The album sleeve, created by Peter Saville, is a photograph of a sheet of titanium–zinc alloy. Some early releases came in a metallic sleeve.
As for the album's sound, it explored post-punk and electronica blended with rock and disco, creating a vibe that bordered on the schizophrenic: synthesizers dominated one side of the spectrum while the other was given over entirely to guitars—a contrast evident throughout the record. There was the sonic frenzy of "Every Little Counts," while "All Day Long" revealed the curious influence of Richard Wagner (a track the band would later use to open their concerts).
The flawless "Bizarre Love Triangle" was the main a gem—a synth-pop classic—though, interestingly, the song failed to crack the Top 40 in either the UK or the US despite its outstanding quality. Its music video, directed by Robert Longo, enjoyed heavy rotation on MTV and remains a cult classic in every sense.
Then there was "State of the Nation," clearly a protest song, and the playful "Every Little Counts." The album received generally favorable reviews for the sound they achieved, although some critics felt it offered nothing new regarding the band's sonic identity. Yet, one could argue that with this record, the band was attempting to shed the "Joy Division" label, aiming to prove that their sound was uniquely New Order—and they succeeded. It was a blend of sonic beauty and complex creativity, grappling with everything around them—including their own past. That is precisely where the album's achievement lies: in championing a sound that was more pop-oriented and accessible than their earlier, darker musical offerings.
The collection included a cover of Johnny O'Keefe's "Wild One" (here titled "Real Wild Child (Wild One)" and three original songs co-written with ex-Sex Pistols guitarist Steve Jones. The remaining tracks were co-written by Bowie, who also produced the album with David Richards but, unlike his previous work with Pop, The Idiot and Lust for Life (both 1977), did not play any instruments, although he did contribute with backing vocals. Bowie biographer David Buckley has reported that Pop "virtually disowned" the record, calling it "a Bowie album in all but name". It has never been specified what tracks on the album, if any, originated during the sessions of Bowie's 1984 album Tonight (that album's co-producer, Hugh Padgham, has recalled that Bowie and Pop collaborated on some songs that Bowie ultimately rejected for inclusion on Tonight).
In 1990, Pop credited Bowie for [setting] up a good framework for me to tell my story in a way that people could hear. It got on the radio. At times we got a little too meticulous in the studio. But 'Shades,' 'Winners and Losers,' 'Cry for Love' and 'Wild Child' sum up my story at the time
It was the album that brought Iggy Pop back from a four-year recording hiatus and produced his first major mainstream hit in years, Real Wild Child (Wild One). The 1986 A&M Records release reunited Pop with David Bowie, who produced the album alongside David Richards and co-wrote most of the material. It was the final album collaboration between the two musicians.
Recorded at Mountain Studios in Montreux, Switzerland, in May 1986, Blah-Blah-Blah represented a significant change in sound for the artist. The abrasive art rock associated with his earlier work with Bowie on The Idiot and Lust for Life in 1977 gave way to synthesizers, programmed percussion, dance-rock textures and a more polished 1980s production style, but definitely this was far beyond a more commercial shift and eventually became Pop's most commercially successful album, reaching No. 75 on the Billboard 200 in the United States.
It was a fantastic moment for Iggy Pop, and the single "Real Wild Child (Wild One)", Pop’s adaptation of Johnny O'Keefe's Australian rock and roll classic Wild One. The song became Pop's first UK Top 10 hit and reached No. 27 on the Billboard Mainstream Rock chart.
Bowie's role on "Blah-Blah-Blah" was substantial but different from the partnership heard on The Idiot and Lust for Life. He co-wrote the bulk of the album with Pop, produced and mixed the sessions with David Richards, and supplied backing vocals, but did not play instruments on the record. The other significant songwriting partnership came from former Sex Pistols guitarist Steve Jones. Jones co-wrote Fire Girl, Cry for Love and Winners & Losers with Pop, with Jones also providing the guitar solo on Cry for Love.
The album also occupied an unusual position in Pop's catalogue because it sits between two very different phases of his career. His previous studio album, 1982’s Zombie Birdhouse, was followed by a four-year gap. Two years after Blah-Blah-Blah, Pop moved in a heavier direction with 1988's Instinct. Forty years later, Blah-Blah-Blah remains the record that connected Iggy Pop's uncompromising past with his mainstream breakthrough, while closing the final studio chapter of one of rock most consequential creative partnerships.
Recording sessions for The Pacific Age were fraught with conflict and debauchery. It would be the last OMD studio album for five years, and the last to feature co-founder Paul Humphreys until 2010's History of Modern. The record is held in low esteem by OMD, with frontman Andy McCluskey calling it the band's "musical nadir".
Despite the album's title, the recording process was anything but peaceful; the band faced immense pressure from their label, yet they poured themselves fully into the project. Curiously, they faced a backlash from the British press—a stark contrast to their reception across the Atlantic, where they were well-received and scored a Top 20 hit with the single "Forever (Live and Die)." It was a grueling, conflict-ridden endeavor; in fact, the band would not record again for five years, and co-founder Paul Humphreys eventually left the group.
Musically, the album showcased the band's experimental side while still crafting pop tracks designed to appeal to US radio. Despite the label's pressure for a quick release—leaving them only two months to write the material—they managed to compose the first nine songs during that window. They also included an older track, "Southern," which featured a sample from Martin Luther King Jr.'s final speech and had failed to make the cut on the previous album.
They did everything possible to satisfy the label, even as they ran out of ideas and songs; exhaustion and infighting took their toll, and problems with drugs and alcohol began to emerge. They faced issues even when choosing the singles; the group wanted to release "Stay (The Black Rose And The Universal Wheel)," but the label pushed for "Shame." Instead, "Forever (Live And Die)" was released, followed by "Shame" as the final single. "We Love You" had been scheduled as the second single, but while the band was away on tour, the label released "Shame" without their knowledge. There was also a track, "Goddess Of Love," originally intended for the classic film "Pretty In Pink"; however, the movie's climax changed, and the song was replaced by the massive classic "If You Leave."
Consequently, they worked on a different track for the album, as well as "Flames Of Hope"—which was ultimately used in Japanese television commercials. In fact, the album's title revolves around this theme: the prominent rise of East Asia in the global economy.
The band had just come off a massive tour comprising 187 shows prior to recording; the tour had been grueling and had nearly drained the band's energy, which is said to be the reason why Bruce Dickinson made no contributions to the album—as the band rejected all of his submissions.
Harris, speaking in Dickinson's defense, noted that the tour's exhaustion had taken a much heavier toll on Dickinson than on the rest of the band. However, Adrian Smith stepped up to the challenge, writing strong tracks—including the singles "Wasted Years" and "Stranger in a Strange Land" (the latter being the only song on the album that did not feature synthesizers).
The use of synthesizers came about in a rather curious way; following an exhausting tour, the band had four months to recover. During this time, Harris, Smith, and Murray began experimenting with new equipment—a move that heavily influenced the album's sound—as the band discovered the benefits that guitar-adapted synthesizers could bring to Iron Maiden.
It was also their most expensive production, as the drums and bass were recorded in the Bahamas, the vocals in the Netherlands, and the mixing was ultimately done in New York. The album's themes revolved around space, time, and futuristic concepts—very much in the style of the film *Blade Runner*—as evidenced by tracks such as "Wasted Years," "Caught Somewhere in Time," "Stranger in a Strange Land," and, of course, "Déjà-Vu."
However, Harris noted that the album was never intended to be a concept record; things simply turned out that way. Following the album's release, most of its tracks were rarely performed live again, with the exceptions of "Wasted Years" and "Heaven Can Wait," which the band continues to play.
