Orchestral Manoeuvres in the Dark [OMD]: Isotype (2017)

The flipside of Isotype is Skin. My kids love the Isotype video. This was the first single from The Punishment of Luxury.

OMD [Orchestral Manoeuvres In The Dark]: Architecture & Morality / Dazzle Ships 05.16 Royal Albert Hall (2016)

I have no idea what the proper title of this record is. 

From Discogs:

"Limited to 1,000 copies via Pledge Music in three panel gatefold sleeve of the OMD concert held at the Royal Albert Hall on Monday 9th May 2016."

The above explains why the prices on Discogs start at £60 and run up to £99.95! The triple LP was bundled with 2 CD-Rs, which were also released separately. That's right! Bizarrely, these are CD-Rs, not CDs. Why? And yet, these CD-Rs are pricey too.

Orchestral Manoeuvres In The Dark [OMD]: Access All Areas (2015)

The following is taken from a comment on this item on Discogs:

Unearthed live recording from the ITV archives. To be precise, this concert was recorded at the Nottingham Playhouse, UK on 28th July 1980, for ITV's Rockstage programme (aired in April 1981). It was a rare one-off summer show and they played two songs from the yet to be recorded album 'Organisation'. This is the first time that the original 'Enola Gay' (unfinished) version is released. Notice the absence of the drum machine, its slightly different structure and original verses. Then, despite the short set, the quality of the recording is surprisingly good. Lighting was less gloomy than the classic Theatre Royal Drury Lane 1981 concert. 

The CD/DVD version was released in 2015, with a CD version and LP version appearing the following year. The LP is, of course, a picture disc. Access All Areas refers to a unlimited backstage pass, also known as AAA. Access all Areas is also the name of a series of recordings from various acts.

Orchestral Manoeuvres In The Dark [OMD] ‎– Julia's Song (Dub Version) (2015)

From Discogs: Released on Record Store Day 2015.

'Julia's Song (Dub Version)' is the same track as the first part of 'Julia's Song (Extended Version)', b-side to the 1984 Talking Loud And Clear 12" single, the second part of which has been released on the 2015 Deluxe edition of Junk Culture. 

I believe that this was a limited edition, but I am not sure. The flipside is 10-1.

OMD [Orchestral Manoeuvres In The Dark]: Dazzle Ships At The Museum Of Liverpool

Discogs treats this release as an EP, which I think is odd because it contains seven tracks:

Radio Waves
Genetic Engineering
Dazzle Ships (Parts II, III & VII)
4-Neu
International
The Romance Of The Telescope
Dazzle Ships (Parts I, IV, V & VI)

There are apparently 750 copies, but someone noted that more copies were made to correct for errors. All I can say that is: I wish I had been there.

OMD [Orchestral Manoeuvres In The Dark]: Metroland (2013)

The flipside to Metroland is The Great White Silence. It's a pretty good b-side. 

Orchestral Manoeuvres In The Dark [OMD]: English Electric (2015)

Who would have thought that the year 2015 would bring one of OMD's best records? I am still stunned by how good this record is. It pays overt respect to Dazzle Ships and it also has a good deal of glossy electronic pop that would appeal to any OMD fan.

Night Cafe, on it's own, is magical, a return to some Architecture and Morality sounds, with a beautiful melody and polished electronic sound. My fav tune might be Metroland, which is a delicious Kraftwerkesque tune. On the other hand, Dresden is also pretty cool.

The question about Kissing the Machine is which is the better version, this or the 1993-original with Karl Bartos. It's a tough call, as they are so similar. This is an excellent record, which is a bit better the History of Modern.

OMD [Orchestral Manoeuvres In The Dark]: History of Modern Part I (2011)

The History of Modern Part I compact disc is packed with stuff, like parts II, III, and IV, plus five remixes of Part I and four other tracks. This 10" single has only two edits of History of Modern Part I plus VCR and The Grand Deception, which are not on the History of Modern LP. This, as noted on Discogs, is true:

"Track B1 and B2 are erroneously swapped on sleeve and label"

Surprisingly, this 10" disc goes for, on average, north of $35. Even more surprisingly, the CD goes for much more.

