Suchergebnisse
Suchergebnisse:
McCluskey's live band was then composed of Nigel Ipinson (keyboards), Phil Coxon (keyboards), and Abe Juckes (drums) from late 1990. Smash Hits readers voted OMD the sixth-best British group of 1991. The group's next studio album would be 1993's Liberator, which ventured further into dance territory. It peaked at No. 14 on the UK ...
- 1978–1996, 2006–present
Phil Coxon. Discography Remixes: Love Generation (12") Love Generation (Phil ... Fever Urbain 1991 Controlling Me (Can You Feel It) (12", Promo) Dead Dead Good 1992 ...
Phil Coxon - Orchestral Manoeuvres In The Dark interview from 1993 part of the From Factory To Liberty press pack.
- 31 Sek.
- 401
- Neil Taylor
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TitleCatalog NumberYearIn Your Collection, Wantlist, Or ...FU 12005Love Generation (Phil Coxon Remix) B.P.M.SAM1023Oceanic - Controlling Me (Can You Feel ...GOOD 22CD, 4509-91129-2Ignorance (Moistness Mix) and 1 more… ...7243 8 91866 6 6Stand Above Me (Hypnofunk Mix) OMD ...Virgin, Virgin- Then You Turn Away
- Pretty in Pink
- Ministry
- Letter from God
- Anxiety
- Seven Seas
Inevitably, the band fell apart in 1989 and McCluskey was left to lick his wounds while his erstwhile bandmates continued to work together. It had been assumed by the singer that this was a clean break and that the OMD name had been laid to rest, so it came as something of a shock when Humphreys approached him several weeks later with a surprising ...
Crucially, in 1989, McCluskey began working with bassist Lloyd Massett and drummer Stuart Kershaw, two members of a local pop/rap crossover act named Raw Unltd. Their debut single, ‘Romeo and Juliet’, released in February that year, had been recorded at a vibrant facility named the Pink Museum, where the original line-up of OMD had recently booked ...
The initial recording of Sugar Tax was set for the spring of 1990, with Howard Gray (a former tea boy cum tape operator, who had worked on OMD’s seminal third album, Architecture and Morality) and Andy Richards producing four of the finished twelve tracks between them – McCluskey would take the reins for the remainder. Many of the song arrangements...
Following McCluskey’s creative burst, there was enough material to fill two albums. Some of the outtakes were eventually used on B-sides, while others were either discarded (for example, ‘Cruel’, ‘Resist the Sex Act’ and ‘You’re Always Coming Back to Me’) or included on later albums (‘Love Theme’, whose release was held up by Barry White’s reluctan...
McCluskey was understandably anxious about the release of Sugar Tax. After all, it had been nearly five years since the release of their last studio album, The Pacific Age, and not all of OMD’s contemporaries from the 80s had made a successful transition to the new decade. While the careers of the likes of Depeche Mode, Erasure and Pet Shop Boys ha...
When the album was eventually released, in May 1991, it rocketed to an impressive No.5 on its first week, following the extraordinary success of ‘Sailing on the Seven Seas’. The band’s noisiest and most offbeat single since 1983’s ‘Genetic Engineering’ featured huge glam rock-style drums, a cheesy Casio keyboard solo and power chords, courtesy of l...
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Engineered by: Jeremy Allom, Phil Coxon, Fred De Faye, Guy Forrester, Mike Haas, Renny Hill, Pat O'Shaughnessy, Steve Williams. Recorded at: The Pink Museum, Liverpool; The Strongroom, London; The Townhouse, London; Amazon Studios, Liverpool.
