New music: Miracles

            

The Academy Is... have released a new single "Miracle," the second from their long-awaited new album, Almost There, arriving via I Surrender Records on March 27, 2026. The song sways between intense, driving guitars and reflective moments underlined by glimmering tones. The band throws themselves into the iridescence headfirst, as William Beckett sings, "I need to love again/Turn me on my head/I need to feel the warmth/Tell me I'm not dead." "With this track, we were chasing the feeling of when you discovered your new favorite song..." guitarist Mike Carden explains. "'Miracle' reminds us of LimeWire era vibes; finally finding that song that takes you by surprise, a very distinct feeling. We wanted it to hit and pull you straight in. We feel like...mission accomplished."

Rocktrospectiva: The Weirdo And Quintessential "Tremolo E.P." Turns 35

Released on 20 February 1991 "Tremolo E.P." was an extended play by Irish-English band My Bloody Valentine, the EP spawned the single "To Here To Knows When". The EP was a critical success and topped the UK Indie Chart.

The EP featured the band more heavily utilising samplers, which allowed them to play back sounds on keyboard. Sampled sounds include guitar feedback, vocals, and a BBC stock sound effects recording used to create a low-end effect on "To Here Knows When", and a Turkish belly dancing track ripped from cassette on the track "Swallow". The title is a reference to the band's heavy usage of guitar tremolo and vibrato to create blurred, dreamlike tones.

Tremolo was the second of two extended-plays released during the prolonged recording sessions of My Bloody Valentine’s shoegaze masterpiece Loveless. In contrast to its sister – the  heavier Glider – Tremolo forsakes indie/alternative stylings for abstract composites of sound produced by instruments that just so happen to also make rock music. The title refered to lead guitarist/vocalist Kevin Shield’s “glide guitar method” of strumming while applying tremolo/vibrato pedal effects, which gave the band its signature surreal sound.

Leading off with Loveless's most ethereal cut and first cut "To Here Knows When," this EP had little of the Isn’t Anything structured noise pop. "Swallow" featured the hyper-processed flute-loop sound that prominently featured in "What You Want" from Loveless. It was a bit lighter than anything on that album, with a much softer mix and a lack of heavy guitar reverb. "Honey Power" was the closest track to anything that was on Glider, featuring backwards-sampled guitar loops and a less abstruse song structure. The closer "Moon Song" was the only track on Tremolo to feature Shields' voice with no processing or after-effect; it’s easily the most surreal track on the album, featuring kaleidoscopic guitar samples and a curious jungle beat that hints at the group’s interest in dance music toward the end of Loveless and prior to their 1997 break-up.

Tremolo was interesting caused the addition of certain elements such as three codas to the end of each track but "Moon Song," all of which highlight the druggy, intimate atmosphere therein. Of particular note is the one on "To Here Knows When," which was different and maybe better than the final mix released on Loveless. These were not mere not sloppy interludes tacked onto the end; they underscored the phantasmagorical experience commonly listening to My Bloody Valentine's nineties work, and their short length provides the illusion that the listener is transitioning between dreams.

Videos were filmed for the songs "Swallow" and "To Here Knows When" under the direction of Angus Cameron. The single "To Here Knows When" reached number 29 on the UK Singles Chart and were described it as the most strangest single ever to chart.

Tremolo E.P. Track List: 

 

1. To Here Knows When (plus instrimental coda) 

2. Swallow (plus instrumental coda)

3. Honey Power (plus coda)

4. Moon Song

Rocktrospectiva: David Bowie's Breakthrough "Hallo Spaceboy (Pet Shop Boys Remix) Turns 30

Released on 19 February 1996 "Hallo Spaceboy was a song by the English musician David Bowie from his 20th studio album, Outside. It originated as an instrumental by Reeves Gabrels called "Moondust", which Bowie and Brian Eno stripped down and used to form the final track. An industrial rock and electronica track influenced by artists such as Nine Inch Nails, the song featured synthesisers, loops and distorted guitar lines. The lyrics were influenced by the sound poet and painter Brion Gysin, and contained images of apocalypse and continued the androgynous lyrics of former Bowie songs such as "Rebel Rebel" and "Boys Keep Swinging".

It was the third and final single from Outside in February 1996, "Hallo Spaceboy" was remixed by the Pet Shop Boys, who added a disco sound and lyrics referencing the Major Tom character from Bowie's "Space Oddity". The single reached number 12 in the UK and charted in other European countries. Its accompanying music video, directed by David Mallet, mixes shots of both Bowie and Pet Shop Boys with footage of science fiction clips, atomic bomb testing footage and television advertising clips. Both versions of "Hallo Spaceboy" have been positively received and have appeared on lists of Bowie's best songs. Bowie performed "Hallo Spaceboy" frequently on his concert tours, recordings from which have appeared on live albums.

