This is the most recent release in the line of Tones On Tail compilations that have emerged over the years, each of which have somehow or other managed to cast about in the rather slim collection of the band’s recorded material to draw from and repackage into something of appeal. This time out, the draw includes some previously unreleased versions which have been rooted out from the archives, some new sleevenotes from the ever accurate and illuminating Bauhaus archivist Andrew J Brooksbank, and detailed musician/instrument credits for each track (a first).
A vinyl only release in physical format, it wasn’t around for long and commands high figures on the second-hand market now, so if the unreleased versions sound tempting then your best bet is to take a look at one of the digital download vendors in the first instance.
^ Tones On Tail – ‘Weird pop’ compilation LP front cover design – design by Glenn Campling
Compilation albums from your favourite artists – do you like them, do you find them a waste of time? In many cases, where the proliferation of them becomes so vast that you can barely tell one from another (and I’m thinking, for example, of Gary Numan here, or Tears For Fears – damn it, Japan’s Hansa Records era has been well and truly milked over the years too with countless budget label compilations), you lose all track. For this post though, I’m going to look at a handful of David Sylvian compilation releases – and this really is the opposite end of the spectrum from the previous example. These are clearly very carefully curated and bring a lot to the table in what they offer by way of tracks not found elsewhere. ‘Everything and Nothing’ in particular I would consider to be a vital piece of the catalogue that has so much going for it.
‘Everything and Nothing’ (3CD digipak limited edition)
From 1982 onwards, David Sylvian’s solo and collaborative releases were released by Virgin Records and it seems only fair to say that he enjoyed a supportive relationship with the label. But by the year 2000, the deal was reaching its end and as Sylvian himself has acknowledged in interviews, he had his final chance to peruse the Virgin archives of his material from 1980 onwards – the results of that would inform the two compilations ‘Everything and Nothing’ (principally vocal material solo and in collaboration) and ‘Camphor’ (primarily instrumental material, again solo and in collaboration). Neither of these could by any means fit the ‘Greatest Hits’ compilation album template.
‘Everything and Nothing’ was available as a three disc limited edition initially and a standard two disc edition.
^ David Sylvian – ‘Everything and Nothing’ UK/EU 3xCD edition front cover
What is/was unique to this compilation?
In short, lots! Sylvian took advantage of this opportunity to rescue some tracks which been intended for the previous year’s ‘Dead Bees On A Cake’ album (and from earlier sessions too) but which had been left off due to being unfinished. If that gives off a hint of ‘leftovers’ of a second rate nature, let me just say that in ‘The Scent Of Magnolia’ and ‘Cover Me With Flowers’ we had top-drawer Sylvian material on offer – not to be missed. Elsewhere, several cuts were newly remixed from their original releases. Continue reading “David Sylvian compilations across the years – Part 1”
The third in a series looking at US albums compiled by cherry-picking a couple of already released UK albums to create something else – we started with O.M.D. by Orchestral Manoeuvres in the Dark, then on to Heaven 17 – this time it’s yet another Virgin records act and again a self-titled compilation, with Japan.
The second in a brief series focusing on US albums compiled by cherry-picking a couple of already released UK albums to create something else – last time out it was O.M.D. by Orchestral Manoeuvres in the Dark, this time it’s the turn of Heaven 17. Released in America and in Europe, this release pulled together much of the band’s debut album, ‘Penthouse & Pavement’ along with a couple of tracks that would shortly thereafter be included on the second album, ‘The Luxury Gap’, plus the early single ‘I’m Your Money’. There was no UK equivalent release for this album, so I came to it many years later as one of those interesting regional curiosities that the the record industry of the time would throw up, and which were exotic manna for collectors such as I.
Quite a few of my favourite bands were to see their albums sliced and diced and re-packaged for overseas markets. With no UK equivalent, these were interesting regional curiosities that the record industry of the time would throw up and were exotic manna for collectors such as I. Released in America only, this compilation is one such example, others being similar releases by Japan and Heaven 17. ‘O.M.D.’ pulled together much of the band’s debut, self-titled, album and their second, ‘Organisation’.
^ Orchestral Manoeuvres in the Dark O.M.D. US compilation LP, 1981, front cover design
