919:. It was an embarrassingly desperate attempt over cocktails to convince store owners that they should stock a record which, the company was trying to infer, stood for quality over likely quantity of sales. Nobody knew where to look as Hollis' muted blues confessional purposely disintegrated into shivering feedback. A similar farce was, apparently, held in a Paris planetarium. Hollis attended both playbacks and survived. He says the Paris one wasn't too bad because, when the lights went out, it was close to the perfect way to listen to his music – with your eyes closed, watching your own mind movies. He didn't stick around in London, though – he had no desire to see people's reactions. He says he's proud of the record and, seeing as it wasn't made for other people, their opinions don't bother him."
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all the time rather than thinking about what is important. The silence is above everything, and I would rather hear one note than I would two, and I would rather hear silence than I would one note," and according to
Wyndham Wallace, "this helps explain the fifteen seconds of amplifier hiss that open the record's first track, 'Myrrhman', the huge amounts of space left in final track 'Runeii', and the overall sonic concept perfected by Friese-Greene and Brown, who declares third track 'After The Flood' to be "probably the best engineering for me in the past forty years." Drums were miked far from the kit, sounds were allowed to echo through the studio space, mistakes were an integral part of the performance, and the album's dynamics are entirely genuine, the live feel of a jazz record."
902:“Taphead", "a masterfully subtle piece of music", begins with a simple guitar melody and Hollis' "wavering, unsure vocals," when keyboards unexpectedly fade in "and then the darkest, warmest trumpet sounds, one after the other, building beautiful harmony, with tension and release techniques apparent throughout the feature." Tyler Fisher, describing it for Sputnikmusic continued that "with this, Talk Talk creates a climax unlike any heard before or after. Following a more frenetic trumpet feature, light drums, bass, and piano enter, setting the slightest groove to allow for a screaming trumpet note and Hollis' vocals. Another climax that lasted less than a second. The control that the ensemble shows in "Taphead" is unparalleled."
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512:. "I was fearful that the money wouldn't be there to record another album." EMI and Talk Talk went to court to decide the issue. Centered around whether EMI had notified the band in time about the contract extension, because as part of the agreement, the label had to send a written notice within three months after the completion of the album, but the band said they had notified them too late, arguing that the three-month period began once recording had finished; EMI argued that the three-month period did not begin until they were satisfied with the recording. Justice
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851:, Mark Hollis said "the last thing I would ever want to do is intellectualise music because that's never been what it's about for me. Nothing has changed from the ethic of the last album and I would never want that to change because I can't see any way of improving upon that process. As before, silence is the most important thing you have, one note is better than two, spirit is everything, and technique, although it has a degree of importance, is always secondary."
632:," after which "each player gets to improvise around a basic theme as he or she feels it." The process continued over a long period of time, and ultimately the album took a year to record, although its liner notes state it was recorded from September 1990 to April 1991. The record was "only complete" when Hollis felt each guest musician had "expressed their character and refined their contribution to the purest, most truthful essence."
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employed, sometimes in places for which they had never originally been envisioned." Most of the music recorded never made the final album, with Brown commenting "it takes a strong discipline to erase 80% of the music you record. Few have the discipline to get rid of 'stuff'." As with previous albums, Hollis alone chose what parts of the recordings to use and in what context. Compared to
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651:. Furnished with the opportunity to fulfil his most extreme creative instincts." Often working in darkness, "there was an effort to create a vibe in the studio sympathetic with the feel of the album," as Aspden recalled, and the band removed clocks from the walls, covered up the windows, "set up oil projections on the walls and ceiling, and used no other light apart from a
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801:"It's never a thing with any of these albums of knowing what they're going to sound like. It's more like knowing the kind of feel you want. The one kind of starting point we had this time was just this thing of everyone working in their own little time zone. Really, it's just going back to one of a couple of things – either the jazz ethic or y'know, an album like
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891:"New Grass" was described as "Talk Talk as a purely placid and lovely proposition, electric organ and lilting guitar endlessly circling around Harris' heartbeat-steady drumming." "Ascension Day", in contrast, is considered the band's "most chaotic and vicious song," described by Harvell as "like a small jazz combo being elbowed aside by a
791:, off-setting, and the odd backwards F/X." Differing, distant miking techniques were employed for these instruments, with mics being placed "six feet from acoustic instruments, and about twelve feet from amplifiers." With the album now completed, they used only "an old spring echo, an EMT echo plate, and a DDL" to mix the album.
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commented that the remastering on this re-release sounds "amazing, as good as the album's ever sounded, in any format. Which is crucial, because on some level Talk Talk's later albums are all about sound. How startling, isolated moments of sound, or a formless wash of sound, can wring emotions out of
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says "the song structures are even stranger, built up from the tiniest musical gestures, clashing in mood from track to track, frequently more improvised-sounding than ever. The goal, assembling a coherent album from all this stuff, probably seemed quixotic to many of the contributors as it was being
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against their former record label. The band claimed that material had been falsely attributed to them and that they were owed money from unpaid royalties. Talk Talk won the case in 1992, and EMI agreed to withdraw and destroy all remaining copies of the album. Manager Keith Aspden hoped that the case
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Hollis denied that there was any problem with
Polydor, saying "the whole structure of the deal we have with this record company is understanding how we work. I suppose because it's on Verve some people will think we've been stuck under 'Jazz' but what on earth does jazz mean? It's such a vague term,
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at the time of the album's release, Hollis commented that "I think silence is an extremely important thing. It isn't something that should be abused. And that's my biggest worry because of the whole way that communications have developed, that there is a tendency just to allow this background noise
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manufactured by Georg
Neumann GmbH during the years 1949–1965. They chose it from an offering of several valve mics, which besides the U47 included a Neumann U48, M49 and "Tube", alongside "the old Wessex Collection" which included three AKG C12As. They carefully listened to each before settling on
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had doubts about whether it could have been successful many months in advance. They asked Hollis to re-record a song or replace material, but he refused to do so. By the time the masters were delivered later in the month, however, the label conceded that the album had been satisfactorily completed,
1558:"is an incredibly intuitive and bare recording – some songs feel like vapour trails. To me, every sound on the album is about death, like the songs are about to die, like a band of Beckett characters. But at the same time the album is so emotional. 'After The Flood' is like crying. After 22 July ,
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The guest musicians were brought in "to improvise on sections without hearing the full track. With just a basic chord structure at most, they were encouraged to try out anything their hearts encouraged them to, and then, thanks to the emerging digital technology, any results felt appropriate were
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is an extremely important album that has elements of jazz in it, but I would never call it jazz. Basically, the deal is that I promise to give them the best album I can. I think they have options across four albums which, at the pace we work, is the next 12 years. What more can you say?"
