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Originating in post-punk synth experimentation and closing in dated, but still strong, pop productions, The OMD Singles is an excellent time line of the band whose sound covered in a single career that same territory explored by the Human League, Erasure, Yaz, New Order, and beyond. The album closes with their last hit, 1996's glam-influenced autobiography "Walking on the Milky Way." The last original member, Andy McCluskey, has blessed this greatest-hits package as the final swan song for the long-lived group. The pinnacle of this progression is OMD's memorable "So in Love" (1985) and "If You Leave" (from 1986's Pretty in Pink). The earliest recordings, 1980's "Electricity" and "Messages," prove electric messages were being channeled from such German pioneers as Kraftwerk and Neu! These English boys were enamored of melody, though, and it was not long before such dulcet, song-like structure became self-evident, as in 1984's "Tesla Girls." From then on, it is a steady climb in coherence, with synth rhythms downplayed in order to bring the melodic theme to the front. Looking back on 20 years of creative growth since the electro-pop band's inception, The OMD Singles is logically and chronologically arranged. The other remixes are now available as part of the two disc edition of 'Singles').Compre y descargue este álbum en múltiples formatos, según sus necesidades. Further remixes were also originally intended in order to make a whole remixes album, but the three featured here were eventually released as solely an EP due to budget limitations. Of course, one does have to remember that these remixes were also very much of the time- the charts in the late 1990s were massively dominated by dance music and remixes such as these, and although it may not have resonated particularly well with the group's earlier fans, it was perhaps a necessary release at this time. The cd remix runs at 4.04, while the vinyl mix runs more smoothly at 6.11. Important differences include - playing time. Firstly, the 'Enola Gay' Sash remix is not the same as the one on the vinyl remix album released at the same time. Although, if you've listened to the group from the beginning, you probably knew that already. Important information you should know before ordering this cd single. does seem to do (apart from make you want to go back and listen to how good the original versions of these songs were) is prove that OMD were well ahead of their time.
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None of it, unfortunately, does much for this reviewer.
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The 'Micronauts Remix' of 'Electricity' follows in a similar vein in that it is a hardly recognisable as the original, but takes a different route in terms of the actual remix, replacing the original catchy synth line with a riff (of sorts) that incorporates new synth sounds and drum beats. The fact that the 'Moby' Remix of 'Souvenir' makes Humphrey's softly sweet vocals more prominent will very easily be overlooked when the listener realises that it also manages to replace the track's haunting melody with basic, bland piano - resulting in the song sounding more like the 'Crossroads' theme rather than a synth pop masterpiece. The other two tracks, however, are barely recognisable.
#ENOLA GAY OMD SASH FULL#
The 'Sash!' Remix of Enola Gay drastically alters the classic track, changing it into a pounding dance floor anthem although this means sacrificing some of that early-80s naïvety that perhaps lent the original song much of its perverse charm, this version also allows us to hear McCluskey's vocals much more clearly- which are, as usual, full of passion and power. Released two weeks prior to the top twenty 'Singles' album, 'The OMD Remixes' proved that the group were still as relevant to the late '90s music scene as they were in the early '80s, with their songs obviously being prime candidates for remixes such as the three featured on this E.P.