Written by David Bowie and Brian Eno, "Hallo Spaceboy" developed from an ambient instrumental piece written by the guitarist Reeves Gabrels called "Moondust". Initial work on the track began during a recording session at Mountain Studios in Montreux in 1994, shortly after the main sessions for the Leon project concluded. Bowie's biographers Nicholas Pegg and Chris O'Leary point to the influence of the poet and artist Brion Gysin, who developed a cut-up technique with William S. Burroughs that Bowie had, on several occasions, utilised for song lyrics. During the recording, Bowie spoke "If I fall, moondust will cover me", reportedly Gysin's final words before his death in 1986. Work halted on the track following the session, as Bowie believed "there wasn't anything special going on with that piece".

The track resurfaced on 17 January 1995 during the Outside sessions in New York City at The Hit Factory. Eno wrote in his diary that it was "stripped down to almost nothing [before] I wrote some lightning chords and space and suddenly, miraculously, we had something." The final track featured Bowie, Eno, Gabrels, Carlos Alomar (guitar), Yossi Fine (bass), Mike Garson (piano) and Joey Baron (drums). After finishing the song, Bowie said, "I adore that track. In my mind, it was like Jim Morrison meets industrial. When I heard it back, I thought, 'Fuck me. It's like metal Doors.' It's an extraordinary sound." Gabrels later expressed disappointment in not receiving a co-writing credit for the song.

Commentators have characterised "Hallo Spaceboy" as industrial rock and electronica. Pegg describes the song as "a hardcore maelstrom of sci-fi noise, hypnotic high-speed drumming and an insistent, speaker-hopping four-note guitar riff". The song's influences range from the Pixies and Pornography-era Cure to Nine Inch Nails and the Smashing Pumpkins; Bowie reportedly stated that he was aiming for a Nine Inch Nails-type sound. Featuring synthesisers, loops and distorted guitar lines, a few reviewers compared the song's sound to Bowie's 1974 album Diamond Dogs and his work with the rock band Tin Machine. The author Dave Thompson argued that the song would not have felt out of place as a bonus track on that album. Lyrically, Pegg states that "Hallo Spaceboy" captures the "millennial angst" of the Outside album and continues the androgynous lyrics of songs such as "Rebel Rebel" (1974) and "Boys Keep Swinging" (1979) with the line "Do you like girls or boys? / It's confusing these days". Some of the words and ideals, such as "chaos", "dust" and "hallo", and visions of a science fiction apocalypse were recycled from Tin Machine's "Baby Universal" (1991).

The album Outside was released on 5 September 1995, with "Hallo Spaceboy" sequenced as the sixth track. The song was a mainstay on Bowie's 1995 Outside Tour, and was often played with Nine Inch Nails and later as the closing track. Bowie intended "Hallo Spaceboy" to be his next single after "Strangers When We Meet". 

Believing the original version of "Hallo Spaceboy" was unlikely to be commercial sucessful, Bowie commissioned Neil Tennant of the Pet Shop Boys to remix the song for release as the third single from Outside. As a lifelong Bowie fan, Tennant agreed and remixed the track at Mayfair Studios in London between 11–15 December 1995. Tennant replaced the song's anger with electronics and added Pet Shop Boys' signature backing vocals to the track. Since the original contained only a single verse, and a lyric featuring feelings of alienation, Tennant and his bandmate Chris Lowe added lyrical fragments from Bowie's 1969 song "Space Oddity", using a Gysin-style cut-up technique to create a second verse: "Ground to Major, bye bye Tom / dead the circuit, countdown's wrong / Planet Earth is control on?" O'Leary argues that the additions turned the song's cry of "this chaos is killing me" into a plea from an astronaut "strung out in heaven".

Bowie initially expressed reservation about the additions when Tennant told him during a telephone conversation, but later agreed that they worked well. Bowie rerecorded his lead vocal so the single became a duet with Tennant. Tennant told NME in a 1997 interview that he and Lowe, working alongside Bowie, had completed what Tennant called the "Major Tom trilogy", in reference to the fictional astronaut who first appeared in "Space Oddity" and later appeared in "Ashes to Ashes" (1980). Tennant explained, "I said to Bowie, 'It's like Major Tom is in one of those Russian spaceships they can't afford to bring down,' and he said, 'Oh wow, is that where he is?'" Compared to the original version, the remix features a disco edge.