543:– a collection of new remixes of old material from the band. Hollis was vocal in his opposition to both releases. Before the latter was released, Hollis sent letters requesting that the compilation be stopped, but EMI did not respond. In November 1991, Talk Talk sued EMI, delivering four
1589:, Phill Brown said "there was divorce, breakdown. It was intense. I have never worked on more focussed sessions though. And no – I wouldn't work in the dark again. It was difficult getting back to 'normal' sessions." However, compared to prior Talk Talk albums, he goes on to note that "
1011:, responsible for most of Talk Talk's artwork. Marsh initially painted a cover depicting a group of threatened birds forming the shape of a larger bird in flight over a desolate landscape. However, Hollis later felt the artwork should feature a tree, to create a visual connection to
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edited and arranged the performances to get the sound they wanted. A total of sixteen musicians appeared on the album. It became their most successful album, selling over two million copies and prompting a major world tour. Nonetheless, for their next album
1392:". Sputnikmusic's Tyler Fisher said, "The world needs to hear this album, even if you haven't liked post rock before, because I guarantee that this is not the type of music you think of when you think post rock. Unfortunately, it should be." In
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said that while "the melancholy mood, a rare thoughtfulness and the sense of sharing something deeply personal, together with the haunting, emotional quality of the understated music, put Talk Talk heavily at odds with the commercial
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to Verve, Polydor were purported "gutted", wondering how they would be able to sell such an uncommercial record. Sutherland recalled that "the first time I heard the record was at a dinner given for retailers by the record company at
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were once on Verve. The band set to recording their new album soon after the contract was signed. Again hiring an array of guest musicians, producer/multi-instrumentalist Tim Friese-Greene and engineer Phill Brown, work began on
1378:, Victoria Segal found that in its "instrumental richness and exploratory dynamics", it "chimes unexpectedly with many recent developments in today's rock landscape", while also noting an "emotional heat" which "stops
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as influences, "because there, if you're talking about sounds being honest, I don't think you can get much more honest than that. It just sounds like the band's in the front room with you." In a radio interview with
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the album featured improvised instrumentation from a large ensemble of musicians. The demanding sessions were marked by Hollis' perfectionist tendencies and desire to create a suitable recording atmosphere. Engineer
931:– it no longer means what it should mean. Jazz has almost been bastardised to such an extent that, if you've got a saxophone on a record, it's jazz, which is a terrifying idea. It's like, where would you ever place
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Harris' drums were firstly set up against the far wall of the studio's main recording room, Wessex Studio 1, and were microphoned in "the usual rock arrangement", using "about ten microphones all close to the kit –
731:, although this time they operated five analogue slave tapes, which gave them access "to over 120 tracks for recording ideas." From this point, they continued to overdub further textures and instruments, including
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s Nick
Griffiths called the album "perverse genius" and "an exercise in self-indulgence and nothing more. If you refuse to enter their playground for the world-weary then that's fine by them." Ian Cranna of
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retrospectively gave the album a 10 out of 10 score and named it the eleventh best album of the 1990s, saying it "makes its own environment and becomes more than the sum of its sounds." In a 2007 list,
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As the band's legal battle with EMI concerning their contract had freed them from the label, the band began searching for other record labels, and eventually, their manager Keith Aspden signed them to
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and chose to extend the band's recording contract. The band, however, wanted out of the contract. "I knew by that time that EMI was not the company this band should be with," manager Keith Aspden told
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was the last release in the band's career, as Talk Talk silently disbanded in 1992, as Hollis wished to focus on his family. Paul Webb rejoined Lee Harris, and the two went on to form the band
1023:. As with previous albums, the album's liner notes feature Hollis' handwritten lyrics for each of the songs. Russel Uttley of Peacock Design is credited with the layout design of the sleeve.
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and offering not to interfere during recording, the band took full advantage of the scenario "and locked themselves away for the duration of recording." As with the band's previous album,
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with engineer Phill Brown, and around fifty guest musicians, although a total of only eighteen guest musicians feature on the final album. Working in an environment influenced by that of
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placed the album on their list of the "Top 50 Eccentric Albums". In 1999, Ned
Raggett included the album at number 4 in his list of "The Top 136 or So Albums of the Nineties". In 2014,
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wrote that the album "is unutterably pretentious and looks over its shoulder hoping that someone will remark on its 'moody brilliance' or some such. It's horrible." At the end of 1991,
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the U47. However, they placed it "30 feet away from the kit near the control-room window," which became an issue as the physical distance triggered a delay of 26-32 milliseconds.
485:(1988), the band chose to work towards an even more unconventional and uncommercial direction. The album was compiled from a lengthy recording process at in Studio 1 at London's
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stated that the album, like its predecessor, was "recorded by chance, accident, and hours of trying every possible overdub idea." The band split up following its release.
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was to "collect a group of like-minded musicians together" in the studio where he could then record the "perspective of instruments in physical distance rather than off
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or what have you – who are struggling to reach what Talk Talk achieved: a record that makes its own environment and becomes more than the sum of its sounds."
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remains an under-recognized masterpiece, and its echoes can be heard throughout much of the finest experimental music issued in its wake." Reviewing the album for
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band, with a climactic barrage of drumming that falls on your ears like an avalanche before the audible tape-splice cuts it dead." In the song, Hollis sings about
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said that "what went on in that studio strengthens the belief that Hollis was on a crusade to push boundaries and perfect his art on an even grander scale than
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Verve
Records released the album on 16 September 1991. No official singles or music videos were released to promote the album. Nonetheless, a limited edition
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commented that "sound can become all the more powerful when surrounded by silence, great gulfs of which are all over the later Talk Talk albums, especially
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1293:, Talk Talk had produced "three masterpieces in a row" and become "certainly the most individual, possibly the most important group we have." Writing for
811:, where the drummer locked-in and off he went and people reacted at certain points along the way. It's arranged spontaneity – that's exactly what it is."
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Unlike Talk Talk's other albums, the album has never been remastered for CD, but on 11 October 2011, Ba Da Bing
Records released a remastered version of
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was not a commercial success and although it would be acclaimed in later retrospective reviews, it initially polarized music critics. Their record label
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noted that "the recording process has long been described as one of the most arduous and prone to control freakitude ever." Wyndham
Wallace of
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Most pressings of this album on CD have tracks 3 & 4 overlapping for about 20 seconds, resulting in respective run times of 9:26 and 7:01.
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said that "the musical foundation for post-rock crystallized in 1991, with the release of two very different landmarks: Talk Talk's
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is a different beast. I am very proud of the album, it's probably one of my best projects, but I find it dark and claustrophobic."
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may lose Hollis some of his newly found friends, it will be valued long after such superficial quick thrills are forgotten." In
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said the album is "divided into six parts although it's really one long piece spanning an evolution of moods." Ian Cranna of
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Nonetheless, in 1990, bassist Paul Webb left the band, officially reducing Talk Talk to the duo of Hollis and Harris.
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Having by that point created backing tracks, they "made up
Mitsubishi Digital masters" as they had done with
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ranked the album at 138 on their list of "The 300 Best Albums of 1984–2014". In 2004, the German version of
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said "many indie rock bands and experimental composers have genuflected toward it over the last 20 years."
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wrote that the album "shows what magic can happen if bands have the talent and daring to push boundaries".
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was distributed on cassette. Despite the lack of traditional promotion, the album reached number 26 on the
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has gone on to receive widespread acclaim. "A work of staggering complexity and immense beauty," wrote
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isn't it? Without any question there are certain areas of jazz that are extremely important to me.
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seems to gain more acclaim with each passing year. That may be the result of all the bands –
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sound, where musicians improvised with their instruments for many hours, then Hollis and producer
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The album garnered significant critical praise, often cited as a watershed entry for the budding
2580:"The Quietus – Features – Anniversary – After The Flood: Talk Talk's Laughing Stock 20-Years On"
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1015:. The final cover featured the same birds in a spherical tree forming the shapes of the Earth's
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on vinyl, marking the first time that the album has been issued on vinyl in the United States.
