Echo And The Bunnymen Porcupine Raritan

• ' Released: 10 July 1981 • ' Released: 1981 Heaven Up Here is the second album by the English band, released on 30 May 1981. In June 1981, Heaven Up Here became Echo & the Bunnymen's first Top 10 release when it reached number 10 on the. It was also the band's first entry into the United States albums charts when it reached number 184 of the. Heaven Up Here released the singles ' and '. Recorded at near in Wales, Heaven Up Here was co-produced by and the band. A generally well received album by fans in the United Kingdom and by critics, Heaven Up Here won the 'Best Dressed LP' and 'Best Album' awards at the 1981.

The album has also been listed at number 471 in magazine's list of the. Contents • • • • • • • • • • Background and recording [ ] After the public and press interest garnered from Echo & the Bunnymen's debut album,, the band released the which maintained their profile. Work then soon began on their second album, Heaven Up Here. Following musical differences between the band and Crocodiles and, was brought in to produce Heaven Up Here. Jones had previously Crocodiles and co-produced Shine So Hard with Drummond. Jones would later go on to produce the band's 2005 album. The band were also given an additional producer credit.

The album was recorded at near in Wales during March 1981. In the to the 2003 version of the album, lead singer said that he constantly had the American rock band 's song 'What Goes On' in the back of his mind.

He also stated that the band wanted to record a soul album. In the same liner notes, bassist said that the band was often lazy and hence had hired rehearsal space at the Ministry in Liverpool. He said this made them work harder and develop 'language' in the rhythm.

'The Back of Love' Single by Echo & the Bunnymen. Echo & the Bunnymen singles chronology 'A. It was subsequently added to the album Porcupine which was. Echo & the Bunnymen is the fifth studio album by the English post-punk band Echo & the. Which featured heavily on Ocean Rain and to a lesser extent on Porcupine.

According to guitarist, McCulloch considers Heaven Up Here to be Sergeant's album because he was bossy and a control freak during the recording. Music [ ] In 1981, music magazine the described the album as darker and more passionate than 1980's Crocodiles. The also said that the band sang the blues and devoted themselves to existential sadness. They went on to note that the album offered 'an anatomy of melancholy, resplendent with the glamour of doom'. Disagreed when in 1981 they said 'the Bunnymen are continuing to play majestic, uplifting music that will shine through the dark days ahead of us'. In the 2002 book Turquoise Days: The Weird World of Echo & the Bunnymen, author Chris Adams said that in 1995 McCulloch had said, 'That spikey edge [of the album] still stands up.'

In relation to their style of music, in 1980 McCulloch had said, 'I always say 'We're a rock band'. Because I'm proud of that.'

He added, 'I like rock music [.] I prefer being good or great within that basic format [.] I just prefer basic songs.' In his 2005 book Rip It Up and Start Again: Post Punk 1978–1984, British music journalist described the sound of Heaven Up Here as having been filled out with 'guitar overdubs, keyboard glints, vocal multitracking and atmospheric vapours'. Comparing Heaven Up Here with 's 1980 album, Reynolds said they are 'harrowed by the same things [.] hypocrisy, distrust, betrayal, lost or frozen potential'. However, he said that ' Closer shows fatally mesmerized by his own dread visions, Heaven Up Here ultimately turns its face towards the light' with the tracks 'No Dark Things' – which he describes as renouncing 'death-wishful thinking' – and 'All I Want' – which he describes as 'a blasting celebration of desire for desire's sake' and 'pure intransitive exhilaration'. Cover [ ] The photograph used on the front and back cover of the album was taken by photographer Brian Griffin. The picture shows the band on a wet beach in the south of Wales; there are dark clouds in the sky and the sun is low on the horizon causing the band to be silhouetted.

The picture was taken on a day off from recording the album. The original album's cover art was designed by Martyn Atkins. The cover received the 'Best Dressed LP' award in the 1981. Reynolds said that the band's manager Drummond saw them as representing 'cold, dampness, darkness'. The front cover picture of the original album was kept for the 2003 reissue.

However, the design was altered slightly by graphic designer Rachel Gutek of the design company guppyart. The release contained an expanded booklet written by music journalist Max Bell giving the background to the album. The booklet also contains a number of photographs which are credited to Sergeant and Pattinson. Releases [ ] The album was originally released as an by in the United Kingdom on 30 May 1981. It was then released in the United States by on 24 June 1981. It was released elsewhere on Korova although with a different catalogue number.

Side one of the LP contained five tracks and side two had six. The album was first released on CD on 16 May 1988. Along with their first five albums, the album was remastered and reissued on CD in 2003 containing five – these releases were marketed as 25th anniversary editions.

