Marc Almond - Open All Night (2010) {Expanded 2-Disc Collectors Edition rec 1999}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 750 Mb | MP3 @320 -> 314 Mb
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© 1999, 2010 Cherry Red Records / Strike Force Entertainment | SFE002
Pop / Adult Alternative Pop / New Romantic / Alternative / Torch Songs / Vocal Pop

Deluxe Special Edition Double Disc Reissue. The first of a series of Marc Almond expanded re-issue CD s, Open All Night was originally released in 1999 and pays respect to the sound of Soft Cell whilst mixing in elements of R&B, gospel, Latin and trip-hop. Features duets with Siouxsie Sioux ( Threat Of Love ) and with former Sneaker Pimps vocalist Kelly Ally ( Almost Diamonds ). Features an 18-track bonus disc, curated by Marc Almond himself of original song demos, film soundtrack rarities and alternative versions of tracks recorded at the time of the 1999 Open All Night Sessions.

The second – and, as far as most listeners were concerned, final – album from London's Then Jerico stands as the group's defining moment, containing their biggest hit (the rousing, synth-rocking title track) and best presentation, courtesy of former Roxy Music producer Rhett Davies. His polished, sweeping soundscapes match the band's anthemic songwriting well, even if they do remove some of the live excitement that was also a staple of Then Jerico's appeal. The highs here are higher than on First (The Sound of Music), as singer Mark Shaw turns "Sugar Box" into the sort of epic ballad that eluded him previously, and overall is much less mannered than on the band's debut.

There is a Japanese term: Mono no aware. It means basically, the sad beauty of seeing time pass - the aching awareness of impermanence. These are the days that we will return to one day in the future only in memories. The Midnight consists of Tyler Lyle (a songwriter from the Deep South) and Tim McEwan (a producer from Denmark).

Producer Mike Chapman, who had recently worked with Pat Benatar and Blondie, came on board for Bow Wow Wow's When the Going Gets Tough the Tough Get Going set. Perhaps it's Chapman's involvement that finds lead singer Annabella Lwin sounding a bit like Debbie Harry at times. This 1983 album was also the first that had no writers from outside the band contributing. When the Going Gets Tough is a well-polished, well-executed effort that holds some surprises mainly in the fact that there is more diversity than on prior Bow Wow Wow records. Chapman adds a gloss to the ballads "Lonesome Tonight" and the dreamy "Love Me," with Lwin toning down her usual frantic delivery.

By all means a phenomenal pop album that hit number nine on the black albums chart and crossed over to penetrate the pop charts at number 32, Nightclubbing saw Grace Jones working once again with Sly Dunbar, Robbie Shakespeare, and the remainder of the Compass Point team. Nightclubbing also continues Jones' tradition of picking excellent songs to reinterpret. This time out, the Police's "Demolition Man," Bill Withers' "Use Me," and Iggy Pop's "Nightclubbing" receive radical reinterpretations; "Nightclubbing" is glacial in both tempo and lack of warmth, while both "Use Me" and "Demolition Man" fit perfectly into Jones' lyrical scheme. Speaking of a lyrical scheme, "Pull Up to the Bumper" (number five black singles, number two club play) is so riddled with naughty double entendres – or is it just about parallel parking? – that it renders Musique's "In the Bush" as daring as Paul Anka's "Puppy Love." Drive it in between what, Grace? It's not just lyrics that make the song stick out; jingling spirals of rhythm guitar and a simplistic, squelching, mid-tempo rhythm make the song effective, even without considering Jones' presence.

New Life Generation is a German Depeche Mode tribute and cover band. It all started with the idea of producing 80s and 90s music in other styles and presenting them in a modern guise. This was also possible with the producer Doug Laurent, so some albums and remix ideas came up, which are sold under the name New Life Generation.

Al Bano and Romina Power are an Italian pop music duo formed in 1975 by then-married couple Albano Carrisi and Romina Power. They were highly successful in Italy and mainland Europe throughout the 1980s and the early 1990s. Their best known international hits include "Felicità", "Sharazan", "Tu, soltanto tu (Mi hai fatto innamorare)", "Ci sarà", "Sempre sempre", and "Libertà!"…

Norway's a-ha took "Take on Me" to the number one spot on Billboard's Top 40 in 1985, thanks to the award-winning animated video that accompanied it. Still, a-ha contributed rather accordingly to the '80s pop sound, drenching their music with bouncy riffs and employing the keyboard as the foundation to their colorful formula. Headlines and Deadlines: The Hits of a-ha assembles all of their singles together, a definite one-stop for all of their music. Combining ballads and radiant '80s pop, this set includes their most fervent offering in "The Sun Always Shines on T.V.," which hit number 20 in 1986 and originated from Hunting High and Low, the same album that included "Take on Me."

A new three-CD package, ‘Essential’ offers an overview of the Virgin Records-era of Sheffield synth-pop band The Human League.

"Our inconsistency is our consistency/our insincerity is our sincerity," Russel Mael sings at one point on A Steady Drip, Drip, Drip. It's a sentiment that could pass for Sparks' manifesto: Over the years, fans have come to expect dizzyingly witty lyrics and dazzling, ever-changing sonics from the Mael brothers. Their 24th album offers plenty of both, as well as a more pointed outlook and a slightly more down-to-earth sound than the duo's last outing, 2017's Hippopotamus. Ron and Russel Mael give these songs about misfits, outliers, and disasters a driving urgency, whether on "Sainthood Is Not in Your Future"'s sprightly tale of betrayal or the darkly cosmic "Nothing Travels Faster Than the Speed of Light," which provides a great showcase for Ron Mael's formidable keyboard skills. Similarly, stomping synth pop hits home the message of "iPhone," where the Maels imagine technology aided lack of communication stretching back to the Garden of Eve and sum up their frustration on the earworm chorus "put your fucking iPhone down and listen to me!"

Midge Ure's career, as fans well know, did not begin or end with Ultravox, and so If I Was: The Very Best of Midge Ure & Ultravox attempts to give an overview of one of '80s' Britain's most popular singers. As a career retrospective goes, however, it's pretty spotty. The Scottish vocalist first found fame with the pop band Slik, who scored a chart topper with "Forever and Ever" in 1976. Unfortunately, you won't find that here, nor its hit follow-up, scored just as a car accident took the band out of the charts. Once recovered, Ure moved on. His first port of call, in 1978, was ex-Pistol Glen Matlock's punk/post-punk supergroup the Rich Kids, who released a single and album, although this compilation draws nothing from this period, either. The following year, with the Kids in disarray, Ure helped form the even more illustrious Visage. Joining him there was Ultravox's Billy Currie and, before the year was out, Ure was fronting two hit-bound bands. Visage gets short shrift here, with Ultravox invariably, if unfairly, better represented. But even this wasn't enough to keep the singer busy. In 1981, as both bands' albums and singles swept up the charts, Ure linked up with Thin Lizzy's Phil Lynott for yet another hit, "Yellow Pearl".