OMD [Orchestral Manoeuvres In The Dark]: History of Modern (2010)

By my count, this is the second OMD record, after Dazzle Ships, to be credited to OMD rather than to Orchestral Manoeuvres In The Dark. Some singles have that credit too. I wonder why they opted to use the acronym from time-to-time. Perhaps it was a design consideration.

The original line-up reformed for this release, after the Sugar Tax, Liberator, and Universal albums, which were really Andy McCluskey solo records.

History of Modern is a fabulous record. I think it's a real return to form. I'm not sure what I was expecting, but this is a truly great record. Both McCluskey and Humphreys argue that the subsequent record is better. That is probably true, but it doesn't undermine how good this is.

This record was pressed in 2010 and 2018. I have the original first pressing which came with the CD.

OMD [Orchestral Manoeuvres in the Dark]: Live, Architecture & Morality & More (2008/2018)

4000 copies of this numbered, deluxe edition were released in 2018. It contains a CD of the entire show, recorded at the Hammersmith Odeon on May 19th, 2007. Previously, the album was released on CD in 2008. An LP version, on coloured vinyl, appeared in 2014. This is a good set packed with great tunes, including the entire Architecture & Morality LP, but with a different running order.

Here's another gripe with Discogs, which is always overly fastidious about how it credits records. The title, printed on the cover, is Live Architecture & Morality & More, which I have transcribed as Live, Architecture & Morality & More. A comma seems necessary. Discogs views it this way: Live  (Architecture & Morality & More). It's interesting, but wrong, in my humble opinion.

Orchestral Manoeuvres In The Dark [OMD]: Call My Name (1991)

Call My Name is also from Sugar Tax. My UK 12" has the 12" version of Call My Name plus a mix of Brides of Frankenstein. I didn't love this period of OMD without Paul Humphreys. I don't hate this period either, but it's a little less wonderful than the earlier and later OMD periods.

OMD [Orchestral Manoeuvres In The Dark]: Universal (1996)

Much like the Liberator record, I find this to be far less interesting OMD. Allmusic agrees:

"Universal is a rote collection of synth-pop and dance-pop from OMD, demonstrating only a fraction of the sophisticated craft that made its predecessor Liberator enjoyable, and none of the adventurous spirit of their '80s records." [source]

Incidentally, I once heard an interview with OMD, after they reformed, and Paul said he really likes this record. It could be that I have just not listened to this record enough. 

OMD [Orchestral Manoeuvres in the Dark]: Liberator (1993)

Once Paul and Andy went in separate directions, the band became less interesting, at least to me. Andy soldiered on under the OMD banner, and Paul did other things. This is OK, but I think its far too commercial, top 40ish, or something. This is miles and miles away from Messages. Still, I do like some tracks.

Orchestral Manoeuvres In The Dark [OMD]: Pandora's Box (It's a Long, Long Way) (1991)

My version of this 12" single has four edits of the title track (originally from the Sugar Tax album), plus Sugar Tax, the title track to the Sugar Tax LP that wasn't even on that LP.

Diesel Fingers Mix
Abstract Mix
Constant Pressure 12"
Prize of Beauty Mix

This is the dance-pop era of OMD. 

Orchestral Manoeuvres in the Dark [OMD]: Sugar Tax (1991)

It took almost five years, but OMD finally released its eighth album on May 7, 1991. Because it was released in 1991, it's not easy to obtain on vinyl, especially in North America. In fact, I have never seen a copy anywhere in any store since it came out.

The second odd thing is that Paul Humphreys left the band after the last record, so Andy McCluskey soldiered on by himself. Oddly, McCluskey's name appears nowhere on the record or jacket or inner sleeve. Instead, credit is given simply to OMD.

The last weird thing is that the song Sugar Tax appears on the b-side of Then you Turn Away, because it was not ready in time for the record's release date. It also appears on the 12" releases of Pandora's Box and Sailing on the Seven Seas.

This record has more of a pop dance feel than OMD's previous efforts. McCluskey recorded three records as OMD without Paul, and then he, too, called it quits, for a while anyway.