The single was finally released on 19 February 1996, through several formats, including a 7" single through BMG/RCA, a CD single through Arista/RCA and a 12" promo in the US through Virgin. The CD single was packaged with a reissue of "The Hearts Filthy Lesson" and live renditions of "Under Pressure" (1981) and "Moonage Daydream" (1972). The single was a success across Europe, reaching number 12 in the UK, becoming Bowie's highest charting single since "Jump They Say" (1993). The remixed "Hallo Spaceboy" topped the singles chart in Latvia, further charting in Australia (36), Austria (37), Belgium Flanders (48) and Wallonia (30), Finland (8), Germany (59), Ireland (21), the Netherlands Top 40 and Single Top 100 (24 and 33, respectively), Scotland (10) and Sweden (12).

The music video for "Hallo Spaceboy" was directed by Bowie's longtime director David Mallet. Bowie performed the song with Pet Shop Boys at the Brit Awards on 19 February 1996, and again on Top of the Pops on 1 March. According to O'Leary, Bowie "thrashed around" during these performances while Tennant sang calmly.

Both versions of "Hallo Spaceboy" have received positive reviews from music critics and biographers. Discussing the original, the biographer Marc Spitz called it Bowie's "most convincing rocker" since "Rebel Rebel", and David Buckley said the track is "quite daring, with a hard, industrial menace and a great use of dynamics". Reviewing the Pet Shop Boys remix, Simon Price from Melody Maker said that "this sounds like the Pet Shop Boys without anything you could call a chorus. The bit where Bowie's gin-and-lemon voice mixes with Neil Tennant's Amaretto Disaronno on the line Do you like girls or boys? It's confusing these days... is one to hoist aloft around the room on a red velvet cushion, though." Mojo magazine's Mark Paytress opined that adding Pet Shop Boys was a "masterstroke"

Rocktrospectiva: R.E.M.s breakthrough single "Losing My Religion" Turns 35

Released on 19 February 1991 "Losing My Religion" was the first single from R.E.M.'s 7th., studio album "Out Of Time". It developed from a mandolin riff improvised by the guitarist, Peter Buck. The lyrics, written by the singer, Michael Stipe, concern disillusionment and unrequited love.

"Losing My Religion" was R.E.M.'s highest-charting hit in the United States, reaching No. 4 on the Billboard Hot 100 and expanding their popularity. Its music video, directed by Tarsem Singh, features religious imagery. At the 1992 Grammy Awards, "Losing My Religion" won Best Short Form Music Video and Best Pop Performance by a Duo or Group with Vocal. Its video won awards for Video of the Year, Best Group Video, Breakthrough Video, Best Art Direction, Best Direction, and Best Editing at the 1991 MTV Video Music Awards. It was inducted into the Grammy Hall of Fame in 2017.

The R.E.M. guitarist, Peter Buck, wrote the main riff and chorus for "Losing My Religion" on a mandolin. He had recently bought it and was learning how to play, recording as he practiced while watching television. Buck said that "when I listened back to it the next day, there was a bunch of stuff that was really just me learning how to play mandolin, and then there's what became 'Losing My Religion', and then a whole bunch more of me learning to play the mandolin". He said he likely would not have written the chord progression in the same way had he not played it on mandolin.

In July 1990, R.E.M. recorded a demo version with the working title "Sugar Cane" in a studio in Athens, Georgia, featuring banjo and Hammond organ. Mike Mills wrote a bassline inspired by the Fleetwood Mac bassist John McVie. The final version was recorded in September at Bearsville Studio A in Woodstock, New York.

Finding the song lacked midrange between the bass and mandolin, R.E.M. enlisted the touring guitarist Peter Holsapple on acoustic guitar. Buck said, "It was really cool: Peter and I would be in our little booth, sweating away, and Bill and Mike would be out there in the other room going at it. It just had a really magical feel." Michael Stipe recorded his vocals in a single take. The strings, arranged by Mark Bingham, were performed by members of the Atlanta Symphony Orchestra at Soundscape Studios in Atlanta, Georgia, in October 1990.

The lyrics of "Losing My Religion" were based on Buck's mandolin part. Buck said, "The verses are the kinds of things R.E.M. uses a lot, going from one minor to another, kind [of] like those 'Driver 8' chords. You can't really say anything bad about E minor, A minor, D, and G ... We are trying to get away from those kind of songs, but like I said before, those are some good chords.#  He felt "Losing My Religion" was the most "typical" R.E.M. song on the album. The song is in natural minor. 

 

The title phrase is an expression from the Southern United States that means "losing one's temper or civility" or "feeling frustrated and desperate". Stipe said the song was about romantic expression and unrequited love. The lines "That's me in the corner / That's me in the spotlight" were originally "That's me in the corner / That's me in the kitchen", describing a person at a social event too shy to approach the person they like. Stipe compared the theme to "Every Breath You Take" by the Police, saying, "It's just a classic obsession pop song. I've always felt the best kinds of songs are the ones where anybody can listen to it, put themselves in it and say, 'Yeah, that's me.'"

