Excellent FM broadcast. Thanks to the original uploader on Dime.
Source Dutch Radio/Hilversum 3 FM Broadcast 26-04-1984
Tracks
1.Counting the days
2.Total recall
3.New way of life
4.Winning
5.Dreams then plans
6.Fire
7.Winter
8.Monument
9.Whirlpool
10.Sense of purpose
11.Party of my mind
12.Where the love is
13.Heartland
14.Golden soldiers
Adrian Borland Tribute page: http://www.brittleheaven.com/
An introduction to the sound of THE SOUND
Prior
to The Sound's formation Adrian Borland (vocals/guitar) had already
released "Calling On Youth" and "Close Up", and the "One To Infinity" EP
on Raw Edge (a label run by Adrian's parents) as leader of UK's
Outsiders from 1977-78. Towards the end of 1978 Graham Green joined the
band, replacing the original bass player, Bob Lawrence, and Michael
Dudley (drums) was recruited to play alongside Adrian Janes
(percussion). The new line-up recorded three tracks, which emerged on
the Tortch label as the "Physical World" EP in December 1979, credited
not as the Outsiders but as The Sound. They had progressed musically
from their punk roots and were anxious to leave behind a name that still
conjured up the atmosphere of 1977.
After the critical
acclaim of the debut EP, The Sound signed to Korova Records, releasing a
string of singles and two albums, "Jeopardy" and "From The Lions
Mouth". These stirred a great deal of interest from both critics and
public alike, establishing Adrian Borland as one of the most creative
and mature writers of the post-punk scene. During 1979, Borland and
Green created Second Layer, a harder, more experimental project that ran
parallel with The Sound, releasing two EPs and an album. Sporadic
releases continued throughout the '80s for several different labels with
varying degrees of quality and success, but never managing to equal the
halcyon days of 1980-81. The Sound also collaborated with singer Kevin
Hewick on his "This Cover Keeps" EP in 1984.
Even now it's
still hard to understand why The Sound never found commercial success.
At their best, The Sound's excellent neo-pop bears favorable comparison
to the Psychedelic Furs and Echo and the Bunnymen. Their debut album
"Jeopardy" has a stark, beautiful quality, with the material given
direct exposure rather than a production bath. Adrian Borland's vocals
are sincere and gripping; the musical attack is both subtle and
aggressive. The inconsequential Live Instinct E.P contains four songs
recorded onstage in London, including renditions of the band's 1979
debut single "Cold Beat" and a few "Jeopardy" songs. "From The Lions
Mouth" builds on "Jeopardy's" firm foundation with a fuller sound that
faintly recalls U2. Produced by Hugh Jones (around the same time he did
Echo's Heaven Up Here), it's bright, dramatic and sometimes ("Fire",
"Sense Of Purpose", "Winning") powerful, a riveting album, the group's
best.
Pushed by their label to sound more commercial, "All Fall
Down" is the defiant reply, a stark, barren landscape of harsh tones and
dark passages. The black, clashing music makes the challenging album an
acquired taste, an ambitious, admirable exploration of the downside;
not surprisingly, the record company sent the band packing. "Shock Of
Daylight" a six-song mini-album produced by Pat Collier, is a strong
return, building melodic, dramatic songs on a gutsy bass/drums drive,
overlaying guitar, keyboards and even brass to create an attractively
textured and varied sound. "Heads & Hearts" is even better, a quilt
of bright colors woven with simple care. Though it lacks the knockout
punch they'd shown in the past, with "Winning" or "Golden Soldiers" for
example, the record's modesty and continuous flow make it a thoroughly
engaging listen, a memorable album whose sum is greater than its parts.
"In
The Hothouse" is a double live thriller from London's Marquee, with all
the claustrophobic ambience of the club's packed space coming through
on the recording. Live records this immediate sounding are hard to find.
With the bulk of the material chosen from "Heads & Hearts" and
"From The Lions Mouth", this is a superb introduction for the curious.
"Thunder Up" is a middle ground between "All Fall Down's" emotional
warfare and the later, more sensuous pop. Punching right in with one of
their most exciting tracks, "Acceleration Group", the album is a
rollercoaster ride through desolation ("Shot Up and Shut Down"),
titillation ("Kinetic"), cynicism ("Prove Me Wrong") and profound beauty
("You've Got a Way"). Though the contrast can be jarring,
unpredictability is a strength, and this is a bold up/down, hot/cold,
built-up/knocked-down record most bands would not attempt. It was to be
their last such uncompromising work; the group finally called it quits
in early '88.
© 1999 Simon Heavisides / Rients Bootsma
