Organisation (album)

Last updated

Organisation
Orchestral Manoeuvres in the Dark Organisation album cover.jpg
Studio album by
Orchestral Manoeuvres in the Dark
Released24 October 1980 (1980-10-24)
Recorded1980
Studio
Genre
Length40:05
Label Dindisc
Producer
Orchestral Manoeuvres in the Dark chronology
Orchestral Manoeuvres in the Dark
(1980)		Organisation
(1980)		 Architecture & Morality
(1981)
Singles from Organisation
  1. "Enola Gay"
    Released: 26 September 1980

Organisation is the second studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 24 October 1980 by Dindisc. On Organisation the group worked with a producer for the first time, enlisting former Gong bass player Mike Howlett, while session musician Malcolm Holmes became the band's full-time drummer. The record is noted for its dark, melancholic tone in comparison to other OMD releases.

Contents

Organisation met with favourable reviews and provided OMD with their first top-10 album in the United Kingdom, where it peaked at number six on the UK Albums Chart. "Enola Gay" was the only single taken from the record, and was the group's fourth entry on the UK Singles Chart, reaching number eight. Organisation was remastered and re-released in 2003, with several bonus tracks.

Background

Much of Organisation was recorded at Ridge Farm, Rusper, with assistance from producer Mike Howlett. Ridge Farm Studio in 2015.jpg
Much of Organisation was recorded at Ridge Farm, Rusper, with assistance from producer Mike Howlett.

OMD wrote the bulk of Organisation in June and July 1980. Dindisc requested a new studio album before Christmas; lead vocalist Andy McCluskey recalled, "We were too naive to disagree." [1] Backing tracks were recorded at the band's Gramophone Suite in Liverpool. They later moved on to Ridge Farm in Rusper to record vocals and additional instrumentation, working with Mike Howlett (former bass player of Gong). [1] [2] This marked the first time the group had collaborated with a producer; keyboardist Paul Humphreys said, "We learned a lot from [Howlett]. We were young and didn't understand the recording process and he guided us and pushed us – he was sensitive to our more esoteric, experimental side." [2] Additional recording was completed at Advision, London, and The Manor, Shipton-on-Cherwell. [1] [3]

Organisation features a darker, more melancholic tone than OMD's other work. [4] The band had been Factory label-mates, and had played many gigs with Manchester group Joy Division, whose frontman Ian Curtis died by suicide during the writing of the album. OMD's compositions were influenced by Joy Division's moody sound, with "Statues" being partially inspired by Curtis himself; [2] [3] the record also drew from krautrock influences. [4] McCluskey handled the majority of the songwriting, as Humphreys devoted more time to his relationship with California-based Maureen Udin. [1] Malcolm Holmes, who had drummed for precursor outfit the Id and provided session musicianship for OMD (notably on "Julia's Song", from the group's debut studio album), was recruited as a full-time band member, replacing the TEAC tape recorder named "Winston". [4] [5]

Sole single "Enola Gay" had little in common with the downbeat feel of the rest of the record, despite its bleak subject matter. [6] The song was written at the same time as the band's debut studio album, as was "Motion and Heart", which was considered as a second single. [7] "The Misunderstanding" is a holdover from the Id. [3] "The More I See You" is a cover of a song written by Mack Gordon and Harry Warren in 1945, and popularised by Chris Montez in 1966. The track began as an original composition, but McCluskey found himself singing the words to "The More I See You" over the song, which morphed into a cover version. [3] OMD's arrangement is radically different from that of previous versions. [8]