The music video for "Losing My Religion" was directed by the Indian filmmaker Tarsem Singh. Unlike previous R.E.M. videos, Stipe agreed to lip-sync the lyrics. The video begins inside a dark room where water drips from an open window. Recreating a scene from the Andrei Tarkovsky film The Sacrifice, Buck, Berry, and Mills run across the room while Stipe remains seated as a pitcher of milk drops from the windowsill and shatters.

The video originated as a combination of ideas envisioned by Stipe and Singh. Stipe wanted a straightforward performance video, akin to Sinéad O'Connor's "Nothing Compares 2 U". Singh wanted to create a video in the style of a certain type of Indian filmmaking, where everything would be "melodramatic and very dreamlike", according to Stipe. Singh said the video was modeled after the Gabriel García Márquez short story "A Very Old Man with Enormous Wings", in which an angel crashes into a town and the villagers have varied reactions to him. He also drew inspiration from the Italian painter Caravaggio, and the video uses religious imagery such as Saint Sebastian, the Biblical episode of the Incredulity of Thomas, and Hindu deities, portrayed in a series of tableaux.

The "Losing My Religion" video was nominated in nine categories at the 1991 MTV Video Music Awards and won for Video of the Year, Best Group Video, Breakthrough Video, Best Art Direction, Best Direction, and Best Editing.

"Losing My Religion" was released on February 19, 1991, in the United States as the lead single from R.E.M.'s album Out of Time. Their record label, Warner Bros., was wary of the choice of lead single. Steven Baker, then the vice president of product management., said there were "long, drawn-out discussions" about releasing such an "unconventional track" as the single until the label agreed.

R.E.M. did not tour to promote Out of Time, but visited radio stations, gave press interviews and made television appearances. On November 10, 1991, R.E.M. performed "Losing My Religion" with members of the Atlanta Symphony Orchestra to celebrate the tenth anniversary of MTV. It was recorded at the Madison Morgan Cultural Centre in Madison, Georgia, about 20 miles south of Athens.

Warner Bros. worked to establish "Losing My Religion" at campus, modern rock, and album-oriented rock radio stations before promoting it to American Top 40 stations, where it became a success and became R.E.M.'s biggest hit in the US, reaching No. 4 on the Billboard Hot 100. It stayed on the chart for 21 weeks. It topped the Billboard Album Rock Tracks chart for three weeks and the Modern Rock Tracks chart for eight weeks, the best performance of any R.E.M. song on either chart. It reached number 19 on the UK singles chart, No. 16 in Canada and No. 11 in Australia.

With "Losing My Religion", R.E.M. crossed over into mainstream pop culture. Asked if he was worried the success might alienate older fans, Buck told Rolling Stone, "The people that changed their minds because of 'Losing My Religion' can just kiss my ass." Mills said R.E.M. understood they had a worldwide hit when they heard it on local radio in the jungle of Paraguay. Years later, Mills said: "Without 'Losing My Religion', Out of Time would have sold two or three million [copies], instead of the ten [million copies] or so it did. But the phenomenon that is a worldwide hit is an odd thing to behold. Basically that record was a hit in almost every civilised country in the world."

Critics said: This was R.E.M. at their most tender and unsettling, Stipe's careworn voice filled with inexplicable sadness, but as warm and familiar as ever." R.E.M. had returned to its "trademark jangle", and that "Stipe touches again on what seems to be ambivalence about his role as a pop star, and about the need to communicate with an audience".

 

Losing My Religion Track Listing: 

 

7-inch

 

1. Losing My Religion

2. Rotary Eleven

 

12-inch and CD

 

1. Losing My Religion

2. Rotary Eleven

3. After Hours 

 

UK Collector's Edition CD one: 

 

1. Losing My Religion

2. Stand

3. Turn You Inside-Out (Live)

4. Wolrd Leader Pretend (Live)

 

UK Collector's Edition CD two: 

 

1. Losing My Religion

2. Fretless

3. Losing My Religion (live acoustic version/rockline)

4. Rotary Eleven   

In Memoriam: Legendary Actor "Robert Duvall" Dies Aged 95

Robert Duvall, the veteran actor who had a string of roles in classic US films including Apocalypse Now, The Godfather, MASH and To Kill a Mockingbird, has died aged 95.

 

“Bob passed away peacefully at home, surrounded by love and comfort,” wrote his wife, Luciana Duvall, in a message on Facebook.

 

“To the world, he was an Academy Award-winning actor, a director, a storyteller. To me, he was simply everything. His passion for his craft was matched only by his deep love for characters, a great meal, and holding court. For each of his many roles, Bob gave everything to his characters and to the truth of the human spirit they represented. In doing so, he leaves something lasting and unforgettable to us all.”

