Difference between revisions of "Alice (single)"
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'''SISTERS OF MERCY: ’Alive/Floorshow’ (Merciful Release)''' | '''SISTERS OF MERCY: ’Alive/Floorshow’ (Merciful Release)''' | ||
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One of this week’s surprises. Supremely intense and disturbingly demonic, this double-A-sided package is nonetheless ‘rockier’ than you might expect. ’Floorshow’ is the definite standout, an unsettling traditional sub-HM rhythm supplemented by bizarre ’slow-slow-quick-quick-slow’ dancestep instructions and various contorted cries of disruption and despair. | One of this week’s surprises. Supremely intense and disturbingly demonic, this double-A-sided package is nonetheless ‘rockier’ than you might expect. ’Floorshow’ is the definite standout, an unsettling traditional sub-HM rhythm supplemented by bizarre ’slow-slow-quick-quick-slow’ dancestep instructions and various contorted cries of disruption and despair. |
Revision as of 12:19, 23 October 2015
Single no. 3 of The Sisters of Mercy ...
Release Notes
- Label: Merciful Release
- Catalogue#: MR 015
- Format: 7" single
- Released: November 1982 (UK)
Remarks
- Runout grooves:
"kenny giles walks on water" and
- "for spiggy-flash that ash"
- Cover art:
Henri Matisse's painting Nude Blue II
- in gold on black print.
- A second pressing with white and gold on black cover prints was released on 15 November 1982 in France and in the UK.
- In 1983, Alice was also released in a 12" - version, see Alice EP.
Tracks
Band/Recording Personnel
- Andrew Eldritch - Vocals
- Gary Marx - Guitars
- Craig Adams - Bass
- Ben Gunn - Guitars
- Doktor Avalanche - Drums
Additional Pictures
- Please click into pictures for larger views -
Reviews/Press Cuttings
YES PLEASE
SISTERS OF MERCY: ’Alive/Floorshow’ (Merciful Release)
One of this week’s surprises. Supremely intense and disturbingly demonic, this double-A-sided package is nonetheless ‘rockier’ than you might expect. ’Floorshow’ is the definite standout, an unsettling traditional sub-HM rhythm supplemented by bizarre ’slow-slow-quick-quick-slow’ dancestep instructions and various contorted cries of disruption and despair.
’Alice’ is rather more obviously JD-derived, but it remains broodin compelling, with vocals reminiscent of Peter Hammill gargling with the remains of a shattered car windscreen. I await the upcoming Winston Smith feature with interest.