Crush | ||||
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Studio album by | ||||
Released | 17 June 1985 | |||
Recorded | 1984–1985 | |||
Studio |
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Genre | ||||
Length | 38:37 | |||
Label | Virgin | |||
Producer | Stephen Hague | |||
Orchestral Manoeuvres in the Dark chronology | ||||
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Singles from Crush | ||||
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Crush is the sixth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 17 June 1985 by Virgin Records. It is the first of two OMD studio albums to be produced by Stephen Hague. Aimed primarily at the US market, Crush is notable for moving the group towards a more polished sound, although elements of earlier experimentation are still present. During recording the band employed a greater use of organic instrumentation than in the past.
Crush was completed within a limited timescale, with group members later expressing regret over not challenging label-enforced time constraints. The hectic recording and promotion schedule served to diminish morale among the band, who also had reservations about Hague's sleek production; co-founder Paul Humphreys briefly quit the group during the making of the album. Crush nevertheless received positive reviews and became OMD's only top-40 album on the US Billboard 200. It remained on Canada's RPM chart for 43 weeks from 13 July 1985 to 17 May 1986. [1] Of the three singles taken from the record, "So in Love" became the group's first hit on the US Billboard Hot 100, peaking at number 25.
A long-form video, Crush: The Movie, was also released, showing the band discussing their career and performing the songs from the album.
With OMD's Gramophone Suite studio now dismantled, the band commenced work at the more sophisticated Amazon Studios (also in Liverpool) in late 1984. The group booked Amazon for two months and tried to embrace a more relaxed, almost spontaneous approach to songwriting. Bandleaders Andy McCluskey and Paul Humphreys averaged a new composition every two days, with much of the lyrical content coloured by McCluskey's blossoming relationship with girlfriend (and future wife) Toni. OMD continued to make use of the Fairlight CMI sampler keyboard, which had been introduced on predecessor Junk Culture (1984). [2] The group employed a greater use of organic instrumentation during the sessions, [3] as many of the Fairlight-generated sounds came to be replaced by the live playing of Martin Cooper and Malcolm Holmes (and session musicians Graham and Neil Weir). Humphreys explained, "We were looking for a more band-type sound, since a lot of people have been telling us for ages that they like the way we sound on stage." [2]
As OMD set their sights on breaking America, Virgin Records suggested American producer Stephen Hague, of whom the band were fans. [4] The group began recording with Hague in spring 1985 at The Manor, Shipton-on-Cherwell. Hague would heavily influence the feel of Crush, employing a meticulous approach and largely streamlining the band's sound. OMD had reservations about Hague's production, which McCluskey felt approached "dullness"; Humphreys admitted publicly at the time, "It's a little smoother than we would have done it ourselves." [2] [5] Mixing was completed at Advision, London. The pressure of finishing the album on time, while working 19-hour days in a basement room with "very peculiar acoustics", served to damage rapport between the exhausted group members. [2] Humphreys briefly quit the band during the making of the record. [6]
Despite its polished sound, Crush features elements of the group's trademark early experimentation. [7] [8] Sampling was extensively used on both the title track and "The Lights Are Going Out", with the former utilising tuned snippets of Japanese television commercials recorded by McCluskey; Humphreys' then-wife Maureen provided additional vocals on both songs. [9] Elsewhere, "88 Seconds in Greensboro" was inspired by a TV documentary about the Greensboro massacre of 1979, and was recorded in one live take. [9] "Hold You" was considered as the follow-up single to "So in Love", and a music video was made, but the band ultimately reneged on the idea. [9] Other tracks considered for inclusion were "Heaven Is" and "Southern". [9] The title Crush refers to the number of love songs on the album. [9]