"Promise" features Humphreys' first lead vocal, and represents his first solo composition on an OMD album. [3] "Stanlow" was written about the Stanlow Refinery in Ellesmere Port, Cheshire, where McCluskey's father and sister worked. OMD cherished the view of the refinery lit up at night, often observing it when returning from tours. McCluskey's father granted the band access to the site to sample sounds from the machinery; a diesel pump forms the rhythmic opening of "Stanlow". [2] [3] "VCL XI" was the name of McCluskey and Humphreys' short-lived, pre-OMD group, which itself was named after a valve on the back of Kraftwerk's 1975 album Radio-Activity album (the name of the valve is written "VCL 11" on the Radio-Activity sleeve). [2] [3] The record's title is a homage to the band Organisation, a precursor to Kraftwerk. [9]

As with all of OMD's early album covers, the artwork was designed by Peter Saville Associates. It features a photograph by Richard Nutt of the cloud-covered peak of Marsco in the Red Cuillin mountains, on the Isle of Skye. [10]

Critical reception

Professional ratings
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [11]
Alternative Rock: The Best Musicians & Recordings 8/10 [12]
The Big Issue Star full.svgStar full.svgStar full.svgStar full.svgStar half.svg [13]
Future Music 7/10 [14]
Q Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [15]
Record Mirror Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [16]
The Rolling Stone Album Guide Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [17]
Sounds Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [18]
Tom Hull – on the Web A− [19]
Uncut 7/10 [20]

Organisation met with favourable reviews. [21] [22] Dave McCullough of Sounds awarded the album a full five stars, asserting, "[OMD] are a youth-mirror more valuable than any Street-Chic punk outfit I can imagine... warmer than your so-called 'warm' bands, your [Bruce] Springsteens and your [Graham] Parkers could ever be. They reflect the young horror of where and how we live but, in their songs at least, they face the problems with an irrepressible intuitive sense that makes the best pop of any time." [18] Record Mirror 's Daniela Soave said of the record, "Full of drama and numerous layers, it conjures up many images, so much so that it could almost be a film soundtrack... outstanding." [16] Flexipop noted that Organisation sees "the best of all the electric bands come up with another winner". [21]

In The Age , John Teerds wrote, "Much of the music is hook-laden and highly-memorable. Orchestral Manoeuvres... have a very distinctive sound which is hard to beat when you're looking for the best in a modern, electronic style." [23] Lynden Barber of Melody Maker observed, "OMD have produced not so much a collection of songs as a pervading mood, a feeling of restlessness spiked by an unsettling edge that never allows the music to descend into complacency... a very healthy step forward." [1] On the other hand, Organisation received lukewarm reviews from Smash Hits ' Mark Ellen and NME 's Adrian Thrills, both of whom found the album to be lacking the pop sensibilities of OMD's previous work. Ellen encouraged the group to "cease clinging to the idea of being a serious 'experimental' band and go all-out for the shameless synth-pop single". [24] [25]

In a retrospective article, Ryan Leas of Stereogum dubbed Organisation "one of the great albums from the early synth-pop era", on which OMD were "forging new sonic territory but also capturing the feeling of the times". [4] Trouser Press wrote, "[Organisation] pays attention to ensure variation in the tunes... With nods to John Foxx and David Bowie, OMD overlays melodies to dramatic effect; the performances are excellent." [26] Critic Dave Thompson praised the record's "smart lyrics, sharp songs... and genuinely innovative use of electronics", [12] while AllMusic's Ned Raggett said it is "packed with a number of gems, showing [OMD]'s reach and ability continuing to increase". [11]

Legacy

Despite featuring one of OMD's most well-known hits in "Enola Gay", Organisation has been recognised as a "lost" classic, overshadowed by the band's subsequent albums and other music of the period. [4] [27] The record, and its cover art, have nevertheless been ranked among the best of 1980. [28] Organisation has also been noted as influential, and a factor in the emergence of minimal wave music. [29] [30] When including 1981 follow-up Architecture & Morality in his 2023 list of "The 50 Greatest Synth-Pop Albums of All Time", Paste critic Matt Mitchell stated that Organisation and 1985's Crush – both excluded under a "one album per artist" rule – were "equally worthy". [31]