Duvall was perhaps best known for his role as the cavalry-hatted Kilgore in Apocalypse Now, released in 1979, which yielded two of the most frequently quoted lines of dialogue in cinema history – "Charlie don't surf!" and "I love the smell of napalm in the morning". But he also made an immense impact as consigliere Tom Hagen in The Godfather and The Godfather Part II, the reclusive Boo Radley in To Kill a Mockingbird at the start of his career, and many supporting and character roles throughout the ensuing decades. He was nominated seven times for an Oscar, winning once, for best actor in 1984 for Tender Mercies as a country-music singer trying to overcome alcoholism.

Born in San Diego, California in 1931, the son of a naval officer, he studied drama at college in St Louis, Missouri, and briefly joined the army. In 1955 he enrolled at the Neighborhood Playhouse School of the Theatre in New York (alongside James Caan, Gene Hackman and Dustin Hoffman), sharing flats with Hackman and Hoffman. Duvall worked steadily in TV and theatre, including an award-winning role in a 1965 production of Arthur Miller’s A View from the Bridge, directed by Ulu Grosbard, and won his first film role as the mysterious Boo Radley in To Kill a Mockingbird, released in 1962

Further small roles in Bullitt (1968) and True Grit (1969) consolidated his reputation, but it was his role in MASH – as the self-important Frank Burns, who is repeatedly mocked by Donald Sutherland’s Hawkeye and Elliott Gould's Trapper John – that brought him to wider attention. Having appeared in Francis Ford Coppola’s feminist road movie The Rain People (1969), Duvall cemented his connection with the Hollywood new wave with the lead role in George Lucas’ 1970 debut feature, the dystopian sci-fi parable THX 1138; Tom Hagen in the first two Godfather films (he would ultimately not be cast in the third due to salary demands); and Kilgore in Apocalypse Now, in a role initially intended for Hackman.

Duvall also continued to appear in more mainstream films, including the second world war thriller The Eagle Has Landed (1976), news-media satire Network (1976), and baseball drama The Natural (1984). He made his directorial debut in 1983 with Angelo, My Love, a semi-improvised drama about a Romani street kid in New York. Despite his Oscar for Tender Mercies, lead roles rarely came his way, but he was a commanding supporting presence throughout the 80s and 90s, appearing in a wide range of films: the Dennis Hopper-directed gang thriller Colors, the Tom Cruise stock car blockbuster Days of Thunder (1990), and the Margaret Atwood adaptation The Handmaid’s Tale (1990).

In 1992, he returned to TV to play Stalin in an award-winning HBO series directed by Ivan Passer. Another lead role came his way in 1997, in his second directorial effort, The Apostle, in which he plays a preacher who kills his wife’s lover. He received his third best actor Oscar nomination for the role.

Duvall would direct two more films – Assassination Tango in 2002, in which he displayed his real-life talent for the Argentinian dance style, and the western Wild Horses in 2015. He continued to appear in a wide variety of films, from Hollywood thrillers such as The Gingerbread Man and Gone in 60 Seconds, to left-field dramas such as We Own the Night and The Road. A longtime interest in football (the “association” kind) led to roles in low-budget Scottish drama A Shot at Glory (opposite Ally McCoist) in 2000, and the comedy Kicking and Screaming (2005) with Will Ferrell.

Duvall continued working steadily through the 2010s, achieving another Oscar nomination for best supporting actor in 2015 for The Judge, becoming at the time the oldest male actor ever nominated.

Duvall was married four times: to Barbara Benjamin from 1964-81, to Gail Youngs (1982-86), to Sharon Brophy (1991-95), and to Luciana Pedraza, who he married in 2005. He had no children.

New Music: Sweet Relief

            

Howling Bells have today released their acclaimed new album, "Strange Life", via Nude Records. The UK-based Australian band’s first LP in 12 years, its release is accompanied by a new video for album single "Sweet Relief". The trio, comprising Juanita Stein (vocals, guitar), Joel Stein (guitar) and Glenn Moule (drums). They subsequently embark on a full UK headline tour in March and April. 

 

New Music: I Danced With Another Love In My Dream

           

Brigitte Calls Me Baby has shared new single "I Danced With Another Love in My Dream," the track is off their forthcoming album Irreversible, the song started with us attempting to write something happy, but somehow found its way to being about infidelity, shares vocalist Wes Leavins. We played a few different versions live and in the end decided to lean into the bright and shiny side of it, and it turned into a song where those adulterous thoughts are carried out in a dream scenario. The cool video was directed by Alec Basse.