OMD intended to use a painting by American artist Edward Hopper for the sleeve art. Martin Kirkup, the band's then-manager, stated, "I remember Andy McCluskey telling me the reason he wanted a Hopper-style painting on the cover of Crush was that he had always felt there was a lot of melancholy in the paintings of Hopper and he felt that it matched the melancholy that was in the songs." After learning of the enormous fees required to reproduce Hopper's work, the group instead hired artist Paul Slater to imitate Hopper's style (in conjunction with XL Design). Slater based his artwork on Hopper's Early Sunday Morning (1930). [9]
Review scores | |
---|---|
Source | Rating |
All Music Guide to Rock | [10] |
Calgary Herald | B+ [11] |
Mercury & Herald | 9/10 [12] |
Number One | [13] |
Orlando Sentinel | [14] |
Record Mirror | [15] |
The Rolling Stone Album Guide | [16] |
The Sault Star | [17] |
Smash Hits | 8/10 [18] |
Winnipeg Free Press | [19] |
Crush met with positive reviews. [2] [20] It received five-star ratings from Debbi Voller of Number One and Robin Smith at Record Mirror , the former writing, "Crush... is a collection of remarkable songs. Each one has a life and mood of its own and OMD have cleverly combined atmosphere with instant appeal." [13] [15] Melody Maker 's Helen Fitzgerald named Crush the best OMD album to date, adding, "As a pop record it's sublime, intricate and unyieldingly persuasive, it doesn't give up its secrets lightly and the excitement is in the chase." [8] Ian Cranna of Smash Hits said the album delivers "what OMD do best – strong, melodic songs – in a more lush, er, orchestral setting while retaining that passionate punch... it's the welcome return of the thinking person's dance music." [18] The Guardian 's Robin Denselow stated that the group are "playing it safe" on Crush, but are "still able to roll out the strong melodies" and "swirling pretty songs". [21]
American magazine Cashbox noted the "accessible" nature of Crush, whose increased use of organic instrumentation yields a "warmer, more inviting sound than [on] previous outings". [3] Glen Gore-Smith of the Winnipeg Free Press wrote, "On Crush, the band has found a missing link between pop art and commerce. And, rather than compromising itself, OMD maneuvers with integrity." [19] The Calgary Herald 's James Muretich said of the record, "It emphasizes danceable electro-pop at the expense of experimentation... Crush won't bowl one over, but will seduce one gradually with its elegance and wit." [11] Len Righi of The Morning Call suggested that fans of the group's earlier output "may be shaking their heads... Which is not to say the songs aren't catchy or well-crafted." [22]
In a retrospective review, AllMusic journalist Dave Connolly unfavourably compared Crush to previous OMD efforts, observing a "lightweight" album that "represents a nearly complete reinvention of the band's original ideals." [23] On the other hand, the record was awarded a full five stars in the All Music Guide to Rock (2002), where editor Stephen Thomas Erlewine asserted that it "may be less adventurous than [OMD's] earlier work" but is still a "thoroughly winning album". [10] Trouser Press saw Crush as the beginning of a sustained shift toward the mainstream for OMD, but allowed that the record "isn't half-bad". [24] Paul Evans of Rolling Stone wrote, "With Crush, pure, luscious melody rules. Disowned (of course) by the band's cult, Crush is OMD at its most purely pop—'So in Love' and 'Secret' are flawless." [16]
The Gavin Report ranked Crush 11th in its "Alternative Top 100" of 1985, [25] while CMJ placed the record 10th in its "Top 20 Most-Played Albums" of the year. [26] Critic Kevin Bell, in listing the 10 best records of 1985 for The Brandon Sun , named Crush as one of 10 honourable mentions to narrowly miss a placing. [27] "88 Seconds in Greensboro", which addresses the Greensboro massacre of 1979, became the subject of an article in The Charlotte Observer . [28] Crush later ranked 23rd in a Slicing Up Eyeballs reader poll of 1985's best albums, [29] and was placed at no. 141 in CMJ's "Top 1000, 1979–1989". [30] When including OMD's Architecture & Morality (1981) in his 2023 list of "The 50 Greatest Synth-Pop Albums of All Time", Paste journalist Matt Mitchell stated that Crush and 1980's Organisation – both excluded under a "one album per artist" rule – were "equally worthy". [31]