Organisation and predecessor Orchestral Manoeuvres in the Dark were cited as influential by the electronic acts Depeche Mode, [32] LCD Soundsystem [33] and Moby. [34] Porcupine Tree frontman Steven Wilson named Organisation as an inspiration and one of his "top 5 not-so-guilty pleasures of all time". He said, "It's not [OMD's] biggest record, but I think it's probably their best. It's got that Teutonic, Germanic kind of cold wave thing going on, which I've always been a sucker for." [35] Nivek Ogre of Skinny Puppy listed Organisation among the five albums he "can't live without", noting that it "changed [his] perceptions" musically. Ogre added, "[It] gave me the warm fuzzies within that dark mechanized-seeming world created; full of waltz timings and strong moods. Amazing dance music for mutant youngsters like myself." [36]

Organisation has received further endorsements from DJ/producer Paul van Dyk, [37] composer Yann Tiersen, [38] No Doubt bassist Tony Kanal, [39] and the electronic artists Mike Paradinas and Public Service Broadcasting. [40] [41] Van Dyk and Tiersen each cited the album as the first they ever acquired, with Van Dyk adding, "It was extremely influential. Early electronic, but also melodies and poppy elements, the general imprint of what later came for me in music." [37] [38]

Elsewhere, graphic designer and musician Brett Wickens (co-founder of the bands Spoons and Ceramic Hello) was affected by Organisation's marriage of artwork and music. He identified the record sleeve as the standout from OMD's catalogue, and said of the musical component, "It was extremely moving. I used to listen to it driving in the dark a lot." [42] Physicist and musician Brian Cox wrote in 2018, "I eventually persuaded my parents to buy Organisation, an album of gentle darkness beneath clouded skies, which I fell in love with aged 12 and still love today." [43] In an interview with BBC Radio 6 Music in April 2020, Britain's Poet Laureate, Simon Armitage, was asked to select a song from history for airplay: he chose Organisation's closing track, the near seven-minute "Stanlow". [44]

Track listing

Original release

Side one
No.TitleWriter(s)Length
1."Enola Gay" Andy McCluskey 3:33
2."2nd Thought"McCluskey4:15
3."VCL XI"
3:50
4."Motion and Heart"
  • Humphreys
  • McCluskey
3:16
5."Statues"McCluskey4:30
Side two
No.TitleWriter(s)Length
6."The Misunderstanding"
  • Humphreys
  • McCluskey
4:55
7."The More I See You"
4:11
8."Promise"Humphreys4:51
9."Stanlow"
  • Humphreys
  • McCluskey
6:30
Total length:40:05

US release (OMD)

Organisation was not formally released in the US; instead Epic Records released a compilation in 1981. This US release collects material from Organisation and the first OMD studio album, but retains the sleeve-art of the debut LP.

Side one
No.TitleWriter(s)Length
1."Enola Gay"McCluskey3:31
2."2nd Thought"McCluskey4:12
3."Bunker Soldiers"
  • Humphreys
  • McCluskey
2:51
4."Almost"
  • Humphreys
  • McCluskey
3:46
5."Electricity"
  • Humphreys
  • McCluskey
3:32
6."Statues"
  • Humphreys
  • McCluskey
4:08
Side two
No.TitleWriter(s)Length
7."The Misunderstanding"
  • Humphreys
  • McCluskey
4:45
8."Julia's Song"
  • Humphreys
  • McCluskey
  • Julia Kneale
4:32
9."Motion and Heart"
  • Humphreys
  • McCluskey
3:13
10."Messages"
  • Humphreys
  • McCluskey
3:59
11."Stanlow"
  • Humphreys
  • McCluskey
6:30

