham of a day." I probably headbutted them too. Hard.

Either that or I just handed over my bank card and thanked them for my public mugging. I forget which.

Either way I ended up with 2 of the 3 releases Record Store Day 'made me' want. Not bad to say I never queued for even 1 minute. The 3rd? Well, I forked out double the original price for a copy from one of the army eBay scalpers.

So f**k you Record Store Day. Just call it the "National queueing for records championship" in future. Because really, really that's all it is.

POSTSCRIPT: Ironically all of the releases I mentioned above have since been made available on the artists websites. So I need not have even bothered visiting my local independent retailers after all.