The Shining Breeze: The Slowdive Anthology - Slowdive

The Shining Breeze: The Slowdive Anthology
Slowdive was an English alternative rock band that formed in 1989. The band was formed in Reading and primarily consisted of Nick Chaplin (bass), Rachel Goswell (vocals, guitar), Neil Halstead (vocals, guitar), and Christian Savill (guitar). Several drummers played with the band, including Ian McCutcheon, Adrian Sell, and Simon Scott.

Signing with Creation, Slowdive's early singles received glowing press and chart placement. Their debut single, Slowdive, thinly veiled an indebtedness to the Byrds and My Bloody Valentine, with no traceable punk influence Just after Slowdive's recording, The sleepy escapist psychedelia of both Morningrise and Holding Our Breath made significant impressions on the British indie chart.

The press dubbed them part of "The Scene That Celebrates Itself" - a small, loose, conglomerate of like-minded bands who could be seen at each other's shows, frequently hanging out together within the same circle. This "scene" included Lush, Moose, Swervedriver, Curve, and Blur.

This anthology compiled and annotated by Mojo’s Kieron Tyler is a fine stepping on point for anyone interested in the works of Slowdive. This is the first in series of releases by the band on Cherry Red…    
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Code: CDBRED443
Weight: 200
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DISC ONE

1.     SLOWDIVE   2.     AVALYN I   3.     MORNINGRISE   4.     SHE CALLS 5.     CATCH THE BREEZE 6.     GOLDEN HAIR   7.     SHINE  8.     SPANISH AIR 9.     ERIK'S SONG 10.  WAVES 11.  PRIMAL 12.  ALISON 13.  SO TIRED 14.  MOUSSAKA CHAOS   

DISC TWO 

1.     SOUVLAKI SPACE STATION  2.     MACHINE GUN   3.     SING  4.     HERE SHE COMES  5.     ALTOGETHER 6.     DAGGER  7.     SOME VELVET MORNING   8.     IN MIND 9.     GOOD DAY SUNSHINE  10.  COUNTRY RAIN  11.  RUTTI  12.  MIRANDA 13.  TRELLISAZE  14.  CELLO 15.  VISIONS OF LA 16.  BLUE SKIED AN' CLEAR 17.  ALL OF US  
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Just For A Day
Named after a word in one of Nick Chaplin’s dreams not from a Siouxsie and the Banshees single Slowdive formed in Reading, England, in late 1989. The group orginally consisted of Neil Halstead (guitar/vocals), Rachel Goswell (guitar/vocals), Christian Savill (guitar), Adrian Sell (drums), and Chaplin (bass).

Formed when they were mostly in their teens, Slowdive  was initially lumped in with the remainder of the early' 90s British shoegaze scene; Slowdive's later releases extended upon the likes of the Cocteau Twins and the more atmospheric sides of post-punk, and they closed out their career with an excellent and misunderstood ambient LP.

Just for a Day is the debut album by the band Slowdive, released on September 2, 1991. It was recorded at Courtyard Studios in Abingdon, Oxfordshire formally known as Georgetown Studios. The album peaked at #3 in the UK Indie charts. Upon its release, copies of the album were labeled with a sticker that read "like a mind altering substance, without the risk."
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Souvlaki
Slowdive's later releases extended upon the likes of the Cocteau Twins and the more atmospheric sides of post-punk, and they closed out their career with an excellent and misunderstood ambient LP. Souvlaki was released on May 17, 1993 in the UK and on February 8, 1994 in the U.S. Widely regarded as their best album, it benefits from synthesizer contributions from co-producer Brian Eno on Sing, which he co-wrote, and Here She Comes . The album's U.S. release includes the previously unreleased cover of Some Velvet Morning  - written by Lee Hazlewood and Nancy Sinatra in 1967, and three tracks from the band's 1993 5 EP, all of which feature on this edition.
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Pygmalion
Pygmalion is the final album by the band Slowdive, released on February 6, 1995. A departure from their previous two albums, Pygmalion incorporated a more experimental sound tilted towards ambient electronic music, with sparse, atmospheric arrangements. All compositions were by Neil Halstead. Lyrics on tracks Miranda and Visions of La by Rachel Goswell. The cover illustration is by acclaimed designer Steven Woodhouse. It was the final album before Slowdive disbanded in 1995, an event widely associated with the demise of shoegazing. This re-issue long out of print now has an enhanced booklet with new sleeve notes by Mojo’s Kieron Tyler. Re-mastered from original tapes, it features a whole disc of rare demos never before released on CD.

Press:-

"Inspired by drug-fuelled trips to Brixton clubnight Quirky, ‘Pygmalion’ was mainly conceived by guitarist and songwriter Neil Halstead in his west London flat – instruments are looped into infinity, while Halstead and Rachel Goswell’s vocals float in and out of the ether.”  

-Nat Cramp (NME – February 11th, 2012)

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More Songs About Love & Hate
 I think possibly we’ve got higher standards than most groups. If you can t add two or three new songs to the set every month, then it s not worth carrying on. Peter Coyne, NME 1987 When people reminisce now on Brand 80s, they are presented with a glitzy, money-pumped Club Tropicana. Well, think again. The Godfathers, who were indeed signed to the same label, Epic, as Club Tropicana author George Michael himself, presented hard, crunching, socially-conscious pop with a fierce R&B/mod sensibility. Their three albums for Epic, Birth, School, Work, Death, More Songs About Love and Hate and Unreal World, all offered a powerful antidote to the puffed-up importance of the music scene.

By the time the Godfathers released More Songs About Love and Hate, they were making waves in America while still seeking chart action back in their home country. They had become the name to drop. Formed from the ashes of the Sid Presley Experience in 1985, the band brothers vocalist Peter and bassist Chris Coyne, guitarists Kris Dollimore and Mike Gibson and drummer George Mazur, had enjoyed considerable success with the compilation of their indie hits, Hit By Hit (on their Corporate Image label) and their first Epic album More Songs About Love & Hate was released on 9 May 1989. The cover of the album had a stunning drawing of Richard Burton and Elizabeth Taylor on it that had to be withdrawn for the American market, amidst fears that the actress would sue. Peter Coyne explained: It wasn’t meant to denigrate Elizabeth Taylor or Richard Burton’s memory.
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Birth, School, Work, Death
Released in February 1988, Birth, School, Work, Death jarred with both the indie movement which was obsessed with getting over the demise of the Smiths and the Housemartins, and the mainstream pop charts.

A tie-in gig at London s Town And Country Club in Kentish Town on Valentine sNight 1988 marked The Godfathers step into the big time. The album made No. 80 on the UK albums chart, where it remained for two weeks. However, in the states, the title track was pushed heavily by college radio, and it became an USTop 40 hit. Birth, School, Work, Death has got to be a bit of a high point, cause that took off instantly all over the world and it s turned into a little franchise of its own really, Peter Coyne was to say later.
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