'Broke My Neck (Long Version)', which was recorded at Tistedal Studios in Norway on 7 June 1981, is the of the ' – an edited version was used as the B-side of the. The other four bonus tracks were recorded live at the Manley Vale Hotel in Sydney, Australia on 11 November 1981. The reissued album was produced by music historian and producer Bill Inglot. The only single from Heaven Up Here released worldwide was ' on 10 July 1981. The single stayed on the for four weeks and reached number 49.

Later that year, ' was released as a single in Australia only. Reception [ ] Professional ratings Review scores Source Rating 8.0/10 9/10 C Heaven Up Here was generally well received by the music press and critics. In a 1982 interview with the band for the, rock journalist Barney Hoskins described the album as 'one of the most superior articulations of 'rock' form in living memory.' Later reviews have continued to receive the album well: reviewer Aaron Warshaw said that McCulloch 'sings with soaring abandon and passion throughout the album' and that Sergeant's guitar playing was at its 'angular finest'.

Not all reviews were positive:, giving the album a C rating, said that he held 'no brief against tuneless caterwaul, but tuneless psychedelic caterwaul has always been another matter.' In his 1999 book From the Shores of Lake Placid and Other Stories, the band's manager Bill Drummond said 'The album is dull as ditchwater. The songs are unformed, the sound uniformly grey.'

Heaven Up Here sold well in the United Kingdom, staying on the for a total of 16 weeks and reaching a peak of number 10 in June 1981. The album was the first release by Echo & the Bunnymen to make it onto the American charts when it reached number 184 on the. In 2003, the album was ranked number 471 on magazine's list of. The has ranked the album number 39 in its list of the 50 greatest albums of the '80s and number 51 in its list of the greatest albums of all time. The album also received the NME's 1981 best album award.

Reynolds described the award as 'essentially an anti-New Pop protest vote by post-punk's silent majority'. Track listing [ ] All tracks written by,, and.

• ^ Roberts, David, ed. (2006) [1977]. Retrieved 3 April 2008. 4 • Heaven Up Here (LP cover notes). Echo & the Bunnymen..

• ^ Heaven Up Here (CD booklet)... 7 • ^ Adams, p. 71 • Adams, p. 72 • ^ Adams, p. 74 • ^ Reynolds, pp. 440–1 • Bell, p.

8 • Adams, p. 73 • Reynolds, p.

Villiers Terrace.com. Retrieved 20 May 2008. • ^ Warshaw, Aaron... Retrieved 13 May 2008. • Harrison, Andrew...

Archived from on 16 February 2009. Retrieved 16 May 2008. • (31 October 2003)... Retrieved 10 October 2015. London: (121): 129–30. December 2003. Retrieved 18 August 2009.

• Tangari, Joe (2 March 2004)... From the original on 19 February 2009. Retrieved 18 August 2009. London: (209): 149. December 2003. Retrieved 18 August 2009.

• Gross, Joe (2004). 'Echo and the Bunnymen'. In Brackett, Nathan; Hoard, Christian... • Ellen, Mark (11–24 June 1981). 'Echo and the Bunnymen: Heaven Up Here (Korova)'.: 29. • ^ (30 November 1981).... Retrieved 19 August 2009.

• Hoskins, Barney (20 February 1982). 'Echo and the Bunnymen: A Promise of Rock Re-Born'... • (January 1999).

From the Shores of Lake Placid and Other Stories. Ellipsis London..

(Special Collectors Issue ed.). November 2003.. Archived from on 27 April 2010. Retrieved 5 May 2010.

• 'The 50 Greatest Albums of The '80s'.: 19. 25 September 1993.. • 'Greatest Albums of All Time'.: 29. 2 October 1993.. • Reynolds, p.

441 Sources [ ] • Adams, Chris (2002). Turquoise Days: The Weird World of Echo & the Bunnymen. • Bell, Max (September 2003). Heaven Up Here (CD booklet)... Rip It Up and Start Again: Post Punk 1978–1984.

So what kind of drugs do you think it was? I only ask because it seems fairly obvious that Echo & The Bunnymen were a band christened during a period of impaired judgment. I can see it sounding funny on a drunk Saturday evening, but to seriously go through with it and start releasing albums under the name The Bunnymen (Echo was their drum machine) is just beyond reason, not only because it's a silly name, but because it's a name that engenders skepticism immediately when you say it. Rise Of Nations Gold Edition Trainer Free Download. I can't count the number of times I've found myself saying, 'No, seriously, they're really quite good once you get past the name,' to someone unfamiliar with their work. And the fact is, they really were a good band in their day (and actually still are in their reconstituted form today), but it's hard to find anyone who really takes them all that seriously. Granted, there are reasons aside from their moniker that people might shy away from Echo & The Bunnymen.