Kevin Hearn of rock group Barenaked Ladies recalled "loving" the record. He added, "The title track, with its wonderfully strange sequence of samples, particularly appealed to my expanding musical tastes." [32] Humphreys feels "there's some nice things on [Crush]", although he and McCluskey have expressed regret over not challenging label-enforced time constraints. [33] [34] McCluskey also believes that the album's production does not sound like OMD. [35] Considerable resources were expended on trying to make Crush a success in the US, Humphreys noting, "We had a saying: 'In trying to break America, America broke us'... We got the success we craved, but we exhausted ourselves getting it." Morale would continue to fracture during the making of 1986 follow-up The Pacific Age (also produced by Hague), preceding a line-up split in the late 1980s. [4]
All tracks are written by OMD, except where noted
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "So in Love" |
| 3:29 |
2. | "Secret" | 3:56 | |
3. | "Bloc Bloc Bloc" | 3:28 | |
4. | "Women III" | 4:26 | |
5. | "Crush" | 4:27 |
No. | Title | Length |
---|---|---|
6. | "88 Seconds in Greensboro" | 4:15 |
7. | "The Native Daughters of the Golden West" | 3:58 |
8. | "La Femme Accident" | 2:50 |
9. | "Hold You" | 4:00 |
10. | "The Lights Are Going Out" | 3:57 |
Total length: | 38:37 |
Credits are adapted from the liner notes of Crush. [36]
Orchestral Manoeuvres in the Dark
Additional musicians
Weekly charts
| Year-end charts
|
Region | Certification | Certified units/sales |
---|---|---|
Canada (Music Canada) [46] | Gold | 50,000^ |
United Kingdom (BPI) [47] | Silver | 60,000^ |
^ Shipments figures based on certification alone. |
Orchestral Manoeuvres in the Dark (OMD) are an English electronic band formed in 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.
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 on-stage frenetic 'trainee teacher' dance.
Paul David Humphreys is an English singer, songwriter and musician who is best known for his contributions to Orchestral Manoeuvres in the Dark (OMD), an electronic band which he founded alongside Andy McCluskey in 1978. John Doran in The Quietus remarked: "If, roughly speaking, McCluskey is the intellect and inquisitive nature in the group, then Humphreys is the heart."
Dazzle Ships is the fourth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 4 March 1983 by Virgin Records. Its title and cover art allude to a painting by Vorticist artist Edward Wadsworth based on dazzle camouflage, titled Dazzle-ships in Drydock at Liverpool.
Junk Culture is the fifth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 30 April 1984 by Virgin Records. After the commercial disappointment of the experimental Dazzle Ships (1983), OMD and Virgin intended for the group to shift towards a more accessible sound on its follow-up release. The band retained much of their early experimental approach but embraced a wider range of influences than previously, drawing inspiration from pop, dance, Latin and black music. Frontman Andy McCluskey characterised Junk Culture as "the catchiest, poppiest album we've ever made".
Architecture & Morality is the third studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 6 November 1981 by Dindisc. Inspired by religious music, the group sought to broaden their musical palette by utilising elaborate choral samples, the Mellotron, and other new instruments to create a more naturalistic, emotive sound. The artwork was designed by longtime OMD collaborator Peter Saville, along with associate Brett Wickens, while its title was derived from the book Morality and Architecture by David Watkin.
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.
Orchestral Manoeuvres in the Dark is the debut studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 22 February 1980 by Dindisc. Recorded at the group's Liverpool studio, it showcased their minimal synth-pop style and peaked at number 27 on the UK Albums Chart. "Electricity" and "Red Frame/White Light" were released as singles; a re-recorded version of "Messages" provided OMD with their first hit in the UK, reaching number 13.
