Crush (Orchestral Manoeuvres in the Dark album)
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 | ||||
|---|---|---|---|---|
| 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 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. Crush nevertheless received critical acclaim in the UK 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] Three singles were taken from the record; "So in Love" became the group's first hit on the US Billboard Hot 100, where it peaked at number 25.
A long-form video, Crush: The Movie, was also released, showing the group discussing their career and performing the songs from the album.
Background edit
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]
Despite its polished sound, the album features elements of the band's trademark early experimentation.[6][7] 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.[8] Elsewhere, "88 Seconds in Greensboro" was inspired by a TV documentary about the Greensboro massacre of 1979, and was recorded in one live take.[8] "Hold You" was considered as the follow-up single to "So in Love", and a music video was made, but the group ultimately reneged on the idea.[8] Other tracks considered for inclusion were "Heaven Is" and "Southern".[8] The title Crush refers to the number of love songs on the record.[8]
Cover art edit
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).[8]
Critical reception edit
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic | [9] |
| All Music Guide to Rock | [10] |
| Calgary Herald | B+[11] |
| Mercury & Herald | 9/10[12] |
| Number One | [13] |
| Record Mirror | [14] |
| The Rolling Stone Album Guide | [15] |
| The Sault Star | [16] |
| Smash Hits | 8/10[17] |
| Winnipeg Free Press | [18] |
Crush met with critical acclaim in the UK.[2] 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][14] 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."[7] 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."[17] 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".[19]
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."[18] 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."[20]
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."[9] 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".[21] 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."[15]
Legacy edit
The Gavin Report ranked Crush 11th in its "Alternative Top 100" of 1985,[22] while CMJ placed the record 10th in its "Top 20 Most-Played Albums" of the year.[23] 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.[24] "88 Seconds in Greensboro", which addresses the Greensboro massacre of 1979, became the subject of an article in The Charlotte Observer.[25] Crush later ranked 23rd in a Slicing Up Eyeballs reader poll of 1985's best albums,[26] and was placed at no. 141 in CMJ's "Top 1000, 1979–1989".[27] 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".[28]
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."[29] Humphreys feels "there's some nice things on [Crush]", although he and McCluskey have expressed regret over not challenging label-enforced time constraints.[30][31] McCluskey also believes that the album's production does not sound like OMD.[32] 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]
Track listing edit
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 | |
Personnel edit
Credits are adapted from the liner notes of Crush.[33]
Orchestral Manoeuvres in the Dark
- Paul Humphreys – vocals; electronic keyboards; piano
- Andy McCluskey – vocals; guitar; bass guitar; electronic keyboards
- Malcolm Holmes – drums; electronic and acoustic percussion
- Martin Cooper – vocals; saxophone; electronic keyboards
Additional musicians
- Stephen Hague – electronic keyboards; guitar
- Graham Weir – trombone; electric guitar
- Neil Weir – trumpet
- Maureen Humphreys – additional vocals
Charts edit
Weekly charts edit
| Year-end charts edit
|
Certifications edit
| Region | Certification | Certified units/sales |
|---|---|---|
| Canada (Music Canada)[43] | Gold | 50,000^ |
| United Kingdom (BPI)[44] | Silver | 60,000^ |
| ^ Shipments figures based on certification alone. | ||
References edit
- ^ "RPM 100 Albums". RPM. Vol. 44, no. 8. 17 May 1986. p. 15.
- ^ a b c d e Waller, Johnny; Humphreys, Mike. Orchestral Manoeuvres in the Dark: Messages. Sidgwick & Jackson. 1987. ISBN 0-283-99234-4. pp. 143–150.
- ^ a b "Album Releases". Cashbox. 29 June 1985. p. 8.
- ^ a b Wilson, Lois (30 September 2019). "OMD". Record Collector. Retrieved 5 June 2021.
- ^ Righi, Len (14 December 1985). "OMD: British Synth Band Maneuvers Its Way Onto American Radio". The Morning Call. pp. A67, A88.
- ^ Bennett, Paul (14 December 1985). "On Track". Times Colonist. p. 33 (C7).
- ^ a b Fitzgerald, Helen (22 June 1985). "A Fine Crush". Melody Maker. p. 27.
- ^ a b c d e f "OMD Discography: Crush". Messages. Retrieved 8 June 2021.
- ^ a b Connolly, Dave. . AllMusic. Archived from the original on 17 May 2017. Retrieved 17 May 2017.
{{cite web}}: CS1 maint: unfit URL (link) - ^ a b Bogdanov, Vladimir; Erlewine, Stephen Thomas; Woodstra, Chris (2002). All Music Guide to Rock (3rd ed.). Backbeat Books. p. 827. ISBN 978-0879306533.
- ^ a b Muretich, James (6 July 1985). "Curious Duo Seduces Listener". Calgary Herald. p. 66 (E8).
