Hello there and thanks for stopping by my site! I guess you were looking for me, Christopher Cline, if not try this site out instead.
For those of you searching for a bit more insight, well here's a bit more about me. I've been in the process of making records for the past 16 or so years, some good, some bad (but mostly good I hope). I have engineered, mixed, and/or mastered a number of albums from varying genres of music.
Taken from the LP ‘From the Hip’ and remixed by Bernard Sumner (BeMusic) and Donald Johnson, (Dojo) this electro classic will make you move. Does anybody know how the jacket design to the LP is related to other Factory jackets? It’s your move.
Mixed by Bernard Sumner and Donald Johnson, Abcedarians hailed from sunny Los Angeles, far different from the label’s hometown. I may be mistaken, but I do believe the only other American band that landed in this famed discography is ESG, but that’s for another day. I’ve always struggled with American synth pop and its affectations, and this single is no different. While the mix is well balanced, its mid-tempo pace at 108 BPMs doesn’t necessarily drive one to dance as much as dissect. The b-side, Benway’s Carnival, is way more interesting. Driving, delayed arpeggios and a drum corps style beat make this single far more interesting and the go to track for repeated listening. Now does anybody have any info on the jacket?
Abcedarians - Smiling Monarchs
This is a perfect song, a perfect New Order song. If you’re a gear head, the band and co-writer Stephen Hague had the help of a Yamaha QX1 stand-alone sequencer, DX 5 FM synth, Akai S900 sampler, Octave Voyetra 8 synth and Emulator samplers on this production. Originally released in January of 1988, this is the only CD video single I have ever owned. True Faith is a timeless production, and I know many would debate that, so let’s take it to the floor. What are your thoughts?
Extended for your pleasure. Unlike the original release featured in John Hughes film ‘Pretty In Pink’ roughly a month prior to its official Factory Records release, the single release is almost ten minutes long. The American release is the edit from the film and was released by A&M Records, not Quincy Jones’ Qwest imprint. Also included is designer Peter Saville’s extended artwork that you see here in the photo. The inner sleeve continues photographer Geoff Power’s image and Factory’s catalog number. Produced by John Robie and New Order, this is electro at its best. B side features an edit titled ‘Shellcock’; what else should it be titled? Answer that one for me, folks. More to come.
