Hipsway – Hipsway (1986)

by Record Facts

Hipsway are a Scottish pop/new wave band.
The band was formed in Glasgow in 1984 by ex-Altered Images guitarist Johnny McElhone on bass, and featuring Grahame Skinner (vocals), Pim Jones (guitar) and Harry Travers (drums). Skinner and Travers had been members of the band Kites with Paul McGrath and Ian McGreevy before Hipsway formed.

Their music was characterized by Skinner’s deep vocals and Jones’ rhythmic guitar style. They were quickly signed up by Mercury Records and by 1985 had released their first, eponymously titled album.
The album was a moderate success in the UK Albums Chart; while the single, “The Honeythief“, made number 17 in the UK Singles Chart, and also reached the Top 20 in the U.S. Billboard Hot 100 chart. Another song from the album, “Tinder”, became well known in Scotland as the soundtrack to a McEwan’s Lager commercial.

Predictably, the rest of the material on Hipsway fails to match the quality of its sole hit tune. There are some pleasant moments on Hipsway — “Long White Car” and “Ask the Lord” are nice ballads, and “Broken Years” is almost as catchy as “The Honeythief” — but the album is mostly forgettable pop fluff. Hipsway released one more album (the 1989 flop Scratch the Surface) before disbanding. Member Jon McElhone would later become a member of the decidedly more successful band Texas.


  1. “The Honeythief” (3:11)
  2. “Ask the Lord” (4:08)
  3. “Bad Thing Longing” (4:08)
  4. “Upon a Thread” (4:06)
  5. “Long White Car” (4:34)
  6. “The Broken Years” (3:14)
  7. “Tinder” (5:13)
  8. “Forbidden” (4:45)
  9. “Set This Day Apart” (5:06)

Companies, etc.


Released: 1986
Genre: Electronic
Style: Synth-pop 
Duration: 52:29

Label – Mercury Records

Bob Geldof – Deep In The Heart Of Nowhere (1986)

by Record Facts

Robert Frederick Zenon Geldof, KBE (born 5 October 1951), is an Irish singer-songwriter, author, political activist and occasional actor. He rose to prominence as the lead singer of the Irish rock band The Boomtown Rats in the late 1970s and early 1980s, alongside the punk rock movement.
Geldof left the Boomtown Rats in 1986, to launch a solo career and publish his autobiography, Is That It?, which was a UK best-seller.
His first solo records sold reasonably well and spawned the hit singles “This Is The World Calling” (co-written with Dave Stewart of Eurythmics).
A year removed from his work organizing the Live Aid concerts to raise money and awareness concerning famine in Africa, ex-Boomtown Rat lead singer Bob Geldof released his solo debut. Deep in the Heart of Nowhere features a host of name performers ranging from Midge Ure (Ultravox) to Brian Setzer (Stray Cats) to Eric Clapton lending a hand. The lyrics are a bit self-conscious and overreaching at moments, but, with all of the talent on board, the album does have some winning tracks. The single, This Is the World Calling, barely scraped into the charts, but is an anthemic plea to the cosmos with a heavenly background vocal trio of Maria Mckee, Annie Lennox, and Alison Moyet. “August Was a Heavy Month” and “Love Like a Rocket” both contain fluid, melodic guitar work from Clapton, with the latter being an infectiously catchy lyrical take-off on the Kinks’ “Waterloo Sunset.” Unfortunately, the second half begins to waver and the album, overall, is unfocused and less than the sum of some pretty spectacular parts.



1. “This Is the World Calling” (Geldof, David A. Stewart) – 4:29
2. “In the Pouring Rain” – 4:30
3. “August Was a Heavy Month” – 5:07
4. “Love Like a Rocket” (Geldof, Stewart) – 5:23
5. “I Cry Too” – 4:25
6. “When I Was Young” – 5:51
7. “This Heartless Heart” – 4:13
8. “The Beat of the Night” – 5:33
9. “Truly, True Blue” – 1:19
10. “Pulled Apart by Horses” – 4:29
11. “Words from Heaven” – 4:40
12. “Good Boys in the Wrong” – 5:18
13. “Night Turns to Day” – 4:53
14. “Deep in the Heart of Nowhere” – 1:19[2]

All songs were written by Bob Geldof, except where noted.


Released: November 1986
Genre: Pop
Length: 61:35

Label – Mercury Records

The Watchmen – Silent Radar (1998)

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The Watchmen are a Canadian alternative rock band. They were most commercially successful in the mid to late 1990s. During their peak years the band had three gold records  and one platinum record. In addition, they have toured Canada a number of times, were the opening act for The Tragically Hip, and co-headlined a national tour with Big Wreck.
Silent Radar is the fourth studio album by The Watchmen. The album contained numerous hits including “Stereo“, “Any Day Now“, and “Say Something”.
Videos for “Stereo” and “Any Day Now” saw heavy play on MuchMusic in 1998, but by the time the video for “Brighter Hell” was released in 1999, the momentum had slowed and this video was seen infrequently.