961:("Stump", "5:09"). In the United States, a recording of an interview with Mark Hollis entitled
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is the wayward, grubby wee brother who got kicked out of school for skiving." Tom
Fleming of
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said the album was "even more withdrawn and personal than before." Comparing the album to
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was recorded with "a more conventional '80's set up." Brown and the band worked with a
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3304:"Post-Rock : Significant Albums, Artists and Songs, Most Viewed : AllMusic"
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said "I think of the final two albums by Talk Talk as siblings very close in age. If
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left the group, which reduced Talk Talk to the duo of singer/multi-instrumentalist
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noise reduction, which, to make editing simpler, was run at 30 inches per second.
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between 1987 and 1988 where the band worked again with Friese-Greene and engineer
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is the older, pretty and sophisticated big sister who got all the A grades, then
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performances which were heavily edited and re-arranged into the final album.
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U47 Tube microphone, the kind used to record many of the album's components.
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In 1986, Talk Talk, then a three-piece band consisting of leader and singer
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also issued two compilations without the band's consent in 1990 and 1991;
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1979:"Snow in Berlin: Laughing Stock – a Talk Talk & Mark Hollis resource"
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Hollis' discipline during the recording is well noted; Jess Harvell of
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2842:(19th ed.). London: Guinness World Records Limited. p. 547.
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1635:. He officially retired from the music industry shortly afterwards.
1299:, Betty Page lauded it as one of 1991's "most challenging records".
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Wide, Steve (22 September 2020). "Honourable Mentions: Talk Talk".
3224:"Donal Dineen's Sunken Treasure: Talk Talk's 'The Laughing Stock'"
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2893:"Interview with James Marsh on his album cover work for Talk Talk"
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is an example. But jazz as a term is as widely used and abused as
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The album has appeared in multiple "best albums" lists. In 2003,
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was one of two records I wanted to listen to." Scottish singer
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ruled in favour of EMI, but his decision was overturned in the
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Segal, Victoria (4 March 2000). "Talk Talk: Laughing Stock".
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Griffiths, Nick (October 1991). "Talk Talk: Laughing Stock".
493:. Often working in darkness, the band recorded many hours of
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of birds feature in the album cover to connect the album to
715:, ambient etc." Following this, Brown and Hollis rented the
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2391:". thequietus, 12 September 2011. Retrieved 5 December 2015
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Early 1990 – 1991 (credited as September 1990 – April 1991)
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Thomson, Graeme (May 2019). "Mark Hollis: Buyer's Guide".
3140:
Page, Betty (October 1991). "Talk Talk: Laughing Stock".
2787:"Talk Talk – After The Flood / New Grass / Ascension Day"
2424:"After The Flood: Talk Talk's Laughing Stock 20-Years On"
1531:, which featured Talk Talk-inspired ambient experiments.
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Bush, Calvin (March 2000). "Talk Talk: Laughing Stock".
2378: (Court of Appeal (Civil Division) 23 May 1989).
1611:, which was much in keeping with the post-rock sound of
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and "its inevitable coming, saying farewell to us all."
563:. Hollis was pleased that they signed Talk Talk because
2660:"Talk Talk / Mark Hollis: Laughing Stock / Mark Hollis"
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After The Flood: Talk Talk's Laughing Stock 20-Years On
2048:...the complex, pastoral post-rock of final two albums
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from being mere academic indulgence." Jess Harvell of
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would set a precedent for future recording contracts.
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listeners as powerfully as any conventional melody."
358:, released in 1991. Following their previous release
2866:. Ba Da Bing Records. 29 August 2011. Archived from
2813:"Talk Talk – Mark Hollis Talks About Laughing Stock"
1511:." The term "post-rock" itself was not coined until
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ranked it 20th best; it also placed at number 26 on
1320:... the same qualities will ensure that even though
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The cover art was designed by English visual artist
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is the fifth and final studio album by English band
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2992:(28 September 1991). "Talk Talk: Laughing Stock".
2510:History Revisited: Pop remix faces legal challenge
2298:Unknown (24 September 1988). "Paradise Regained".
2112:"Talk Talk – After the Flood (Outtake) (1991, CD)"
2073:. Vol. 15. SPIN Media LLC. 1999. p. 123.
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3486:(in Dutch). Hung Medien. Retrieved 18 June 2018.
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1471:ranked the album at number 108 in their list of "
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1582:. It's like, how much more minimal can you be?"
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2345:"Talk Talk: the band who disappeared from view"
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3183:. London. 21–28 December 1991. pp. 66–67.
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3484:"Dutchcharts.nl – Talk Talk – Laughing Stock"
3442:Music Minded interview Music Minded interview
3049:; Henke, James; George-Warren, Holly (eds.).
2724:
2722:
2720:
2462:
2460:
2458:
2456:
2454:
2452:
2450:
2448:
2446:
2444:
520:. Talk Talk were released from the contract.
8:
3078:
3076:
2489:
2487:
1858:Simon Edwards, Ernest Mothle – acoustic bass
1195:
1157:
1093:
1055:
470:-oriented sound and featured a more organic
3743:Natural History: The Very Best of Talk Talk
3298:
3296:
2984:
2982:
2895:. Album Cover Hall of Fame. 7 November 2012
2417:
1495:, to have been the primary catalyst of the
1279:received mixed reviews from music critics.
951:After the Flood / New Grass / Ascension Day
530:Natural History: The Very Best of Talk Talk
3547:
3533:
3525:
2653:
2651:
2649:
2647:
2645:
2643:
2641:
2639:
2415:
2413:
2411:
2409:
2407:
2405:
2403:
2401:
2399:
2397:
2293:
2291:
1903:
1030:
47:
38:
3251:"Mojo – 100 greatest singles of all time"
2938:
2936:
2758:
2756:
2754:
2752:
2750:
2686:
2684:
2682:
2375:EMI Records Limited v Hollis & Others
969:, and stayed on the chart for two weeks.
3391:"How Talk Talk spoke to today's artists"
3098:
3096:
2311:
2309:
1708:
1653:
3496:"Longplay-Chartverfolgung at Musicline"
3135:
3133:
2864:"Mark Hollis and Talk Talk Re-release!"
2087:A Field Guide to Post-Punk and New Wave
1963:
1759:
440:named it the greatest post-rock album.
3195:"Oorlijsten – alle lijsten vanaf 1973"
3160:(7 September 1991). "Guffaw Seasons".
2621:
2422:Wallace, Wyndham (12 September 2011).
2369:
2367:
2365:
2152:"Talk Talk – Ascension Day (1991, CD)"
963:Mark Hollis Talks About Laughing Stock
816:Mark Hollis discussing the production.
2701:. No. 61. London. Archived from
2343:Thomson, Graeme (13 September 2012).
2031:"The 300 Greatest Albums of All Time"
1760:
1342:as the year's 12th best album, while
1036:
7:
3900:Albums produced by Tim Friese-Greene
2233:"Top 100 Albums of the 1990s; 20–11"
518:Court of Appeal of England and Wales
376:. Talk Talk then acrimoniously left
3126:. No. 264. London. p. 53.
2975:. No. 58. London. p. 111.
1473:The 500 Greatest Albums of All Time
3089:. No. 16. London. p. 76.
2241:. 17 November 2003. Archived from
2132:"Talk Talk – New Grass (1991, CD)"
2090:. Smith Street Books. p. 70.
1848:, Stephen Tees, George Robertson,
427:genre at the time of its release.