- ^ Hawking, Chris; Shevlin, John (12 December 1985). "OMD: Crush". Mercury & Herald. p. 2 (of Rockin' Stockings).
- ^ a b Voller, Debbi (15 June 1985). "Albums". Number One. p. 37.
- ^ a b Smith, Robin (22 June 1985). "Albums". Record Mirror. p. 16.
- ^ a b Evans, Paul (2004). "Orchestral Manoeuvres in the Dark". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. p. 607. ISBN 0-7432-0169-8.
- ^ Halverson, Jim (27 July 1985). "Records". The Sault Star. p. 38 (Starlight, p.6).
- ^ a b Cranna, Ian (5–18 June 1985). "Albums". Smash Hits. Vol. 7, no. 12. p. 20.
- ^ a b Gore-Smith, Glen (20 July 1985). "OMD album reconciles pop art with real culture". Winnipeg Free Press. p. 46.
- ^ Denselow, Robin (4 July 1985). "Third Time Plucky". The Guardian. p. 10.
- ^ Righi, Len (24 August 1985). "Records". The Morning Call. p. 84.
- ^ Grant, Steven; Robbins, Ira; Reno, Brad. "Orchestral Manoeuvres in the Dark". Trouser Press. Retrieved 29 June 2022.
Crush — OMD's least stylized, most mainstream album — isn't half-bad." [...] "...the type of pop OMD has offered since Crush.
- ^ "Alternative Top 100". Gavin Report. No. 1587. 13 December 1985. p. 33.
- ^ "Top 20 Most-Played Albums of 1985". CMJ New Music Report. 5 January 2004. p. 16.
- ^ Bell, Kevin (2 January 1986). "For the Record". The Brandon Sun. p. 13.
- ^ Haight, Kathy (18 October 1985). "'79 Greensboro Shooting Subject of New Rock Song". The Charlotte Observer. p. 62 (3E).
- ^ "Top 100 Albums of 1985: Slicing Up Eyeballs' Best of the '80s — Part 6". Slicing Up Eyeballs. 1 August 2013. Retrieved 1 August 2014.
- ^ "Top 1000, 1979–1989 (supplement)". Top 250 Singles, 1979–1989. CMJ. 1989 – via Coffee for Two.
- ^ Mitchell, Matt (21 July 2023). "The 50 Greatest Synth-Pop Albums of All Time". Paste. Retrieved 21 July 2023.
- ^ Houghton, Richard (2019). OMD: Pretending to See the Future (expanded paperback ed.). This Day in Music Books. pp. 414–415. ISBN 978-1916115620.
- ^ "OMD interview - Andy McCluskey and Paul Humphreys (part 3)". FaceCulture. 29 April 2013. Archived from the original on 13 December 2021. Retrieved 4 October 2016 – via YouTube.
- ^ Tarchala, Lori (24 October 2011). . Messages – The OMD Magazine. Archived from the original on 3 October 2013. Retrieved 1 December 2016.
- ^ Gourlay, Dom (July 2007). "Orchestral Manoeuvres in the Dark, Interview". Contactmusic. Retrieved 4 October 2016.
- ^ Crush (CD booklet). Orchestral Manoeuvres in the Dark. Virgin Records. 1985.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ "Top RPM Albums: Issue 0567". RPM. Library and Archives Canada. Retrieved 26 December 2020.
- ^ "Dutchcharts.nl – OMD (Orchestral Manoeuvres in the Dark) – Crush" (in Dutch). Hung Medien. Retrieved 26 December 2020.
- ^ "European Top 100 Albums" (PDF). Eurotipsheet. Vol. 2, no. 31. 5 August 1985. p. 12. OCLC 29800226 – via World Radio History.
- ^ "Offiziellecharts.de – OMD (Orchestral Manoeuvres in the Dark) – Crush" (in German). GfK Entertainment Charts. Retrieved 26 December 2020.
- ^ "Charts.nz – OMD (Orchestral Manoeuvres in the Dark) – Crush". Hung Medien. Retrieved 26 December 2020.
- ^ "Swedishcharts.com – OMD (Orchestral Manoeuvres in the Dark) – Crush". Hung Medien. Retrieved 26 December 2020.
- ^ "Official Albums Chart Top 100". Official Charts Company. Retrieved 26 December 2020.
- ^ . Billboard. Archived from the original on 18 April 2019. Retrieved 26 December 2020.
- ^ "Jaaroverzichten – Album 1985" (in Dutch). Dutch Charts. Retrieved 31 December 2020.
- ^ "Canadian album certifications – Orchestral Manoeuvres in the Dark – Crush". Music Canada. 15 May 1986. Retrieved 26 December 2020.
- ^ "British album certifications – OMD – Crush". British Phonographic Industry. 1 July 1985. Retrieved 26 December 2020.
External links edit
- Crush at Discogs (list of releases)