While their previous three albums were released by MCA Records, this was the first release from the band by EMI Music Canada. In 1995, Seagram Company Ltd. acquired 80% of MCA and the following year the new owners dropped the MCA name; the company became Universal Studios, Inc. and its music division, MCA Music Entertainment Group, was renamed Universal Music Group.

The biggest change on the CD was the band’s embrace of the internet. The CD included a CD-activated key to access multi-media material in a secret area of the band’s website. The CD activated website was the first use of this technology for a major-label band.
This gave the band three websites: their old website done in a traditional fashion, a new site dedicated to their new record Silent Radar, and a main site which included WAG, the band’s official “magazine.”
At the time, their webzine WAG set the band apart from their contemporaries. The webzine was filled with writing from the various band members and included digital photos taken by the band, tour diaries, feature articles, and a summary of the band’s reviews of concerts, books, records and gear.
The goal of the band in this internet endeavor was to allow them to give people a little taste of who they were when not on stage and what they think about.
The release of the album was also unique for its time. They unveiled the album one piece at a time over the internet. Starting Thursday March 5, 1998, a piece of the artwork from the new album was posted on a special website, along with a snippet of one song from the album. Between March 5, 1998 and March 27, 1998, a new piece and a new song was posted every other day until the puzzle was descrambled, and fans had seen and heard bits of the whole track listing.
The first song to be put up on the site was the first single “Stereo”, and the snippets were only up for a two-day period before it was replaced by the next song.
Following the Canadian release on March 31, 1998, the official album release party came as a live show by the band which was broadcast over the Internet on Thursday April 2, 1998. The webcast was a live show from the Horseshoe Tavern in Toronto.
Included with the initial release of the CD was a white card which contained “CD Active” Instructions to the album’s secret website. Attached to this card was a coupon which could be mailed back to the band and the sender would receive a free live EP in the mail called Live Radar. Only those who sent back the card received the bonus CD.
The album provided the band with their third and final Juno nomination as they were nominated for Best Rock Album at the 1999 Juno Awards.


Track listing

1. “Stereo” – 4:05
2. “Any Day Now” – 4:41
3. “I’m Waiting” – 4:18
4. “Rooster” – 5:30
5. “Silent Radar” – 4:23
6. “Do It” – 5:38
7. “He’s Gone” – 4:47
8. “Say Something” – 5:10
9. “On My Way” – 5:00
10. “Top of the World” – 4:10
11. “Come Around” – 3:58
12. “Brighter Hell” – 6:06

All songs written by The Watchmen, Lyrics by Joey Serlin/Daniel Greaves.


Additional personnel

  • Benmont Tench – Hammond B3 and piano on “Rooster”, “Any Day Now”, and “On My Way”


  • Adam Kasper – producer, recorder, and mixer
  • Mayy Bayles & Sam Hofstedt – additional engineers
  • Recorded at Studio Litho, Seattle, WA
  • Mixed at Studio X, Seattle, WA
  • Mastered by Bob Ludwig at Gateway Mastering, Portland, ME


Release date: August 25, 1998
Recorded: 1997 Studio Litho, Seattle, WA
Genre: Alternative Rock
Length: 57:50

Label – Capitol Records

Genesis – The Lamb Lies Down On Broadway (1974)

by Record Facts

The Lamb Lies Down on Broadway is the sixth studio album by the English rock band Genesis, released as a double album on 18 November 1974 on Charisma Records. It is their last album recorded with Peter Gabriel as the lead singer and lyricist before his departure from the group in May 1975.
concept centres around the spiritual journey of self-discovery of a Puerto Rican youth in New York City named Rael, and the story is told through his interactions with others. Recording was not without incident, including Gabriel’s temporary absences and his insistence on writing its lyrics, which put strains on the group.
Given all the overt literary references of Selling England by the Pound, along with their taste for epic suites such as “Supper’s Ready,” it was only a matter of time before Genesis attempted a full-fledged concept album, and 1974’s The Lamb Lies Down on Broadway was a massive rock opera: the winding, wielding story of a Puerto Rican hustler name Rael making his way in New York City. Peter Gabriel made some tentative moves toward developing this story into a movie with William Friedkin but it never took off, perhaps it’s just as well; even with the lengthy libretto included with the album, the story never makes sense.
But just because the story is rather impenetrable doesn’t mean that the album is as well, because it is a forceful, imaginative piece of work that showcases the original Genesis lineup at a peak. Even if the story is rather hard to piece together, the album is set up in a remarkable fashion, with the first LP being devoted to pop-oriented rock songs and the second being largely devoted to instrumentals.