Universal is the tenth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 2 September 1996 by Virgin Records. Frontman Andy McCluskey opted for a more organic, acoustic sound on the record, which peaked at number 24 on the UK Albums Chart. It was generally well received by music critics, although the British media's overall resistance to OMD – who had been rendered unfashionable by the prevalence of grunge and indie rock – prompted McCluskey to dissolve the group. Universal was their last album until 2010's History of Modern.
The Pacific Age is the seventh studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 29 September 1986 by Virgin Records. It was the last of two OMD studio albums produced by Stephen Hague, after Crush (1985). The record exhibits the same refined production values as its predecessor while venturing into the realm of mid-1980s sophisti-pop, retreating further from the group's experimental beginnings.
Sugar Tax is the eighth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 7 May 1991 by Virgin Records. It was the group's first studio album since 1986's The Pacific Age, and the first of three recorded without co-founder Paul Humphreys, who had departed in 1989. Featuring singer Andy McCluskey alongside a new backing band, Sugar Tax leans towards the then-prevalent dance-pop genre, with McCluskey's songwriting at times being influenced by the breakdown of his relationship with Humphreys.
Liberator is the ninth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released on 14 June 1993 by Virgin. Recorded by OMD frontman Andy McCluskey along with musicians enlisted for the multi-million selling Sugar Tax (1991), the album ventures further into the dance-pop style explored by its predecessor.
The Best of OMD is a compilation album by English electronic band Orchestral Manoeuvres in the Dark (OMD), released in 1988; marking a decade since the band's beginnings. The record essentially delineates the group's experimental early years from their pop-oriented later work: side one features recordings from 1979 to 1984, while side two is drawn from the group's 1984–1988 efforts.
"If You Leave" is a 1986 song by English electronic band Orchestral Manoeuvres in the Dark (OMD). It was recorded for the soundtrack to the film Pretty in Pink (1986), in which it is played prominently during the final scene. Along with 1980's "Enola Gay", the track has been described as OMD's signature song.
"Electricity" is the 1979 debut single by English electronic band Orchestral Manoeuvres in the Dark (OMD), featured on their eponymous debut album the following year. Andy McCluskey and Paul Humphreys sing the lead vocals on the track together in unison. Recognised as one of the most influential singles of its era, "Electricity" was integral to the rise of the UK's synth-pop movement. It has garnered praise from music journalists and other recording artists.
"Secret" is a 1985 song by English electronic band Orchestral Manoeuvres in the Dark (OMD), released as the second single from their album Crush. Paul Humphreys sings lead vocals on the track. It became their second US Billboard Hot 100 entry, peaking at number 63, and also made number 34 on the UK Singles Chart.
"Joan of Arc (Maid of Orleans)" is a song by English electronic band Orchestral Manoeuvres in the Dark (OMD), released in 1982 as the third single from their third studio album, Architecture & Morality. To prevent confusion with the group's previous single "Joan of Arc", the song was retitled "Maid of Orleans (The Waltz Joan of Arc)" for its single release. Both songs are about the French heroine Joan of Arc and both reached the Top 5 of the UK Singles Chart—although this release was more successful internationally, topping the charts in several countries including Germany, where it was the biggest-selling single of 1982. "Maid of Orleans" has sold four million copies worldwide.
English Electric is the twelfth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), and their second since the 2006 reformation of the group. Preceded by lead single "Metroland" on 25 March 2013, it was released on 5 April by 100% Records. Unlike predecessor History of Modern (2010), which was compiled remotely via the Internet, English Electric saw OMD co-founders Andy McCluskey and Paul Humphreys write and record in person, with the aim of recreating their artistic chemistry in years past. The album was largely inspired by McCluskey's then-recent divorce.
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.
Bauhaus Staircase is the fourteenth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), and the fourth since their 2006 reformation. Released on 27 October 2023 by White Noise Records, it is their first album in six years since The Punishment of Luxury (2017). The record was largely inspired by world politics during the late 2010s and early 2020s. Its release was preceded by three singles: the title track, "Slow Train", and "Veruschka".
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