OMD [Orchestral Manoeuvres in the Dark]: Sailing on the Seven Seas (1991)

This is a promotional copy (not for sale!) that has 5 versions of the titular track. These are:

Dancing On The Seven Seas
Sailing On The Seven Seas (Larrabee Mix)
Sailing On The Seven Seas (Original Mix)
Sailing On The Seven Seas (Extended Mix)
Floating On The Seven Seas

The record comes in a plain black cardboard sleeve. My copy is lacking the hype sticker that Discogs references:

"Sticker:
Orgasmic Musical Delights
Here's 3 uptempo and 2 sleaze remixes of Sailing On The Seven Seas
Get Ready To Dance"

Orchestral Manoeuvres in the Dark [OMD]: Sailing on the Seven Seas (1991)

Side A: Sailing on the Seven Seas
Side B: Floating on the Seven Seas

I can't say that I am a fan of side B. Side A is cool, however.

OMD [Orchestral Manoeuvres In The Dark]: Brides of Frankenstein (1988)

All of these details, I have stolen from Wikipedia, because, once again, this draft post disappeared from Blogger and I cant be bothered to rewrite it.

"Brides of Frankenstein" is a medley of excerpts from various Orchestral Manoeuvres in the Dark songs mixed with dance rhythms by Mike "Hitman" Wilson and Steve "Silk" Hurley. It was released as a 12-inch single in 1988 in the United States and Canada. In 1991, both tracks were released as B-sides of the "Call My Name" CD single.

Songs used in the mix:

Locomotion
Messages
Secret
So in Love
If You Leave
We Love You

The B-side contains a dub mix. I'm not a big fan of this.

Orchestral Manoeuvres In The Dark [OMD]: The Best of OMD (1988)

I have two copies of this record. The first has a slight warp, but it plays fine. Warps, even if they do not affect sound, irritate me. I'd say that this a a really good overview to 1988, when the original band split. The track selections are bang on.

Orchestral Manoeuvres In The Dark [OMD]: Dreaming (1988)

In some respects, this is a sad song as it was the last single to feature the band's original lineup. It was released as the forthcoming single from The Best of OMD. There are lots of examples of bands adding a track to a best of compilation, and I wonder if any of those tracks have tanked. Fortunately, this is a pretty good track. It sounds like it could have appeared on The Pacific Age.

Orchestral Manoeuvres In The Dark [OMD]: Shame (1987)

Yikes, another post that inexplicably disappeared from my drafts in Blogger. This 12" has three version of Shame. They are the original album mix, the extended re-recorded mix, and the re-recorded version.

Orchestral Manoeuvres In The Dark [OMD]: We Love You (1986)

Three versions (extended, 7", and dub) are on this release. I hadn't see this video before, not that is is brilliant, or anything. I don't mind this track, but it pales in comparison to the early OMD.

Orchestral Manoeuvres in the Dark [OMD]: The Pacific Age (1986)

I almost hate to say it, but this is my least favourite OMD record, to 1986. I might even say that I dislike the record. I would rank it in last place of all OMD records. I won't go as far as to say that I hate it, but I struggle to find much to appreciate in it. I like (Forever) Live and Die on some level. Southern has always felt like a noble song, if you can call it a song. I don't mind Shame and The Dead Girls. I've never really liked Stay, and even Anny McCluskey agrees with me on that one, if I can accept what he said in an interview. I just do not get what they were doing here. Here is the reception section from Wikipedia, which really sums it up:

The Pacific Age met with negative reviews from the British music press. Melody Maker described the record as "Wheezing, crumpled and limp... a bitter, bitter disappointment". In Sounds, it was portrayed as "Slick and slobbery, just a bunch of bored (sounding) professionals really". In a retrospective review, Trouser Press said: "Except for the smoothly contrived hit "(Forever) Live and Die" and the catchy "We Love You," this dilettantish mess is less a set of songs than a meaningless collection of sounds." A more favourable Dave Connolly of AllMusic noted "OMD's mastery of melody and mood" and wrote that the group "continues to string snippets of sound together to create interesting patterns", as well as "bring their technical skill to bear on a few cuts". In a 2013 online poll, The Pacific Age was voted the 46th best album of 1986 based on the opinions of almost 53,000 respondents. Andy McCluskey said that on The Pacific Age, the band had "lost the plot" due to being afforded "no real time to take stock and write some decent material"; he also feels that the album's production "just doesn't sound like [OMD]". McCluskey noted that the record features tracks he wishes the band had never released, but considers "(Forever) Live and Die" to be "a good song" [source]

There's not much that I can add to that. In isolation, the songs do not irk me so much, but as a set, there is something really unsatisfying about them.