This means that The Lamb Lies Down on Broadway contains both Genesis‘ most immediate music to date and its most elliptical. Depending on a listener’s taste, they may gravitate toward the first LP with its tight collection of ten rock songs, or the nightmarish landscapes of the second, where Rael descends into darkness and ultimately redemption (or so it would seem), but there’s little question that the first album is far more direct than the second and it contains a number of masterpieces, from the opening fanfare of the title song to the surging “In the Cage,” from the frightening “Back in NYC” to the soothing conclusion “The Carpet Crawlers.”
In retrospect, this first LP plays a bit more like the first Gabriel solo album than the final Genesis album, but there’s also little question that the band helps form and shape this music (with Brian Eno adding extra coloring on occasion), while Genesis shines as a group shines on the impressionistic second half.

In every way, it’s a considerable, lasting achievement and it’s little wonder that Peter Gabriel had to leave the band after this record: they had gone as far as they could go together, and could never top this extraordinary album.


Side one
1. “The Lamb Lies Down on Broadway” – 4:52
2. “Fly on a Windshield[a]” – 2:47
3. “Broadway Melody of 1974” – 2:11
4. “Cuckoo Cocoon” – 2:14
5. “In the Cage” – 8:15
6. “The Grand Parade of Lifeless Packaging” – 2:45

Side two
1. “Back in N.Y.C.” – 5:49
2. “Hairless Heart” – 2:25
3. “Counting Out Time” – 3:45
4. “Carpet Crawlers” – 5:16
5. “The Chamber of 32 Doors” – 5:40

Side three
1. “Lilywhite Lilith” – 2:40
2. “The Waiting Room” – 5:28
3. “Anyway” – 3:18
4. “Here Comes the Supernatural Anaesthetist” – 2:50
5. “The Lamia” – 6:57
6. “Silent Sorrow in Empty Boats” – 3:06

Side four
1. “The Colony of Slippermen” – 8:14
     (a). “The Arrival”
     (b). “A Visit to the Doktor”
     (c). “The Raven”
2. “Ravine” – 2:05
3. “The Light Dies Down on Broadway” – 3:32
4. “Riding the Scree” – 3:56
5. “In the Rapids” – 2:24
6. “It” – 4:14

All tracks written, performed, and arranged by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford.


Additional musicians
  • Brian Eno – Enossification (vocal treatments) on “In the Cage” and “The Grand Parade of Lifeless Packaging”
  • John Burns – production
  • Genesis – production
  • David Hutchins – engineer
  • Hipgnosis – sleeve design, photography
  • Graham Bell – choral contribution
  • “Omar” – Rael on the album’s artwork
  • Richard Manning – retouching
  • George Hardie – graphics (George Hardie N.T.A.)


Release date: 18 November 1974
Recorded: August–October 1974, Studio Glaspant Manor, Carmarthenshire, Wales with Island Studios’ mobile recording equipment
Genre: Progressive rock
Length: 94:22

Label – Charisma Records

Gary Numan – Jagged (2006)

by Record-Facts

Jagged is the eighteenth studio album by the musician Gary Numan, his first original album in over five years, following Pure in 2000. Stylistically Jagged was a development of its predecessor’s chorus-driven, anthemic industrial sound, utilising heavier electronics and more prominent live drumming. Although reaction to the new record was predominantly positive, critical opinion was more heavily divided than had been the case with the almost universal praise enjoyed by Pure.
Numan used more musicians on Jagged than on any of his releases for the past decade. The Sulpher team of Rob Holiday and Monti contributed to a number of tracks but, in the end, Numan took the finishing production touches out of their hands and completed the album with techno musician and DJ Ade Fenton.

Guest performers included former Nine Inch Nails drummer Jerome Dillon, as well as Martin McCarrick from Therapy?, Siouxsie and the Banshees and other bands, and his wife Kimberlee.
Long-time Numan collaborators Steve Harris, Richard Beasley and Andy Gray also played on the album.

The sprawling and dark Jagged finds Gary Numan continuing his love affair with all things gothic and industrial, and while many of the tracks are rich, layered, and downright creepy, the album as a whole is tough going, with too many songs sounding the same. The soft-loud-soft-even-louder technique that Nine Inch Nails often employ is beaten to death here and long, eerie intros are the norm. Numan‘s lyric writing is inspired, mostly by betrayal and heartbreak, and his teaming with multi-instrumentalist Ade Fenton has brought on a new sound for the veteran synth-man, one with landscapes that are sinister and vast. It’s mesmerizing for a track or two, then three or for more, and the listener is begging for a melody or something sharp to cut through the muck.
Taken in small doses, Jagged works better, if not extremely well, but only the hardcore need to check this wandering and bleak album.