Rocktrospectiva: The Honest And Compelling "Face Value" Turns 45

Released on 13 February 1981 "Face Value" was the debut solo studio album by the English drummer and singer-songwriter Phil Collins. After separating from his first wife around 1979, Collins began to write songs during a break in activity from Genesis with much of the material concerning his personal life. The album was recorded from mid-1980 to early 1981 with Collins and Hugh Padgham as producers. Additional musicians include the Phenix Horns, Alphonso Johnson, and Eric Clapton. 

 

Face Value was an instant commercial success and reached No. 1 on the UK Albums Chart for three weeks and No. 7 on the US Billboard 200. The album received widespread praise from critics and launched Collins' solo career, the commercial success of which would ultimately outstrip that of Genesis. Its lead single "In the Air Tonight", released in January 1981, reached No. 2 on the UK singles chart and became known for its drum arrangement and use of gated reverb, other singles taken from the album were "I Missed Again", "If Leaving Me Is Easy" & "Thunder & Lightning".

 

By 1978, Phil Collins had been a member of English progressive rock band Genesis for almost eight years. After spending the first five as their drummer, he reluctantly accepted the role of frontman of the group in 1975 following the departure of the band's original singer, Peter Gabriel. Three years later, after departure of guitarist Steve Hackett, Genesis' nine-month world tour to promote ...And Then There Were Three... (1978), which became problematic for Collins's wife, Andrea, who complained that he was not at home enough and should he commit to the full tour, she would not be there when he returned. Collins maintained that the band were on the cusp of their international breakthrough and the tour would pay dividends for the future. 

In his home in Shalford, Surrey, named Old Croft, Collins set up a Sequential Prophet-5 synthesiser, piano, Roland CR-78 drum machine, and an 8-track tape machine in his bedroom, and recorded a collection of demos with backing tracks and early lyrics. He was not concerned with the quality of the recordings as what may have lacked in the recordings would have been salvaged with the emotion in the songs. There were numerous times when Collins stopped recording earlier than planned as the ideas were not working in the studio, forcing him to resume the following day. Collins based the majority of Face Value on the divorce he had endured and used a solo album as an outlet for his feelings.

During the conception of the album, Collins had forged a close friendship with John Martyn and played on Grace and Danger (1980), which contained a similar narrative relating to divorce and relationship breakdown. Some of Collins' material that he had written was performed by Genesis on Duke (1980), including "Misunderstanding", the arrangement of which remained unchanged. He had played "In the Air Tonight" and "If Leaving Me is Easy" to the group, but they were left out as Collins said they were "too simple for the band".

The recording sessions for Face Value took place at the Town House in London and the Village Recorder in Los Angeles between August and December 1980. The demos recorded onto 8-track were transferred onto 24-track for overdubs. According to Classic Albums, in what was considered a controversial move at the time, Collins, who grew up listening to American R&B as a child in Chiswick, decided to incorporate an R&B horn section, hiring the Phenix Horns, who played backup for Earth, Wind & Fire. Collins had asked a contact who knew the group if they were interested in playing, and upon their agreement their leader Thomas "Tom Tom 84" Washington met with Collins who asked him to sing the sections where the horns were to be placed into a tape recorder. The group recorded their parts the following day.

Collins produced the album himself with assistance from Hugh Padgham, who would co-produce several of Collins and Genesis's subsequent albums in the 1980s. Initially he considered George Clinton, Maurice White, or Phil Ramone until he realised that he merely wanted someone to endorse his own ideas. Assistant recording engineer Nick Launay was hired after Collins was impressed with his work with Public Image Ltd. Collins was dissatisfied with initial test cuts of the album, describing them like a Queen album, "big, British and upfront". He then listened to several albums by black musicians including ones by the Jacksons and a collection of soul artists in his own collection, and noticed a common link with technician Mike Reese who worked at a Los Angeles mastering lab. Reese prepared a cut which Collins was satisfied with.

The simple style of music on Face Value was attributed by Collins to his fondness for Weather Report's simple melodies and for black music. Collins controversially included drum programming rather than just live drum instrumentation despite his reputation as a drummer. Collins said he wanted to experiment with different sounds and was inspired by the work of his former bandmate Peter Gabriel, who had used drum programming on his last album; Collins was part of these sessions.

