Alan (Wilder, from Depeche Mode/Recoil) recently hooked up with one of his old cohorts – Dean Garcia (ex of Curve). Dean played bass and guitar on several tracks from Recoil’s ‘Liquid’ album and has recently contributed to one of Recoil’s submissions for the upcoming Talk Talk tribute album ‘Spirit Of Talk Talk’. Curve sadly disbanded but it doesn’t mean that Dean hasn’t been busy since then. Far from it. Amongst many, we were very excited to hear about his current project – SPC ECO – and wanted to give it a good old plug here. Spc Eco is a real family affair with his own daughter Rose Berlin on lead vocals. [Source]
“A Life (1895 – 1915)”, which has been referred to as “the album’s epic centrepiece” refers to Roland Leighton (1895–1915), a British soldier and poet who was the fiancé of Vera Brittain at the time of his death in World War I. Hollis has stated about the song, “That was someone born before the turn of the century…and dying within one year of the First World War at a young age. It was based on Vera Brittan’s boyfriend. It’s the expectation that must have been in existence at the turn of the century, the patriotism that must’ve existed at the start of the war and the disillusionment that must’ve come immediately afterwards. It’s the very severe mood swings that fascinated me.” The song correspondingly contains a variety of styles, tempi, and instrumentations.
Mirror Man is the first single from Talk Talk released in February 1982. The single was backed with Strike Up The Band.
[Dedicated to Graham Lindon in London]
There are two versions of the video for “It’s My Life.” The first, envisioned by director Tim Pope as a statement against the banality of lip-synching, consists almost entirely of footage from wildlife documentaries, interspersed with shots of Talk Talk lead singer Mark Hollis standing in the midst of London Zoo, with his mouth pointedly shut tight and often obscured by hand-drawn animated lines. The second version, recorded at the behest of EMI, consisted of the entirety of the original video projected on a green screen behind Hollis on guitar and vocals as well as his two bandmates as they lip-synched and mimed the song, deliberately poorly and with comic exaggerated gestures.
Howard’s take on Talk Talk’s ‘Life’s What You Make It’ is an amazing bass-heavy monster that fits in with the tone of the album perfectly. In addition to being an excellent track in its own right, it does what a good cover version should: it shows the original in a new light and stamps a degree of personal ownership on the song. [Source]
Like its predecessor, Spirit of Eden, the album featured improvised instrumentation from a large ensemble of musicians, including as many as seven violists on occasion. The recording sessions have attained near-mythical status among underground music fans; Tape Op magazine ran an extensive article detailing the demanding recording sessions, marked by Mark Hollis’ perfectionist tendencies, and his use of candles and incense to set the mood. Reviews of the album were generally good; many tended to emphasise the fact that it spanned several genres, with some noting a stylistic kinship with Miles Davis’ contemplative In a Silent Way album.
[via Andrew Hock, New York City - dedicated to Frands Rifbjerg - it's his birthday!]
By early March 1988, Talk Talk had finished recording Spirit of Eden and had sent a cassette of the album to EMI. After listening to the cassette, EMI representatives doubted that it could be commercially successful. They asked Hollis to re-record a song or replace material, but he refused to do so
[via Alan Wilder - dedicated to Liv Thomsen and Martin Krogh R.I.P.]