  1. “Pressure” – 5:19
  2. “Fold” – 5:47
  3. “Halo” – 4:17
  4. “Slave” – 6:02
  5. “In a Dark Place” – 6:06
  6. “Haunted” – 5:31
  7. “Blind” – 7:01
  8. “Before You Hate It” – 5:14
  9. “Melt” – 5:18
  10. “Scanner” – 6:02
  11. “Jagged” – 5:27

All songs written by Gary Numan.

Companies, etc.



  • Steve Gullick – photography
  • Gary Numan – producer, engineer, mixing engineer
  • Ade Fenton – producer
  • James O’Connell – engineer
  • Nick Watson – mastering

Release date: 13 March 2006
Recorded: London, 2005-06
Genre: Industrial rock, dark wave
Length: 62:04

Label – Mortal Records

R.E.M. – And I Feel Fine… The Best of the I.R.S. Years 1982–1987 (2006)

by Record-Facts

And I Feel Fine… The Best of the I.R.S. Years 1982–1987 is a compilation album by R.E.M. that features songs from the band’s years at I.R.S. Records. All tracks have been remastered, and the set was released 12 September 2006. A companion DVD, called When the Light Is Mine, was released the same day.

And I Feel Fine is available in three versions: a standard one-disc version with 21 fan-favorite tracks spanning the Chronic Town EP from 1982 to Document from 1987 including every song released as a single on I.R.S. except for “Wendell Gee” and “Superman;”, a second edition that adds a bonus disc including rarities, the “Superman” single, unreleased songs, and alternate mixes, and a third edition, which combines the two disc version with the When the Light Is Mine DVD.

Two songs, “Bad Day” and “All the Right Friends,” appear in outtake versions here, as opposed to final versions on the 2003 Warner Bros. R.E.M. compilation In Time: The Best of R.E.M. 1988–2003. The songs “Theme from Two Steps Onward” and “Mystery to Me” were previously unreleased in any form and, like the version of “Bad Day,” were Lifes Rich Pageant outtakes.
The band had originally intended to include “Theme from Two Steps Onward” as an exclusive track on Eponymous but had lost the tape.
Demo versions of all four songs recorded during the Lifes Rich Pageant sessions were later released on the 25th Anniversary Edition of that album.

It’s hardly as if R.E.M.‘s glory days of the ’80s haven’t been compiled before — just after they left I.R.S. for Warner, the Eponymous collection appeared in 1988, and over the years more collections have appeared in both domestic and foreign markets — but 2006’s And I Feel Fine…: The Best of the I.R.S. Years 1982-1987 is the first collection since Eponymous to be assembled with a purpose.
At 21 tracks, it’s nearly twice as long as the 1988 effort (and it’s also five tracks longer than the good EMI Europe 1998 disc The Best of R.E.M.) and the extra space is used well, helping to sketch a complete picture of the band through singles, album tracks, and concert standards. Which isn’t to say everything great that R.E.M. recorded in the ’80s — it’s a rich body of work, so there will naturally be great songs left behind when it’s being condensed down to a 21-track collection — but this has all the major songs (“Radio Free Europe,” “[Don’t Go Back to] Rockville,” “Gardening at Night,” “Pretty Persuasion,” “Driver 8,” “The One I Love,” “Fall on Me,” “It’s the End of the World as We Know It [And I Feel Fine]”), making it about as a good single-disc overview and introduction to R.E.M.‘s peak years as could be imagined. Only two things would make it better: chronological sequencing, since the group’s growth truly was impressive, and the inclusion of their cover of the Clique‘s “Superman,” which was a college radio standard throughout the late ’80s.

“Superman” does turn up on the second disc of the deluxe edition of And I Feel Fine… That second disc is a hodgepodge of rarities, demos, alternate takes, live versions, single mixes and remixes, album tracks, and favorite songs of Bill Berry, Peter Buck, Mike Mills, and Michael Stipe. Although most of these rarities have appeared somewhere else before, there’s a healthy selection of previously unreleased cuts that makes this more than worthwhile for hardcore fans. Of these, the highlight is the original version of “Bad Day,” which was scrapped during the Lifes Rich Pageant sessions, then rewritten into “It’s the End of the World” and finally revived as a new song for the 2003 compilation In Time: The Best of R.E.M. 1988-2003. It’s rough and ragged, certainly incomplete, but it’s exciting and proof that at their peak R.E.M. was a terrific rock band. Also of note are previously unreleased demos of “Mystery to Me” and “Theme from Two Steps Onward,” also outtakes from the Lifes Rich Pageant sessions that are rough but a lot of fun. Then there are the rarities that aren’t that rare but still worth having: the original Hib-Tone versions of “Radio Free Europe” and “Sitting Still,” the original version of “All the Right Friends” (another early song later revived by the Berry-less version of the band), an acoustic “Swan Swan H,” and a live-in-the-studio version of “Just a Touch.” Although there are other rarities that could have shown up on this collection — they’ve been heard not only on bootleg, but on the expanded European reissues of the I.R.S. albums that appeared in the ’90s — this is the cream of the crop, and help make And I Feel Fine… the finest R.E.M. compilation yet.