The album featured songs of different genres. While technically a rock and pop offering, the basis of many of the tracks lies in R&B with light funk influences, especially in "I'm Not Moving", for which Collins sang his backgrounds with a vocoder. "Droned" and "Hand in Hand" are progressive rock instrumentals, with the first featuring an Indian raga sound, while "Hand in Hand" features jazz elements, a black children's choir from Los Angeles humming the music, and improvisational instrumentation by Collins and the Phenix Horns. "The Roof Is Leaking" has Delta blues and country elements. "Behind the Lines" was originally recorded by Genesis on the Duke album as a progressive rock number. Collins worked up a horn-driven R&B/funk-inspired arrangement after speeding up the tape on the Genesis version and thinking that the sped-up version sounded like a Michael Jackson song. The cover of the Beatles' "Tomorrow Never Knows" includes instruments and vocals playing in reverse while Collins provided multi-layered background vocals and sparse drumming. After the song ends, Collins can be heard quietly singing "Over the Rainbow" in reference to the recent murder of John Lennon; this final song is unlisted on most releases of the album.

The album became an immediate success, reaching No. 1 in the UK, Canada, and other European countries, while peaking in the top ten in the US. "In the Air Tonight" became the album's biggest hit, reaching No. 2 in the UK, No. 1 in three other countries, and becoming a top twenty hit in the US. Other songs such as "I Missed Again" found modest success reaching No. 14 in the UK and No. 19 in the US, while the third single, "If Leaving Me Is Easy", reached No. 17 in the UK but was not released in America. Sales of the album reached five million in the US and went five-times platinum in the UK and ten-times platinum in Canada. No solo tour was produced from this album – Collins immediately resumed working with Genesis for the album Abacab upon the album's completion. Some critics highlighted the album's emotional restraint, commenting that it plays less like a statement of "raw emotion" and more like a "diary" of Collins' "disappointments, hopes and fantasies". It captured effectively Collins' "multi-faceted" musicality with songs ranging "from funky beat to melancholic ballads with occasional pop and avant garde twinges."

 

Face Value Track List:  

 

1. In The Air Tonight

2. This Must Be Love

3. Behind The Lines

4. The Roof Is leaking

5. Droned

6. Hand In Hand

7. I Missed Again

8. You Know What I Mean

9. Thunder And Lightning

10. I'm Not Moving

11. If Leaving Me Is Easy

12. Tomorrow Never Knows 

13. Over The Rainbow

New Music: Heart Attack

           

The rising indie artist Thunder Jackson makes his bold return with an exuberant new single "Heart Attack"written and produced with Taylor Johnson (Flaming Lips, Samantha Crain). Born out of the natural chemistry he shares with frequent collaborator Johnson, Jackson says of the track: “When it was time to get back in the studio after Hello Stranger, we struck gold with ‘Heart Attack.’ A rough demo I had sitting on my hard drive opened up into the world you hear now. It was the perfect push-and-pull to find the sound. The video was filmed during Thunder Jackson's Hello Stranger Tour 2025 in the USA, UK, Germany and Austria.

Rocktrospectiva: The Impressive "Moving Pictures" Turns 45

Released on 12 February 1981 "Moving Pictures" was the 8th., studio album by Canaian rock band Rush. After touring to support their previous album, Permanent Waves (1980), the band started to write and record new material in August 1980 with longtime co-producer Terry Brown. They continued to write songs with a more radio-friendly sound, featuring tighter and shorter song structures compared to their earlier albums. The album spawned three singles "Limelight", "Tom Sawyer", & "Vital Signs".

In June 1980, the band ended their 10-month tour of the United States, Canada and the United Kingdom in support of their previous album, Permanent Waves (1980). The tour was a commercial success for the group, becoming the first of their career to earn them a profit. During their stop in New York City a month prior, the band decided to scrap plans for a second live album in favor of making a new one in the studio. Cliff Burnstein of Mercury Records suggested the idea to the band, and Neil Peart was particularly enthusiastic about the new ideas that were being developed at sound checks and was keen to put them to tape. Geddy Lee and Alex Lifeson caught on to his enthusiasm. 

The band retreated to Stony Lake, Ontario to write and develop new material. The sessions were productive. "The Camera Eye" was the first song to be worked on, followed by "Tom Sawyer", "Red Barchetta", the instrumental "YYZ", and "Limelight". Lee noticed a change in Peart's lyrics during this time, which had started with Permanent Waves, towards more concise and direct words. Following these sessions, Rush returned to Phase One Studios in late August 1980 with their longtime co-producer Terry Brown and prepared demos of these songs. The tracks were refined further during subsequent rehearsals for a series of warm-up shows across the US in September and October 1980, during which "Tom Sawyer" and "Limelight" were performed live for the first time.