25:
3458:"Wherefore art thou Mark Hollis?"
2658:Harvell, Jess (21 October 2011).
2194:Brown, Phill (12 November 1998).
1197:
1159:
1095:
1057:
783:, as well as techniques such as "
584:Brown and the band worked with a
2840:British Hit Singles & Albums
2730:"Snow in Berlin: Laughing Stock"
2264:Southall, Nick (27 April 2007).
1216:
1211:
1206:
1201:
1196:
1178:
1173:
1168:
1163:
1158:
1114:
1109:
1104:
1099:
1094:
1076:
1071:
1066:
1061:
1056:
845:made." In a 1991 interview with
3512:"Official Albums Chart Top 100"
3418:"Tim Friese-Greene – Interview"
3389:Myers, Ben (28 February 2012).
3009:Thomson, Neil (13 April 2000).
2003:Terich, Jeff (12 August 2008).
1543:, and in 2011, Jess Harvell of
32:Laughing stock (disambiguation)
3750:History Revisited: The Remixes
2763:Fisher, Tyler (27 June 2007).
2551:Mark Hollis: Talking Liberties
2468:Talk Talk: Silencing the Scams
1861:Roger Smith, Paul Kegg – cello
1715:
1660:
719:, a large-diaphragm condenser
1:
3052:The Rolling Stone Album Guide
2527:Info Freako: It's the Hollis!
1190:The Rolling Stone Album Guide
995:Mark Hollis requested that a
460:, released their third album
3456:McGee, Alan (9 April 2008).
3011:"Talk Talk – Laughing Stock"
2945:"Laughing Stock – Talk Talk"
2915:"Talk Talk – Laughing Stock"
2765:"Talk Talk – Laughing Stock"
2691:Cranna, Ian (October 1991).
2496:, 1st ed., s.v. "Talk Talk."
1950:
1935:
1923:
1621:20th-century classical music
1550:Norwegian singer-songwriter
3498:(in German). Musicline.de.
3332:"Genre Profile – Post-Rock"
2029:Paste Staff (3 June 2024).
2005:"Talk Talk: Laughing Stock"
335:Released: 25 November 1991
314:"After the Flood (Outtake)"
3916:
3502:. Retrieved 18 June 2018.
3364:"The Force of Wild Beasts"
2614:(tray insert). Talk Talk.
2494:Encyclopedia of Rock Stars
1827:– producer, piano, organ,
1644:All tracks are written by
1481:is considered, along with
1357:s year-end critics' poll.
917:The New Serpentine Gallery
775:, drums, and unusually, a
326:Released: 28 October 1991
29:
3562:
3518:. Retrieved 8 June 2016.
2266:"Top Ten Postrock Albums"
1940:
1928:
1916:
1797:– vocals, guitar, piano,
1749:
1738:
1727:
1719:
1694:
1683:
1672:
1664:
1044:
1041:
396:was recorded at London's
343:
317:Released: 7 October 1991
308:
260:
222:
210:
173:
46:
3785:Introducing... Talk Talk
3045:(1992). "Talk Talk". In
3019:. London. Archived from
910:When the band delivered
824:consists of six tracks;
565:the Mothers of Invention
3704:Living in Another World
3697:Life's What You Make It
3516:Official Charts Company
2838:Roberts, David (2006).
2556:11 October 2006 at the
2532:5 February 2012 at the
2473:11 October 2006 at the
218:studio album chronology
27:1991 album by Talk Talk
3895:Polydor Records albums
3764:12x12 Original Remixes
3718:I Don't Believe in You
3177:"Albums of the Year".
3146:. No. 13. London.
2316:Devoy, Adrian (1988).
1426:
1368:critic Jason Ankeny, "
1004:
813:
691:
597:
3820:Talk Talk discography
3803:Live at Montreux 1986
3422:pennyblackmusic.co.uk
3368:interviewmagazine.com
3166:. London. p. 33.
2998:. London. p. 36.
2196:"The Colour of EQing"
994:
870:In a Sentimental Mood
685:
583:
3619:The Colour of Spring
3059:. pp. 691–692.
2332:on 15 February 2001.
1895:– cover illustration
1535:has also influenced
1289:, finding that with
1032:Professional ratings
618:Wessex Sound Studios
612:and recorded at the
463:The Colour of Spring
398:Wessex Sound Studios
30:For other uses, see
3344:on 18 November 2012
2921:. 16 September 1991
2624:cite AV media notes
2525:Mark Roland, ed., "
2466:Steve Sutherland, "
2387:Wallace, Wyndham. "
1881:Technical personnel
1875:contrabass clarinet
1814:– drums, percussion
1711:
1656:
1033:
535:greatest hits album
3370:. 26 February 2014
3276:"Breathe internet"
2870:on 3 December 2013
2276:on 12 October 2008
2140:. 28 October 1991.
1931:Offizielle Top 100
1709:
1654:
1585:After engineering
1554:said in 2011 that
1031:
1027:Critical reception
1005:
838:, Jess Harvell of
692:
598:
559:offshoot label of
452:alongside drummer
3872:
3871:
3825:Tim Friese-Greene
3255:muzieklijstjes.nl
3222:(25 March 2016).
3199:muzieklijstjes.nl
3047:DeCurtis, Anthony
2481:, September 1991.
2120:. September 1991.
2097:978-1-925811-76-6
1955:
1954:
1825:Tim Friese-Greene
1770:
1769:
1705:
1704:
1698:"After the Flood"
1650:Tim Friese-Greene
1360:Retrospectively,
1273:
1272:
673:24-track recorder
616:recording studio
610:Tim Friese-Greene
540:History Revisited
476:Tim Friese-Greene
402:Tim Friese-Greene
347:
346:
293:
292:
248:
247:
206:
205:
180:History Revisited
160:Tim Friese-Greene
72:16 September 1991
16:(Redirected from
3907:
3885:Talk Talk albums
3813:Related articles
3725:I Believe in You
3605:The Party's Over
3549:
3542:
3535:
3526:
3519:
3509:
3503:
3493:
3487:
3481:
3475:
3474:
3472:
3470:
3453:
3447:
3439:
3433:
3432:
3430:
3428:
3414:
3408:
3407:
3405:
3403:
3386:
3380:
3379:
3377:
3375:
3360:
3354:
3353:
3351:
3349:
3340:. Archived from
3327:
3321:
3320:
3318:
3316:
3300:
3291:
3290:
3288:
3286:
3272:
3266:
3265:
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3154:
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3137:
3128:
3127:
3117:
3111:
3110:
3100:
3091:
3090:
3080:
3071:
3070:
3055:(3rd ed.).
3043:Considine, J. D.
3039:
3033:
3032:
3030:
3028:
3006:
3000:
2999:
2986:
2977:
2976:
2966:
2960:
2959:
2957:
2955:
2940:
2931:
2930:
2928:
2926:
2911:
2905:
2904:
2902:
2900:
2889:
2880:
2879:
2877:
2875:
2860:
2854:
2853:
2835:
2829:
2828:
2826:
2824:
2819:. 11 August 1991
2809:
2803:
2802:
2800:
2798:
2793:. 11 August 1991
2783:
2777:
2776:
2774:
2772:
2760:
2745:
2744:
2742:
2740:
2734:snowinberlin.com
2726:
2715:
2714:
2712:
2710:
2688:
2677:
2676:
2674:
2672:
2655:
2634:
2633:
2627:
2619:
2608:
2595:
2594:
2592:
2590:
2576:
2565:
2564:, February 1998.