Disc one

1. “Begin the Begin” – 3:29
     Lifes Rich Pageant, 1986
2. “Radio Free Europe” – 4:06
      Murmur, 1983
3. “Pretty Persuasion” – 3:51
      Reckoning, 1984
4. “Talk About the Passion” – 3:22
5. “(Don’t Go Back To) Rockville” – 4:33
      Single version – Reckoning
6. “Sitting Still”  – 3:18
7. “Gardening at Night” – 3:29
      Chronic Town EP, 1982
8. “7 Chinese Bros.” – 4:15
9. “So. Central Rain (I’m Sorry)” – 3:15
10. “Driver 8” – 3:23
        Fables of the Reconstruction, 1985
11. “Cant Get There from Here” – 3:39
        Single version – Fables of the Reconstruction
12. “Finest Worksong” – 3:48
        Document, 1987
13. “Feeling Gravitys Pull” – 4:51
        Fables of the Reconstruction
14. “I Believe” – 3:49
        Lifes Rich Pageant
15. “Life and How to Live It” – 4:08
       Fables of the Reconstruction
16. “Cuyahoga” – 4:21
       Lifes Rich Pageant
17. “The One I Love” – 3:17
18. “Welcome to the Occupation” – 2:47
19. “Fall on Me” – 2:51
        Lifes Rich Pageant
20. “Perfect Circle” – 3:29
21. “It’s the End of the World as We Know It (And I Feel Fine)” – 4:05

Disc two

1. “Pilgrimage” – 4:30
      Mike’s pick from Murmur
2. “These Days” – 3:25
      Bill’s pick from Lifes Rich Pageant
3. “Gardening at Night” (Slower electric demo) – 4:44
      Reckoning sessions, 1984
4. “Radio Free Europe” (Hib-Tone single version) – 3:48
      non-album single, 1981
5. “Sitting Still” (Hib-Tone B-side version) – 3:16
      non-album B-side, 1981
6. “Life and How to Live It” (Live at Muziekcentrum Vredenburg, Utrecht, Netherlands, 14 September
      1987)  – 6:36
      Previously unreleased, 2006
7. “Ages of You” (Live at the Paradise Rock Club, Boston, Massachusetts, 13 July 1983) – 3:48
      Live! for Life, 1986
8. “We Walk” (Live at the Paradise Rock Club, Boston, Massachusetts, 13 July 1983) – 3:17
      Previously unreleased, 2006
9. “1,000,000” (Live at the Paradise Rock Club, Boston, Massachusetts, 13 July 1983) – 3:25
      Previously unreleased
10. “Finest Worksong” (Other mix) – 3:47
        B-side of “Finest Worksong” 12-inch single, 1987
11. “Hyena” (Demo) – 2:50
       Fables of the Reconstruction sessions, 1985
12. “Theme from Two Steps Onward” (Demo) – 4:37
        Lifes Rich Pageant sessions, 1986 – 2:53
13. “Superman”
        Lifes Rich Pageant
14. “All the Right Friends” (Studio outtake) – 3:53
        Murmur sessions, 1983; Dead Letter Office I.R.S. Years reissue, 1993; later re-recorded for the
        Sky soundtrack, 2001
15. “Mystery to Me” (Demo) – 2:01
        Lifes Rich Pageant sessions
16. “Just a Touch” (Live-in-studio version recorded to two-track) – 2:38
        Reckoning sessions
17. “Bad Day” (Session outtake; at the time called “PSA”) – 3:03
        Lifes Rich Pageant sessions; later re-recorded for In Time: The Best of R.E.M. 1988-2003,
18. “King of Birds” – 4:09
19. “Swan Swan H” (Live acoustic version) – 2:43
        Recorded as part of the film Athens, GA: Inside/Out, 1987; Lifes Rich Pageant I.R.S. Years
        reissue,  1993
20. “Disturbance at the Heron House” – 3:32
         Peter’s pick from Document
21. “Time After Time (AnnElise)” – 3:31
        Michael’s pick from Reckoning

Companies, etc.



Release date: September 11, 2006
Recorded: April 15, 1981 – September 14, 1987
Genre: Alternative rock
Length: 154:33

Label – EMI/I.R.S. Records

Enigma – A Posteriori (2006)

by record facts

Enigma is a German musical project founded in 1990 by RomanianGerman musician and producer Michael Cretu. Cretu had released several solo records, collaborated with various artists, and produced albums for his then wife, German pop singer Sandra, before he conceived the idea of a New Age, Worldbeat project. He recorded the first Enigma studio album, MCMXC a.D. (1990), with contributions from David Fairstein and Frank Peterson.