Moving Pictures was recorded at Le Studio in Morin-Heights, Quebec in October and November 1980. Rush and Brown worked with 48-track recording for the first time. They'd record the basic tracks - drums and bass - to one 24-track tape reel, and transfer a stereo mix of these to a second 24-track reel for overdubs. This allowed them to preserve the quality of their recordings as much as possible as they were able to place the original backing track reel in storage until the mixing stage, thereby reducing potential damage to the tape from frequent playback. They experimented with a pressure zone microphone, a type of boundary microphone that picks up direct sound and no reverberated signals, that was taped onto Peart's chest as he played the drums. The audio captured from it was used to pick up the ambience in the studio room and was inserted into the final mix. Peart is seen wearing the microphone in the music video for "Vital Signs". The album was mixed down onto a Sony digital mastering machine, being an early example of digital recording. However, the completion of the album was delayed by two weeks due to technical issues in the studio, including with the Sony unit, but, as Brown elaborated, "it’s to be expected when you’re pushing the latest gear to its limits". 

The album opened with "Tom Sawyer" which featured a backbeat in a ⁴
₄ time signature, along with instrumental and closing sections in ⁷
₈. It was the first Rush recording for which Lee used his 1972 Fender Jazz Bass, which provided a punchier lower end than he had been able to obtain with his usual Rickenbacker 4001. Lee said the group had more trouble with "Tom Sawyer" than any other song on Moving Pictures, and at times had doubts as to whether it would work. The band had technical difficulties with the computer that mixed the tracks, so they decided to operate the mixing desk manually with each member handling their own set of faders. Peart described it as "an enjoyable work", which took around a day and a half to record, "collapsing afterwards with raw, red, aching hands and feet". Its instrumental section grew from what Lee would play on his synthesizer during sound checks on tour, which initially was forgotten about until the band traded ideas on what the section should be.

Peart's lyrics for "Red Barchetta" were inspired by the short story "A Nice Morning Drive" by Richard S. Foster, originally published in the November 1973 edition of the American car magazine Road & Track. Lee described the tale as "Orwellian in nature", which deals with an individual taking their Barchetta on a fast ride despite the banning of high speeds and is chased after by hovering patrol cars for breaking the law. "YYZ" is an instrumental titled after the IATA airport code for Toronto Pearson International Airport; its rhythm is that of the letters "YYZ" in Morse code. The lyrics for "Limelight" are autobiographical and based on Peart's own dissatisfaction with fame and its intrusion into one's personal life. The song contains two self-references: the first, the line "living in a fish-eye lens, caught in the camera eye" references the album's following track

Next was "The Camera Eye" was a two-part track with sections unofficially titled "New York City" and "London". Peart wrote the lyrics after taking walks in both cities, recalling observations and the rhythms he felt during them.  It was the final song the band included on a studio album with a length of over ten minutes, something which was a frequent occurrence on their earlier albums. Its title refers to short pieces of the same name in the U.S.A. trilogy of novels written by American writer John Dos Passos, which Peart admired. "Witch Hunt" opened with faint voices, which were recorded on the driveway of Le Studio in sub-zero temperatures, with the band and studio staff shouting in a humorous way while drinking Scotch whisky. Lifeson said one of his lines, "Fucking football", can be heard if the listener tries hard enough. The tracks were overdubbed multiple times until it sounded what Lee described as a "vigilante mob". "Vital Signs" was the last song that the band wrote for the album, which was pieced together at Le Studio. It features a sequencer part produced by an Oberheim OB-X synthesizer, and shows a distinct reggae flavour. Reggae influences in Rush's music were first heard on Permanent Waves, and would later be heard more extensively on their next two albums.

The cover was designed by Hugh Syme who estimated the artwork cost $9,500 to produce. Anthem Records refused to cover the entire bill, leaving the band to pay for the rest. It was a triple entendre; the front depicts movers who are carrying pictures. On the side, people are shown crying because the pictures passing by are emotionally "moving". Finally, the back cover has a film crew making a motion (moving) picture of the whole scene. It was photographed outside the Ontario Legislative Building at Queen's Park, Toronto. The pictures that are being moved are the band's Starman logo featured on the reverse cover of 2112 (1976), one of the Dogs Playing Poker paintings entitled A Friend in Need, and a painting that shows Joan of Arc being burned at the stake. The film crew on the back cover actually shot the scene, from which a single frame was used for the cover. 

Moving Pictures illustrated that the first great era of progressive rock had been taken as far as it could, or should, the album received a positive reception from contemporary and retrospective music critics and became an instant commercial success. The album reached number one in Canada and number three in both the United States and the United Kingdom. Moving Pictures is the fastest-selling album in the band's catalogue. So far, the album has been considered not only Rush’s masterpiece but one of those rare albums that epitomizes an era. It represents both a culmination and a progression: the peak of the band’s development as well as the blueprint for Rush’s subsequent work.

 

Moving Pictures Track List:  

 

1. Tom Sawyer

2. Red Barchetta

3. YYZ

4. Limelight

5. The Camera Eye: I

                             II

6. Witch Hunt

7. Vital Signs