2003 remaster

No.TitleWriter(s)Length
1."Enola Gay"McCluskey3:33
2."2nd Thought"McCluskey4:15
3."VCL XI"
  • Humphreys
  • McCluskey
3:50
4."Motion and Heart"
  • Humphreys
  • McCluskey
3:16
5."Statues"McCluskey4:30
6."The Misunderstanding"
  • Humphreys
  • McCluskey
4:55
7."The More I See You"
  • Warren
  • Gordon
4:11
8."Promise"Humphreys4:51
9."Stanlow"
  • Humphreys
  • McCluskey
6:40
10."Annex"
  • Humphreys
  • McCluskey
4:33
11."Introducing Radios" (live)
  • Humphreys
  • McCluskey
1:27
12."Distance Fades Between Us" (live)
  • Humphreys
  • McCluskey
3:44
13."Progress" (live)
  • Humphreys
  • McCluskey
2:57
14."Once When I Was Six" (live)
  • Humphreys
  • McCluskey
3:12
15."Electricity" (DinDisc 1980 version)
  • Humphreys
  • McCluskey
3:43
Total length:59:37

Notes

"Annex" was the B-side to "Enola Gay". "Introducing Radios", "Distance Fades Between Us", "Progress", and "Once When I Was Six" are 1978 performances at The Factory that were originally available on a 7" released with the first 10,000 copies of Organisation, and initial copies of the cassette (which had a special silver cover/inserts).

Personnel

Orchestral Manoeuvres in the Dark

Charts

Certifications

Certifications for Organisation
RegionCertification Certified units/sales
United Kingdom (BPI) [49] Gold100,000^

^ Shipments figures based on certification alone.

Related Research Articles

<span class="mw-page-title-main">Orchestral Manoeuvres in the Dark</span> English band

Orchestral Manoeuvres in the Dark (OMD) are an English electronic band formed on the Wirral, Merseyside, in 1978. The group consists of founding duo and principal songwriters Andy McCluskey and Paul Humphreys, along with Martin Cooper and Stuart Kershaw (drums). Regarded as pioneers of electronic music, OMD combined an experimental, minimalist ethos with pop sensibilities, becoming key figures in the emergence of synth-pop; McCluskey and Humphreys also introduced the "synth duo" format to British popular music. In the United States, the band were an early presence in the MTV-driven Second British Invasion.

<span class="mw-page-title-main">Andy McCluskey</span> British singer, songwriter and bass guitarist

George Andrew McCluskey is an English singer, songwriter, musician and record producer. He is best known as the lead singer and bass guitarist of the electronic band Orchestral Manoeuvres in the Dark (OMD), which he founded alongside keyboard player Paul Humphreys in 1978: McCluskey has been the group's sole constant member. He has sold over 40 million records with OMD, and is regarded as a pioneer of electronic music in the UK. McCluskey is noted for his frenetic onstage "Trainee Teacher Dance".

<span class="mw-page-title-main">Paul Humphreys</span> English singer, songwriter and musician

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<i>Dazzle Ships</i> (album) 1983 studio album by Orchestral Manoeuvres in the Dark

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<span class="mw-page-title-main">Enola Gay (song)</span> 1980 single by Orchestral Manoeuvres in the Dark

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<span class="mw-page-title-main">Messages (Orchestral Manoeuvres in the Dark song)</span> 1980 single by Orchestral Manoeuvres in the Dark

"Messages" is a song by English electronic band Orchestral Manoeuvres in the Dark (OMD) from their self-titled debut studio album (1980). A re-recorded version of the song was released on 2 May 1980 as the album's third and final single, reaching number 13 on the UK Singles Chart and becoming OMD's first top-40 entry. As with their debut single "Electricity", "Messages" features a melodic synth break instead of a sung chorus.

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<i>The Punishment of Luxury</i> (album) 2017 studio album by Orchestral Manoeuvres in the Dark

The Punishment of Luxury is the thirteenth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), and the third since their 2006 reformation. Produced by OMD, it was released on 1 September 2017 by 100% Records in the UK and White Noise elsewhere. In July of that year, the band commenced a tour of North America and Europe in support of the record.