Ian McCulloch's (melo)dramatic, psychedelic crooner vocals and frequent forays into quasi-religious lyrical imagery are something you just have to accept without overthinking it, but the fact is that this band made that kind of stuff sound great. The Liverpool quartet created an absolutely huge sound on record to match their frontman's flair for grandiosity, and they bore it to you on the backs of bassist Les Pattinson and drummer Pete DeFreitas, a rhythm section whose sheer power and imagination is chronically overlooked.

Listening back to the band's five original albums on Rhino's excellently remastered reissue series in an age when rhythm is returning to the fore of the underground, it's hard not to notice just how charged and visceral some of these records were. The epitome is 'Back of Love', from 1983's Porcupine, an album that initially wasn't even released stateside, but in hindsight proves to be the band's definitive statement. 'Back of Love' is simply the astonishing highlight of the group's career, featuring frenetic drumming, laser-focused basswork and Will Sergeant's choppy, heavily delayed guitar chords. The way the music drops out of the treble range and yields to a deep, miles-thick synthesizer groan behind McCulloch's frantically shouted chorus is disorienting and breathtaking-- it's an anthem for adrenal glands. Porcupine was loaded with songs like that, unfolding with the cascading stomp of 'The Cutter', one of the band's best singles with its weird, elastic synthesizer melodies.

While it showcases some of The Bunnymen's most aggressively rhythmic material, though, Porcupine also houses its share of strange, abstract material such as the title track and 'My White Devil', songs that lurch on Spartan rhythms and mix disparate textures like Spanish guitar and cravenly artificial synthesizer, a fact that's led many to inaccurately characterize the album as the band's 'difficult' record, something it's really not. Of course, it's not as straightforward as its two predecessors, 1980's Crocodiles and 1981's Heaven Up Here. The Bunnymen hit the ground running, and their debut album is a stunning statement of purpose, with McCulloch already in full dramatic swing and the band at their most straightforward-- any band that uses as much reverb as this one is hard to label 'raw,' but 'Pride' and 'Do It Clean' nonetheless hit hard, and 'Rescue', with Sergeant's massive opening riff, manages to turn a chorus that should sound like a plea into a rallying cry. Heaven Up Here ranges more widely, and makes motions toward the slightly funkier band that turned up on Porcupine on the aptly titled 'Show of Strength' and 'With a Hip', while also stretching out their theatrical side on the slow-burning, flute-laden 'All My Colours' (also frequently referred to as 'Zimbo' for McCulloch's weird, droning nonsense refrain). The Bunnymen mellowed to a degree for their fourth album, the widely acclaimed Ocean Rain, but all it did was cause them to get weirder.

The album is stuffed with queasy midtempo tracks and bizarre orchestration, but it's by no means impenetrable. The strangest song, 'Yo Yo Man' limps through skewed verses, building to McCulloch's refrain, 'I'm the yo yo man/ Always up and down,' which triggers a startling interjection by vigorously bowed strings, percussion and Sergeant's spastic guitar. Focus Marzo 2015 Pdf W2.

Most of the album is considerably less warped, but a chilly, haunted ambience settles over the whole recording like a fine dust. The creative strain of recording Ocean Rain took a lot out of the band, and it took them three years to deliver a follow-up, in the form of their self-titled record, which is as odd a collision of commercial sensibility and inescapable weirdness as you're likely to find. The band's attempt to reach a wider audience worked out when they splattered the hook-heavy reverb bomb 'Lips Like Sugar' all over American college radio, but the backward guitar solo on 'Lost and Found' is more representative of the album as a whole. The sunnier production watered the band's sound down a bit, but they still managed to turn out 'All in Your Mind', a throbbing beast of a pop song swimming in twitching guitar and aggressive synth bass, and god, that is so obviously Ray Manzarek of The Doors playing organ on 'Bedbugs and Ballyhoo' that you don't even need the liners to clue you in-- it works almost purely on improbability. The folks at Rhino have done an admirable job of expanding each album to include relevant bonus material, trucking out standout B-sides 'Fuel' and 'Angels & Devils' and some bone-crushing early live tracks, but they've also somehow managed to leave off 'The Puppet' completely, and non-album singles 'Never Stop' and 'Bring on the Dancing Horses' are represented in atypical versions, which smacks of needless obscurantism. Still, these albums deserved another look, and the reissues offer a good one. If you've never heard The Bunnymen before, their career overview, Songs to Learn & Sing, is still the best introduction, but you can't go too wrong diving right into Porcupine.

Either way, The Bunnymen are a band worth exploring-- you know, once you get past the name.