Enigma followed MCMXC a.D. with a series of albums that involved several musicians and producers working with Cretu.
A Posteriori is the sixth studio album by German musical project Enigma. It is Enigma’s sixth album. In December 2006, the album was nominated in the Best New Age Album category in the 2007 Grammy Awards.

While the previous album, Voyageur, contained minimal amounts of the project’s signature sounds, A posteriori only contains the signature “Enigma horn” (a foghorn) during the opening minute of the album, and even then it is a fleeting glimpse. Coupled with the album’s subject matter of the collision of the Milky Way and Andromeda galaxies, A posteriori is, compared to earlier releases, stark and foreboding.

News about the album’s title and track list were first made public on 18 July 2006 through Crocodile-Music.de news page and EnigmaMusic.coms forums, while the album cover was made public ten days later. The first track from the album to be made public was “Hello and Welcome,” released as a stand-alone single in 2006. Enigma’s management subsequently stated that a new version would be included on the album, while the lead single off the album proper would be “Goodbye Milky Way“.

A posteriori became first Enigma album to be recorded using Cretu’s new 5.1 fully computerized mobile music studio “Alchemist”. “Alchemist” represents a machine of comparably small size with main keyboard and a number of hardware MIDI controllers with some “special” expansions and central computer with LCD screen. It was designed for Michael Cretu privately and according to him helped a lot producing music, transferring ideas into sound.

A posteriori“, a Latin phrase translated as “after the fact”, refers to empirical knowledge, the epistemological concept of deriving knowledge from past experience.
Eppur si muove“, alternately spelled “E pur si muove!”, is an Italian phrase translated to “And yet it moves”, attributed to Galileo Galilei after he was sentenced by the Roman Inquisition to recant his belief in heliocentrism.



1.  “Eppur si muove” – 3:41
2.  “Feel Me Heaven” – 4:50
3.  “Dreaming of Andromeda” – 4:26
4.  “Dancing with Mephisto” – 4:25
5.  “Northern Lights” – 3:39
6.  “Invisible Love” – 4:55
7.  “Message from Io” – 3:09
8.  “Hello and Welcome” – 5:08
9.  “20.000 Miles over the Sea” – 4:23
10.  “Sitting on the Moon” – 4:21
11.  “The Alchemist” – 4:41
12.  “Goodbye Milky Way” – 5:58

All songs written, arranged, and produced by Michael Cretu.
All songs published by 1-2-3 Music / Crocodile Music.


  • Michael Cretu – music, lyrics, vocals (tracks: 6, 10, 12), performance, production, programming, engineering
Additional musicians
  • Narration – Louisa Stanley (tracks: 4, 12)
  • Voice – Andru Donalds (track 8)

Companies, etc.



Release date: September 22, 2006
Recorded: 2005–2006 at various places with the “Alchemist” (all in one computed mobile studio)
Genre: New-age, Ambient, Downtempo
Length: 53:36

Label – Virgin Records


Blue Rodeo – Five Days In July (1993)

Blue Rodeo is a Canadian country rock band formed in 1984 in Toronto, Ontario. Five Days in July is their fifth studio album, and was released by WEA on October 26, 1993. The band’s most commercially successful album, it has been certified six times platinum as of 2008.
The album was recorded on singer/guitarist Greg Keelor‘s farm in Southern Ontario in July 1993. While the band originally intended for the recordings to serve only as demos, they found that the songs had a warmth and spontaneity that warranted releasing the collection as an album. Guest musicians on the album include Sarah McLachlan, Colin Linden and Anne Bourne. This album was keyboardist James Gray’s first album with the band.
This album is supposed to be a tribute to the Harvest-era Neil Young sound. “5 Days in May”, “Hasn’t Hit Me Yet” and “Bad Timing” were notable hit singles for the band.
Blue Rodeo‘s best album — and the first of a trilogy of brilliant records that would feature the band at its most epic, brave, and experimental (also featuring Nowhere to Here and Tremolo) — Five Days in July began with Daniel Lanois‘ advice to the bandmembers that they not be confined by a recording studio, so they dragged their equipment out to Greg Keelor‘s farmland home and made what is essentially the ultimate “campfire” album. With the exception of the dynamite harmonic cover of Rodney Crowell‘s “Till I Gain Control Again,” the songs have a loose, stoney feel about them — both Keelor‘s and Jim Cuddy‘s works feel like they just kind of organically evolved, which actually makes a whole lot of sense given the circumstances under which they were written and recorded.
This is the album that at once solidified Blue Rodeo‘s position as the main trailblazers of contemporary alt-country and one that became a career-defining benchmark by which all their later work would be measured. The fact that their Small Miracles tour in 2008 was still made up of half of this record should be indicative of its incredible importance in the Blue Rodeo canon. The big hits are here (“Bad Timing,” “Hasn’t Hit Me Yet,” “5 Days in May”), as are some hauntingly famous cameos by Sarah McLachlan (“Dark Angel,” “Know Where You Go/Tell Me Your Dream”). With the exception of a few upbeat feel-good numbers along the way, the album is a pretty mellow affair — a perfect record for perfectly endless listenability.
This was the album in which all of Blue Rodeo‘s artistic and commercial ambitions would come to fruition: to create epic, rootsy, melodic rock; to break through big commercially (in Canada, at least, where they very rightly became huge megastars); and to create for the world new instant classic solid albums — not just random collections of songs, but the type of flawless album that leaves listeners already breathlessly anticipating what will await them on the next release. Five Days in July is the quintessential and — along with Nowhere to Here and Tremolo — defining moment of Blue Rodeo‘s career to date, and it is proof positive as to why they have remained Canada’s all-time greatest band ever since. It would seem an impossible act to follow, if Blue Rodeo hadn’t already so effortlessly done so. A bona fide classic, in every sense of the word.