References

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  5. ↑ Cummings, Sue (11 December 1986). "Audiences Catch On to OMD". Chicago Tribune . Archived from the original on 28 May 2021. Retrieved 28 May 2021.
  6. ↑ Ware, Gareth (4 March 2013). "OMD: Of All The Thing We've Made: Dazzle Ships At 30". DIY . Archived from the original on 26 January 2016. Retrieved 19 January 2022.{{cite web}}: CS1 maint: unfit URL (link)
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  25. ↑ Thrills, Adrian (25 October 1980). "O, Dim". NME . p. 46.
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  32. ↑ "Depeche Mode Talk Influences (1988)". MTV News. 2 August 2023. Archived from the original on 2 August 2023. Retrieved 2 August 2023.{{cite web}}: CS1 maint: unfit URL (link)
  33. ↑ Murphy, James (22 May 2010). "LCD Soundsystem: This Is Happening". NME . p. 13. Murphy guides you through his new New York dance-punk troupe's new album." ... [Murphy:] "I was constantly listening to the 'Sweet Dreams'-era Eurythmics stuff and Bronski Beat and the first couple of OMD records.
  34. ↑ Turner, Luke (24 September 2013). "Corrupting Sonic DNA: Moby's Favourite Albums". The Quietus . p. 11. Retrieved 29 July 2024. ...as creatively inspiring as [OMD's] first three records.
  35. ↑ The linked page features Wilson's introduction. Move to page (i.e. slide) 6 for his comment on Organisation:
  36. ↑ Lentini, Liza (31 March 2023). "5 Albums I Can't Live Without: oGre and cEvin Key of Skinny Puppy". Spin . Retrieved 27 April 2024.
  37. 1 2 Moayeri, Lily (21 April 2020). "20 Questions With Paul van Dyk: The Trance Icon on Growing Up in East Berlin & Why Social Distancing 'Is Incorrect' as a Term". Billboard . Archived from the original on 28 May 2020. Retrieved 25 November 2020.
  38. 1 2 "Interview with Yann Tiersen". Fifteen Questions. Retrieved 7 September 2022.
  39. ↑ Marchese, David (24 September 2012). "No Doubt Explain OMD, EDM, and Peter Hook Basslines on 'Push and Shove'". Spin . Retrieved 2 November 2023.
  40. ↑ Finlayson, Angus (1 March 2013). "'We just called it techno': Mike Paradinas and Lara Rix-Martin on Heterotic, the early days of µ-Ziq and the ascent of Planet Mu". Fact . p. 2. Archived from the original on 29 September 2015. Retrieved 31 March 2024.{{cite web}}: CS1 maint: unfit URL (link)
  41. ↑ @PSB_HQ (12 June 2020). "10:29 pm" (Tweet) – via Twitter.
  42. ↑ Browne, Paul (15 February 2014). "Brett Wickens Interview". Messages. Retrieved 5 March 2021.
  43. ↑ Houghton, Richard (2018). "Foreword". OMD: Pretending to See the Future. This Day in Music Books. ISBN   978-1-999592-72-1.
  44. ↑ "Simon Armitage". Guy Garvey's Finest Hour. 27 April 2020. BBC Radio 6 Music. British Broadcasting Corporation.
  45. ↑ "Charts.nz – OMD (Orchestral Manoeuvres in the Dark) – Organisation". Hung Medien. Retrieved 26 December 2020.
  46. ↑ Salaverrie, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (in Spanish) (1st ed.). Madrid: Fundación Autor/SGAE. ISBN   84-8048-639-2.
  47. ↑ "Official Albums Chart Top 100". Official Charts Company. Retrieved 26 December 2020.
  48. ↑ "Chart File – Top 100 Albums 1980" (PDF). Record Mirror . 4 April 1981. p. 38. ISSN   0144-5804 – via World Radio History.
  49. ↑ "British album certifications – OMD – Organisation". British Phonographic Industry. 8 January 1981. Retrieved 28 May 2021.
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