2547:
2541:
2540:, November 1995.
2523:
2517:
2506:
2497:
2491:
2482:
2464:
2439:
2438:
2436:
2434:
2419:
2392:
2385:
2379:
2377:
2371:
2360:
2359:
2357:
2355:
2340:
2334:
2333:
2328:. Archived from
2313:
2304:
2303:
2295:
2286:
2285:
2283:
2281:
2272:. Archived from
2261:
2255:
2254:
2252:
2250:
2229:
2218:
2217:
2215:
2213:
2204:. Archived from
2191:
2162:
2161:
2160:. November 1991.
2148:
2142:
2141:
2128:
2122:
2121:
2108:
2102:
2101:
2081:
2075:
2074:
2065:
2059:
2058:
2045:
2043:
2026:
2020:
2019:
2017:
2015:
2000:
1994:
1993:
1991:
1989:
1983:snowinberlin.com
1975:
1904:
1763:
1717:
1712:
1662:
1657:
1439:
1356:
1319:
1307:
1283:was effusive in
1221:
1220:
1219:
1215:
1214:
1210:
1209:
1205:
1204:
1200:
1199:
1183:
1182:
1181:
1177:
1176:
1172:
1171:
1167:
1166:
1162:
1161:
1119:
1118:
1117:
1113:
1112:
1108:
1107:
1103:
1102:
1098:
1097:
1081:
1080:
1079:
1075:
1074:
1070:
1069:
1065:
1064:
1060:
1059:
1034:
953:was released in
826:Steve Sutherland
817:
721:valve microphone
608:was produced by
590:24-track machine
364:(1988), bassist
336:
333:
327:
324:
318:
315:
262:
261:
224:
223:
175:
174:
133:
132:
128:
51:
39:
21:
3915:
3914:
3910:
3909:
3908:
3906:
3905:
3904:
3875:
3874:
3873:
3868:
3808:
3790:
3730:
3656:
3638:
3592:
3558:
3553:
3523:
3522:
3510:
3506:
3494:
3490:
3482:
3478:
3468:
3466:
3455:
3454:
3450:
3440:
3436:
3426:
3424:
3416:
3415:
3411:
3401:
3399:
3388:
3387:
3383:
3373:
3371:
3362:
3361:
3357:
3347:
3345:
3330:Carew, Andrew.
3329:
3328:
3324:
3314:
3312:
3302:
3301:
3294:
3284:
3282:
3274:
3273:
3269:
3259:
3257:
3249:
3248:
3244:
3234:
3232:
3229:The Irish Times
3218:
3217:
3213:
3203:
3201:
3193:
3192:
3188:
3176:
3175:
3171:
3156:
3155:
3151:
3139:
3138:
3131:
3119:
3118:
3114:
3102:
3101:
3094:
3082:
3081:
3074:
3067:
3041:
3040:
3036:
3026:
3024:
3023:on 12 June 2000
3008:
3007:
3003:
2990:Quantick, David
2988:
2987:
2980:
2968:
2967:
2963:
2953:
2951:
2943:Ankeny, Jason.
2942:
2941:
2934:
2924:
2922:
2913:
2912:
2908:
2898:
2896:
2891:
2890:
2883:
2873:
2871:
2862:
2861:
2857:
2850:
2837:
2836:
2832:
2822:
2820:
2811:
2810:
2806:
2796:
2794:
2785:
2784:
2780:
2770:
2768:
2762:
2761:
2748:
2738:
2736:
2728:
2727:
2718:
2708:
2706:
2705:on 3 March 2016
2690:
2689:
2680:
2670:
2668:
2657:
2656:
2637:
2620:
2610:
2609:
2598:
2588:
2586:
2578:
2577:
2568:
2558:Wayback Machine
2549:David Stubbs, "
2548:
2544:
2534:Wayback Machine
2524:
2520:
2514:The Independent
2507:
2500:
2492:
2485:
2475:Wayback Machine
2465:
2442:
2432:
2430:
2421:
2420:
2395:
2386:
2382:
2373:
2372:
2363:
2353:
2351:
2342:
2341:
2337:
2315:
2314:
2307:
2297:
2296:
2289:
2279:
2277:
2270:Stylus Magazine
2263:
2262:
2258:
2248:
2246:
2245:on 1 April 2015
2231:
2230:
2221:
2211:
2209:
2208:on 10 June 2013
2193:
2192:
2165:
2150:
2149:
2145:
2130:
2129:
2125:
2110:
2109:
2105:
2098:
2083:
2082:
2078:
2067:
2066:
2062:
2041:
2039:
2028:
2027:
2023:
2013:
2011:
2002:
2001:
1997:
1987:
1985:
1977:
1976:
1965:
1960:
1929:German Albums (
1911:
1902:
1819:Other musicians
1786:
1771:
1761:
1706:
1687:"Ascension Day"
1641:
1515:used it in his
1441:
1428:
1418:electroacoustic
1408:
1395:The Irish Times
1354:
1317:
1305:
1217:
1212:
1207:
1202:
1179:
1174:
1169:
1164:
1132:
1115:
1110:
1105:
1100:
1077:
1072:
1067:
1062:
1029:
1021:After the Flood
989:
967:UK Albums Chart
925:Ornette Coleman
908:
885:Richard Skinner
819:
815:
797:
578:
561:Polydor Records
446:
437:Stylus Magazine
339:
334:
332:"Ascension Day"
331:
330:
325:
322:
321:
316:
313:
312:
303:Laughing Stock
288:
279:
270:
241:
232:
201:
192:
183:
130:
126:
125:
64:
35:
28:
23:
22:
15:
12:
11:
5:
3913:
3911:
3903:
3902:
3897:
3892:
3887:
3877:
3876:
3870:
3869:
3867:
3866:
3859:
3852:
3845:
3840:
3832:
3827:
3822:
3816:
3814:
3810:
3809:
3807:
3806:
3798:
3796:
3792:
3791:
3789:
3788:
3781:
3778:Missing Pieces
3774:
3771:The Collection
3767:
3760:
3757:Asides Besides
3753:
3746:
3738:
3736:
3732:
3731:
3729:
3728:
3721:
3714:
3707:
3700:
3693:
3686:
3679:
3672:
3664:
3662:
3658:
3657:
3655:
3654:
3646:
3644:
3640:
3639:
3637:
3636:
3633:Laughing Stock
3629:
3626:Spirit of Eden
3622:
3615:
3608:
3600:
3598:
3594:
3593:
3591:
3590:
3585:
3578:
3571:
3563:
3560:
3559:
3554:
3552:
3551:
3544:
3537:
3529:
3521:
3520:
3504:
3488:
3476:
3448:
3434:
3409:
3381:
3355:
3322:
3292:
3280:netcomuk.co.uk
3267:
3242:
3211:
3186:
3169:
3149:
3129:
3112:
3092:
3072:
3065:
3034:
3001:
2978:
2961:
2932:
2906:
2881:
2855:
2848:
2830:
2804:
2778:
2767:. Sputnikmusic
2746:
2716:
2678:
2635:
2612:Laughing Stock
2596:
2584:thequietus.com
2566:
2542:
2518:
2498:
2483:
2440:
2393:
2380:
2361:
2335:
2305:
2287:
2256:
2219:
2163:
2143:
2123:
2103:
2096:
2076:
2060:
2054:Laughing Stock
2050:Spirit of Eden
2021:
1995:
1962:
1961:
1959:
1956:
1953:
1952:
1949:
1938:
1937:
1934:
1926:
1925:
1922:
1917:Dutch Albums (
1914:
1913:
1908:
1901:
1898:
1897:
1896:
1890:
1878:
1877:
1871:
1862:
1859:
1856:
1846:Levine Andrade
1843:
1840:Martin Ditcham
1837:
1831:
1816:
1815:
1809:
1785:
1782:
1781:
1780:
1768:
1767:
1764:
1758:
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1718:
1707:
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1702:
1699:
1696:
1692:
1691:
1688:
1685:
1681:
1680:
1677:
1674:
1670:
1669:
1666:
1663:
1642:
1640:
1637:
1617:Laughing Stock
1613:Spirit of Eden
1595:Laughing Stock
1591:Laughing Stock
1587:Laughing Stock
1580:minimal techno
1572:Laughing Stock
1568:Spirit of Eden
1560:Laughing Stock
1556:Laughing Stock
1533:Laughing Stock
1529:Bark Psychosis
1513:Simon Reynolds
1505:Laughing Stock
1483:Spirit of Eden
1479:Laughing Stock
1451:Laughing Stock
1436:Laughing Stock
1414:Laughing Stock
1409:
1407:
1404:
1390:Laughing Stock
1380:Laughing Stock
1370:Laughing Stock
1362:Laughing Stock
1338:was listed by
1336:Laughing Stock
1332:David Quantick
1322:Laughing Stock
1291:Laughing Stock
1277:Laughing Stock
1275:Upon release,
1271:
1270:
1267:
1259:
1258:
1255:
1247:
1246:
1243:
1235:
1234:
1231:
1223:
1222:
1193:
1185:
1184:
1155:
1147:
1146:
1143:
1135:
1134:
1129:
1121:
1120:
1091:
1083:
1082:
1053:
1047:
1046:
1043:
1039:
1038:
1028:
1025:
1013:Spirit of Eden
1001:Spirit of Eden
988:
985:
974:Laughing Stock
912:Laughing Stock
907:
904:
836:Spirit of Eden
822:Laughing Stock
798:
796:
793:
729:Spirit of Eden
717:Telefunken U47
665:Laughing Stock
661:Spirit of Eden
649:Spirit of Eden
626:Laughing Stock
606:Laughing Stock
602:Laughing Stock
577:
574:
570:Laughing Stock
514:Andrew Morritt
501:Spirit of Eden
487:Wessex Studios
482:Spirit of Eden
445:
442:
413:Spirit of Eden
394:Laughing Stock
380:and signed to
361:Spirit of Eden
351:Laughing Stock
345:
344:
341:
340:
338:
337:
328:
319:
309:
306:
305:
295:
294:
291:
290:
281:
276:Laughing Stock
272:
267:Spirit of Eden
258:
257:
250:
249:
246:
245:
243:
238:Laughing Stock
234:
229:Spirit of Eden
220:
219:
212:
211:
208:
207:
204:
203:
198:Asides Besides
194:
189:Laughing Stock
185:
171:
170:
163:
162:
157:
151:
150:
141:
135:
134:
123:
119:
118:
117:
116:
111:
106:
99:
93:
92:
86:
82:
81:
78:
74:
73:
70:
66:
65:
60:
53:
52:
44:
43:
42:Laughing Stock
26:
24:
18:Laughing stock
14:
13:
10:
9:
6:
4:
3:
2:
3912:
3901:
3898:
3896:
3893:
3891:
3888:
3886:
3883:
3882:
3880:
3865:
3864:
3860:
3858:
3857:
3853:
3851:
3850:
3849:Out of Season
3846:
3844:
3841:
3839:
3837:
3833:
3831:
3828:
3826:
3823:
3821:
3818:
3817:
3815:
3811:
3805:
3804:
3800:
3799:
3797:
3793:
3787:
3786:
3782:
3780:
3779:
3775:
3773:
3772:
3768:
3766:
3765:
3761:
3759:
3758:
3754:
3752:
3751:
3747:
3745:
3744:
3740:
3739:
3737:
3733:
3726:
3722:
3719:
3715:
3712:
3708:
3705:
3701:
3698:
3694:
3691:
3687:
3684:
3680:
3677:
3673:
3670:
3666:
3665:
3663:
3659:
3653:
3652:
3648:
3647:
3645:
3641:
3635:
3634:
3630:
3628:
3627:
3623:
3621:
3620:
3616:
3614:
3613:
3609:
3607:
3606:
3602:
3601:
3599:
3595:
3589:
3588:Simon Brenner
3586:
3584:
3583:
3579:
3577:
3576:
3572:
3570:
3569:
3565:
3564:
3561:
3557:
3550:
3545:
3543:
3538:
3536:
3531:
3530:
3527:
3517:
3513:
3508:
3505:
3501:
3500:Phononet GmbH
3497:
3492:
3489:
3485:
3480:
3477:
3465:
3464:
3459:
3452:
3449:
3446:
3443:
3438:
3435:
3423:
3419:
3413:
3410:
3398:
3397:
3392:
3385:
3382:
3369:
3365:
3359:
3356:
3343:
3339:
3338:
3333:
3326:
3323:
3311:
3310:
3305:
3299:
3297:
3293:
3281:
3277:
3271:
3268:
3256:
3252:
3246:
3243:
3231:
3230:
3225:
3221:
3220:Dineen, Donal
3215:
3212:
3200:
3196:
3190:
3187:
3182:
3181:
3173:
3170:
3165:
3164:
3159:
3153:
3150:
3145:
3144:
3136:
3134:
3130:
3125:
3124:
3116:
3113:
3108:
3107:
3099:
3097:
3093:
3088:
3087:
3079:
3077:
3073:
3068:
3066:0-679-73729-4
3062:
3058:
3054:
3053:
3048:
3044:
3038:
3035:
3022:
3018:
3017:
3012:
3005:
3002:
2997:
2996:
2991:
2985:
2983:
2979:
2974:
2973:
2965:
2962:
2950:
2946:
2939:
2937:
2933:
2920:
2916:
2910:
2907:
2894:
2888:
2886:
2882:
2869:
2865:
2859:
2856:
2851:
2849:1-904994-10-5
2845:
2841:
2834:
2831:
2818:
2814:
2808:
2805:
2792:
2788:
2782:
2779:
2766:
2759:
2757:
2755:
2753:
2751:
2747:
2735:
2731:
2725:
2723:
2721:
2717:
2704:
2700:
2699:
2694:
2687:
2685:
2683:
2679:
2667:
2666:
2661:
2654:
2652:
2650:
2648:
2646:
2644:
2642:
2640:
2636:
2631:
2625:
2617:
2616:Verve Records
2613:
2607:
2605:
2603:
2601:
2597:
2585:
2581:
2575:
2573:
2571:
2567:
2563:
2559:
2555:
2552:
2546:
2543:
2539:
2535:
2531:
2528:
2522:
2519:
2515:
2511:
2505:
2503:
2499:
2495:
2490:
2488:
2484:
2480:
2476:
2472:
2469:
2463:
2461:
2459:
2457:
2455:
2453:
2451:
2449:
2447:
2445:
2441:
2429:
2425:
2418:
2416:
2414:
2412:
2410:
2408:
2406:
2404:
2402:
2400:
2398:
2394:
2390:
2384:
2381:
2376:
2370:
2368:
2366:
2362:
2350:
2346:
2339:
2336:
2331:
2327:
2323:
2321:
2312:
2310:
2306:
2301:
2294:
2292:
2288:
2275:
2271:
2267:
2260:
2257:
2244:
2240:
2239:
2234:
2228:
2226:
2224:
2220:
2207:
2203:
2202:
2197:
2190:
2188:
2186:
2184:
2182:
2180:
2178:
2176:
2174:
2172:
2170:
2168:
2164:
2159:
2158:
2153:
2147:
2144:
2139:
2138:
2133:
2127:
2124:
2119:
2118:
2113:
2107:
2104:
2099:
2093:
2089:
2088:
2080:
2077:
2072:
2071:
2064:
2061:
2057:
2055:
2051:
2038:
2037:
2032:
2025:
2022:
2010:
2006:
1999:
1996:
1984:
1980:
1974:
1972:
1970:
1968:
1964:
1957:
1947:
1943:
1939:
1932:
1927:
1920:
1919:Album Top 100
1915:
1909:
1907:Chart (1991)