1. “5 Days in May” – 7:12
2. “Hasn’t Hit Me Yet” – 5:14
3. “Bad Timing” – 5:09
4. “Cynthia” – 4:40  (Vocals – Anne Bourne)
5. “Photograph” – 4:10
6. “What is This Love” – 6:16  (Vocals – Sarah McLachlan)
7. “English Bay” – 3:20
8. “Head Over Heels” – 4:01
9. “‘Til I Gain Control Again”  (Rodney Crowell)  – 4:29
10. “Dark Angel” – 5:16  (Vocals – Sarah McLachlan)
11.”Know Where You Go/Tell Me Your Dream” – 9:22  (Vocals – Sarah McLachlan)

All songs by Greg Keelor and Jim Cuddy, except where noted.

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Released: October 26, 1993
Recorded by Comfort Sound Mobile, Toronto
Mixed at Reaction Studios, Manta Eastern Sound
Mastered at Sterling Sound
Genre: Country rock
Length: 59:09

Label – WEA Records

Earth, Wind & Fire – Illumination (2005)

Illumiation is the 19th album by R&B band Earth, Wind & Fire. It was released in September 2005 on Sanctuary Records. It featured collaborations with several artists including Jimmy Jam and Terry Lewis, Kenny G, Kelly Rowland, will.i.am, and Brian McKnight.

The recording process for Illumination was originally conceived as a solo album for singer Philip Bailey. He recorded songs for the project “This Is How I Feel”, “Work It Out” and “Elevated”. A few months into recording, Bailey wanted to shift the focus of the project. He decided to make it into an Earth, Wind & Fire album- a move that was inspired by his oldest son, who co-wrote the song “Work It Out”. Bailey reached out to the remaining members of the band to help work on what became their next studio recording.

Following 2003’s The Promise, Earth, Wind & Fire went back to the studio and refined and updated their approach to music with a more contemporary neo-soul sound on Illumination, and the gamble paid off plentifully, as it’s one of the group’s freshest and most fully realized album since the glory years of the ’70s, when the group was releasing one timeless single after another. What makes Illumination work so well is their approach to staying contemporary without looking ridiculous in the process. The production from start to finish is polished and ready for prime time urban radio airplay, while still maintaining a sensibility of the old-school sound that made it work in the first place. Guest appearances are the norm, rather than the exception, with nonstop cameos from a wide range of artists, from OutKast and the Black Eyed Peaswill.i.am all the way to soft rock horn tooter Kenny G. But the crown jewel of the album is unquestionably the eight-minute jam “Show Me the Way,” with Raphael Saadiq handling lead vocals in a way that should make Maurice White blush with pride, confident in the knowledge his influence is very much alive and well in the next generation of soul musicians. The album’s final pieces are puzzling, as Brian McKnight‘s eloquent appearance on the ballad “To You” is roughly knocked out of place as the fitting closer by a smooth jazz cover of OutKast‘s “The Way You Move,” an ill-fitting move for an otherwise outstanding record. Sequencing error aside, Illumination is the musical defibrillator other aging soul musicians should grab a hold of and take note.