1906:
1905:
1899:
1894:
1891:
1888:
1885:
1884:
1883:
1882:
1876:
1873:Dave White –
1872:
1870:
1866:
1865:Henry Lowther
1863:
1860:
1857:
1855:
1851:
1847:
1844:
1841:
1838:
1835:
1832:
1830:
1826:
1823:
1822:
1821:
1820:
1813:
1810:
1808:
1804:
1800:
1796:
1793:
1792:
1791:
1790:
1783:
1778:
1777:
1776:
1775:
1765:
1762:Total length:
1755:
1752:
1748:
1744:
1741:
1737:
1733:
1730:
1726:
1713:
1700:
1697:
1693:
1689:
1686:
1682:
1678:
1675:
1671:
1658:
1652:
1651:
1647:
1639:Track listing
1638:
1636:
1634:
1630:
1626:
1622:
1618:
1614:
1610:
1609:
1604:
1600:
1596:
1592:
1588:
1583:
1581:
1577:
1573:
1569:
1565:
1564:King Creosote
1561:
1557:
1553:
1548:
1546:
1542:
1538:
1534:
1530:
1526:
1525:
1520:
1519:
1514:
1510:
1506:
1502:
1498:
1494:
1493:
1488:
1484:
1480:
1476:
1474:
1470:
1469:
1468:Rolling Stone
1464:
1463:
1458:
1457:
1452:
1448:
1447:
1440:
1437:
1433:
1432:
1425:
1423:
1420:, free folk,
1419:
1415:
1405:
1403:
1401:
1397:
1396:
1391:
1387:
1386:
1381:
1377:
1376:
1371:
1367:
1363:
1358:
1353:
1352:
1347:
1346:
1341:
1337:
1333:
1329:
1328:
1323:
1314:
1313:
1304:
1303:
1298:
1297:
1292:
1288:
1287:
1282:
1278:
1268:
1266:
1265:
1261:
1260:
1256:
1254:
1253:
1249:
1248:
1244:
1242:
1241:
1237:
1236:
1232:
1230:
1229:
1225:
1224:
1194:
1192:
1191:
1187:
1186:
1156:
1154:
1153:
1149:
1148:
1144:
1142:
1141:
1137:
1136:
1130:
1128:
1127:
1123:
1122:
1092:
1090:
1089:
1085:
1084:
1054:
1052:
1049:
1048:
1040:
1037:Review scores
1035:
1026:
1024:
1022:
1018:
1014:
1010:
1002:
998:
993:
986:
984:
981:
980:
975:
970:
968:
964:
960:
956:
952:
948:
943:
940:
939:
934:
930:
926:
920:
918:
913:
905:
903:
900:
898:
894:
889:
886:
881:
880:
875:
871:
867:
866:John Coltrane
863:
862:
857:
854:Hollis cited
852:
850:
849:
843:
842:
837:
833:
832:
827:
823:
818:
812:
810:
806:
805:
794:
792:
790:
786:
782:
778:
774:
770:
769:Hammond organ
766:
762:
758:
754:
750:
746:
742:
738:
734:
730:
725:
722:
718:
714:
710:
706:
702:
698:
689:
684:
680:
678:
674:
670:
666:
662:
656:
654:
650:
646:
645:
640:
639:
633:
631:
627:
623:
619:
615:
611:
607:
603:
595:
591:
587:
582:
575:
573:
571:
566:
562:
558:
554:
553:Verve Records
549:
546:
542:
541:
536:
532:
531:
526:
521:
519:
515:
511:
506:
502:
498:
496:
492:
488:
484:
483:
477:
473:
469:
465:
464:
459:
455:
451:
443:
441:
439:
438:
432:
431:
426:
421:
419:
414:
409:
407:
404:and engineer
403:
399:
395:
391:
390:Verve Records
387:
383:
379:
375:
371:
367:
363:
362:
357:
353:
352:
342:
329:
320:
311:
310:
307:
304:
300:
296:
287:
286:
282:
278:
277:
273:
269:
268:
264:
263:
259:
255:
251:
244:
240:
239:
235:
231:
230:
226:
225:
221:
217:
213:
209:
200:
199:
195:
191:
190:
186:
182:
181:
177:
176:
172:
168:
164:
161:
158:
156:
152:
149:
145:
142:
140:
136:
124:
120:
115:
112:
110:
107:
105:
102:
101:
100:
98:
94:
90:
87:
83:
79:
75:
71:
67:
63:
58:
54:
50:
45:
40:
37:
33:
19:
3861:
3854:
3847:
3835:
3801:
3783:
3776:
3769:
3762:
3755:
3748:
3741:
3735:Compilations
3690:Such a Shame
3683:It's My Life
3649:
3632:
3631:
3624:
3617:
3612:It's My Life
3610:
3603:
3587:
3580:
3573:
3566:
3507:
3491:
3479:
3467:. Retrieved
3463:The Guardian
3461:
3451:
3437:
3425:. Retrieved
3421:
3412:
3400:. Retrieved
3396:The Guardian
3394:
3384:
3372:. Retrieved
3367:
3358:
3346:. Retrieved
3342:the original
3335:
3325:
3313:. Retrieved
3307:
3283:. Retrieved
3279:
3270:
3258:. Retrieved
3254:
3245:
3233:. Retrieved
3227:
3214:
3202:. Retrieved
3198:
3189:
3180:Melody Maker
3178:
3172:
3163:Melody Maker
3161:
3158:Arundel, Jim
3152:
3141:
3121:
3115:
3104:
3084:
3057:Random House
3051:
3037:
3025:. Retrieved
3021:the original
3014:
3004:
2993:
2970:
2964:
2952:. Retrieved
2923:. Retrieved
2918:
2909:
2897:. Retrieved
2872:. Retrieved
2868:the original
2858:
2839:
2833:
2821:. Retrieved
2816:
2807:
2795:. Retrieved
2790:
2781:
2769:. Retrieved
2737:. Retrieved
2733:
2707:. Retrieved
2703:the original
2696:
2669:. Retrieved
2663:
2611:
2587:. Retrieved
2583:
2561:
2545:
2538:Melody Maker
2537:
2521:
2513:
2493:
2479:Melody Maker
2478:
2431:. Retrieved
2383:
2374:
2352:. Retrieved
2349:The Guardian
2348:
2338:
2330:the original
2325:
2319:
2300:Melody Maker
2299:
2278:. Retrieved
2274:the original
2269:
2259:
2247:. Retrieved
2243:the original
2236:
2210:. Retrieved
2206:the original
2199:
2155:
2146:
2135:
2126:
2115:
2106:
2086:
2079:
2069:
2063:
2053:
2049:
2047:
2040:. Retrieved
2034:
2024:
2012:. Retrieved
2008:
1998:
1986:. Retrieved
1982:
1880:
1879:
1850:Gavyn Wright
1842:– percussion
1834:Mark Feltham
1818:
1817:
1788:
1787:
1773:
1772:
1643:
1629:late fifties
1616:
1612:
1606:
1594:
1590:
1586:
1584:
1571:
1567:
1559:
1555:
1549:
1544:
1532:
1522:
1518:Melody Maker
1516:
1508:
1507:and Slint's
1504:
1490:
1482:
1478:
1477:
1466:
1460:
1454:
1450:
1444:
1442:
1435:
1429:
1427:
1413:
1411:
1400:Donal Dineen
1393:
1389:
1383:
1379:
1373:
1369:
1361:
1359:
1349:
1343:
1340:Melody Maker
1339:
1335:
1325:
1321:
1310:
1300:
1294:
1290:
1286:Melody Maker
1284:
1276:
1274:
1262:
1250:
1238:
1226:
1188:
1150:
1138:
1124:
1086:
1020:
1012:
1006:
1000:
977:
973:
971:
962:
950:
944:
936:
921:
911:
909:
901:
897:judgment day
890:
877:
859:
853:
848:Melody Maker
846:
839:
835:
829:
821:
820:
814:
802:
800:
777:water heater
728:
726:
693:
664:
660:
657:
648:
642:
636:
634:
625:
614:North London
605:
601:
599:
569:
550:
538:
533:– a best-of/
528:
522:
509:
500:
499:
480:
461:
456:and bassist
447:
435:
428:
422:
412:
410:
393:
372:and drummer
359:
350:
349:
348:
302:
283:
275:
274:
265:
237:
236:
227:
196:
188:
187:
178:
57:Studio album
36:
3890:1991 albums
3836:Mark Hollis
3830:James Marsh
3651:London 1986
3643:Live albums
3568:Mark Hollis
3427:14 February
3374:14 February
3285:14 February
3260:14 February
3204:14 February
2925:14 February
2919:discogs.com
2823:14 February
2817:discogs.com
2797:14 February
2791:discogs.com
2739:14 February
2589:14 February
2428:The Quietus
2354:14 February
1988:14 February
1893:James Marsh
1887:Phill Brown
1867:– trumpet,
1836:– harmonica
1795:Mark Hollis
1742:"New Grass"
1646:Mark Hollis
1608:Mark Hollis
1576:Wild Beasts
1434:discussing
1330:, however,
1133:5/10 (2000)
1131:4/10 (1991)
1009:James Marsh
879:New Morning
749:double bass
644:The Quietus
491:Phill Brown
450:Mark Hollis
418:Phill Brown
406:Phill Brown
370:Mark Hollis
323:"New Grass"
285:Mark Hollis
254:Mark Hollis
3879:Categories
3856:Drift Code
3711:Give It Up
3575:Lee Harris
2318:"Come On,
2280:24 January
1958:References
1889:– engineer
1869:flugelhorn
1812:Lee Harris
1676:"Myrrhman"
1603:Heligoland
1552:Jenny Hval
1527:(1994) by
1521:review of
1509:Spiderland
1492:Spiderland
1351:Eye Weekly
1017:continents
893:noise rock
761:percussion
741:harmoniums
495:improvised
454:Lee Harris
444:Background
374:Lee Harris
256:chronology
169:chronology
3863:Clockdust
3669:Talk Talk
3582:Paul Webb
3556:Talk Talk
3337:About.com
3109:. London.
3106:The Times
2693:"Cryptic"
2665:Pitchfork
2238:Pitchfork
1942:UK Albums
1912:position
1829:harmonium
1807:Variophon
1789:Talk Talk
1784:Personnel
1731:"Taphead"
1627:from the
1545:Pitchfork
1497:post-rock
1462:Rockdelux
1446:Pitchfork
1431:Pitchfork
1422:post-rock
1385:Pitchfork
1375:The Times
1281:Jim Irvin
1240:The Times
1140:Pitchfork
979:Pitchfork
949:entitled
938:Tago Mago
874:Bob Dylan
861:Tago Mago
841:Pitchfork
804:Tago Mago
773:Variophon
757:harmonica
713:overheads
697:bass drum
638:Pitchfork
630:the board
576:Recording
572:in 1990.
458:Paul Webb
430:Pitchfork
425:post-rock
366:Paul Webb
356:Talk Talk
216:Talk Talk
167:Talk Talk
104:Post-rock
62:Talk Talk
3445:Archived
3309:AllMusic
3235:30 March
2954:6 August
2949:AllMusic
2874:6 August
2709:6 August
2554:Archived
2530:Archived
2471:Archived
2212:6 August
1803:melodica
1753:"Runeii"
1710:Side two
1655:Side one
1541:Bon Iver
1501:AllMusic
1438:in 2003.
1366:AllMusic
1051:AllMusic
935:? To me
785:sampling
765:Melodica
709:tom-toms
677:Dolby SR
596:formats.
594:Dolby SR
468:synthpop
155:Producer
109:art rock
91:, London
77:Recorded
69:Released
59: by
3843:.O.rang
3838:(album)
3661:Singles
3469:4 March
3402:4 March
3348:4 March
3315:4 March
3027:6 April
2899:6 April
2771:6 April
2671:6 April
2618:. 1991.
2433:6 April
2249:6 April
2201:Tape Op
2157:Discogs
2137:Discogs
2117:Discogs
2014:6 April
1633:sixties
1599:.O.rang
1499:genre.
1449:listed
987:Artwork
959:B-sides
947:box set
906:Release
789:looping
745:guitars
688:Neumann
622:Traffic
472:art pop
392:label.
388:-based
382:Polydor
299:Singles
289:(1998)
280:(1991)
271:(1988)
242:(1991)
233:(1988)
202:(1998)
193:(1991)
184:(1991)
148:Polydor
114:ambient
3597:Albums
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2042:3 June
2009:Treble
1900:Charts
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1668:Length
1406:Legacy
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1228:Select
1045:Rating
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781:kettle
753:violas
737:pianos
733:cellos
705:hi-hat
669:Studer
653:strobe
586:Studer
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537:, and
122:Length
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3795:Video
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1665:Title
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1257:10/10
1252:Uncut
1145:10/10
1088:Muzik
795:Music
701:snare
675:with
671:A800
592:with
588:A800
545:writs
411:Like
301:from
144:Verve
139:Label
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3429:2017
3404:2016
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3287:2017
3262:2017
3237:2016
3206:2017
3061:ISBN
3029:2015
2956:2015
2927:2017
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2876:2015
2844:ISBN
2825:2017
2799:2017
2773:2015
2741:2017
2711:2015
2673:2015
2630:link
2591:2017
2435:2015
2356:2017
2282:2019
2251:2015
2214:2015
2092:ISBN
2070:SPIN
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2016:2015
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1269:9/10
1245:8/10
997:tree
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868:'s "
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1936:65
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1233:4/5
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