1. “Lovely People (feat. will.i.am)” – 4:28
Written-By – Keith Harris, will.i.am
2. “Pure Gold” 4:40
Written-By – James Harris III, Terry Lewis, Tony L. Tolbert, Bobby Ross Avila, Issiah J. Avila
3. “A Talking Voice (Interlude)” – 0:19
Written-By – Philip Bailey
4. “Love’s Dance” – 4:28
Written-By – James Harris III, Terry Lewis, Tony L. Tolbert
5. “Show Me The Way (feat. Raphael Saadiq)” 7:47
Written-By – Taura Jackson, Raphael Saadiq
6. “This Is How I Feel (feat. Kelly Rowland, Big Boi & Sleepy Brown)” – 4:21
Written-By – Patrick Brown, Marqueze Ethridge, Ray Murray, Antwan Patton, Rico Wade
7. “Work It Out” – 4:29
Written-By – James Bailey, Taura “Aura” Jackson, Raphael Saadiq, Kelvin Wooten
8. “Pass You By” – 4:59
Written-By – Raphael Saadiq, Taura Jackson
9. “The One” – 5:11
Written-By – Brandon Bennett, Patrick Brown, Samuel Christian, Ray Murray, Rico Wade
10. “Elevated (feat. Floetry)” – 4:37
Written-By – Marsha Ambrosius, Darren Henson, Keith Pelzer, Natalie Stewart
11. “Liberation (feat. Vikter Duplaix)” – 5:25
Written-By – Junius Bervine, Vikter Duplaix
12. “To You (feat. Brian McKnight)” – 4:37
Written-By – Brian McKnight
13. “The Way You Move” – 4:36
Written-By – Antwan Patton, Carlton Mahone, Patrick Brown

Bonus tracks
1. “Love Together (feat. will.i.am)” – 4:28
Written-By – will.i.am, Keith Harris
2. “Autumn (feat. Music Soulchild)  (only on the Japanese release)” – 4:37

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Release date: September 20, 2005
Recorded: 2004-2005, Flyte Tyme West at The Village Recorders, Larrabee North Studios, Los Angeles, California, Magnet Vision Studios, Santa Monica, California, Blakeslee Recording Company, Hollywood, California, The Dungeon Recording Studio, Atlanta, Georgia
Genre: R&B, funk
Length: 69:04

Label – Sanctuary Records

Dobie Gray – Hey Dixie (1974)

Hey Dixie (1974), Dobie Gray‘s (vocals) third (and final on MCA Records) LP — left no mistake as to the direction his music was headed. As he had done on previous collections, Gray‘s blend of rural soul is injected with a sense of the Nashville scene that had been a part of both the Drift Away (1972) and Loving Arms albums. Joining Gray‘s core instrumental and songwriting constituency of Mentor Williams (producer), Mike Leech (bass), Reggie Young (guitar), Troy Seals (guitar), David Briggs (keyboards) and Kenny Malone (drums) are Lonnie Mack (guitar) and members of the Muscle Shoals house band — especially the five-piece horn section of Harvey Thompson (sax), Ben Cauley (trumpet), Charles Rose (trombone), Harrison Calloway (trumpet) and Ronnie Eades (sax).
The infusion of the top-shelf session talent with thoroughly excellent material resulted in Hey Dixie‘s slightly edgier and less rural-influenced sound. Mack‘s old-fashioned thumper “Watch Out for Lucy” is given a Southern rock treatment that isn’t too far removed from the likes of Lynyrd Skynyrd‘s “What’s Your Name” or the rowdy honky-tonkin’ “Gimmie Three Steps.” The title track hearkens back to “Reachin’ for the Feeling” from his previous platter with the steady and ultimately danceable rhythm lying between Nashville’s upscale countrypolitan sound and MOR pop. “So High (Rock Me Baby and Roll Me Away)” — which would be covered to great effect by Dave Mason — has a freewheeling groove similar to that of Gray‘s 1972 hit “Drift Away.” The distinct vocal harmonies during the opening bars of “Roll On Mississippi” immediately suggest comparisons to or influences by the Statler Brothers and the Oak Ridge Boys. Gray‘s own “The Music’s Real” is a suitable tribute to his collaborator and producer Mentor Williams and is parenthetically monikered as “Mentor’s Song.”
The somewhat forced “How Can You Live All Alone” is nice, if not arguably detached, leaving the reworking of Allen Toussaint‘s “Performance” as the unlikely contender for the most affective ballad on Hey Dixie.


A1. Hey Dixie – 3:06  Written-By – Lonnie Mack, Troy Seals
A2. Haw Can You Live All Alone – 3:10  Written-By – Lonnie Mack, Troy Seals
A3. So High (Rock Me Baby & Roll Me Away) – 3:11  Written-By – Jack Conrad, Mentor Williams
A4. Watch Out For Lucy – 3:11  Written-By – Lonnie Mack
A5. Old Time Feeling – 3:08   Written-By – Tom Jans, Will Jennings

B1. Turning On You – 3:13  Written-By – Troy Seals, Will Jennings
B2. Roll On Sweet Mississippi – 3:56  Written-By – Bill Anthony, Bob Morrison
B3. Can You Feel It – 3:06  Written-By – Danny Seals, John Bettis, Troy Seals
B4. Performance – 2:57  Written-By – Allan Toussaint
B5. The Music’s Real (Mentor’s Song) – 3:15  Written-By – Dobie Gray


“Performance” is dedicated to Edith Piaf and Ta-Ta.

Release Date: 1974
Genre: Pop-Soul
Duration: 32:13

Label – MCA Records