Crimson Gold presents M People ‘Gold’, the only M People compilation you’ll ever need. M People became one of the worlds biggest dance and pop groups from the 1990s, selling more than 11 million records, 2 Brit Awards and a Mercury Prize. Featuring the unmistakable voice of Heather Small joining Paul Heard, Shovell and founder Mike Pickering. This 3CD collection is a definitive career spanning set including famous remixes and dance tracks. The ‘Gold’ collection includes 42 tracks, including all their 20 top 40 singles. CD1 includes 9 of their top 10 singles; ‘Moving On Up’, ‘One Night In Heaven’, ‘Sight For Sore Eyes’, ‘Search For A Hero’, ‘Just For You’. CD2 includes further favourites ‘Renaissance’ and ‘Natural Thing’. CD 3 features remixes and club mixes.
"Several times, as I listened to M. Ward's Supernatural Thing, I asked myself what year it was. Was it 1952, and was I listening to a track from the Harry Smith Anthology? Was it 1972, and was I eavesdropping on the recording session for After the Gold Rush?No, it's 2023, and M. Ward is one of the special contemporary artists who invite such questions. Ward has clearly mastered the whole vocabulary of American popular music and made serious decisions about how to employ it for his own ends.
At The Mercy Of Manannán" is the third album from Irish progressive rock group, M-Opus, and their finest, most incisive yet. As with all their albums, this hypothetically 'comes from' a year in rock history, 1972, with the sound and production that implies. From lush, symphonic rock, to blazing, virtuosic instrumentals and lavish melodic tracks, the album aims to be nothing less than a 'new classic'. Composed by Film/TV composer Jonathan Casey (David Cross Band) and a new member of the band, guitar virtuoso PJ O'Connell.
Demon Music will release Renaissance, an 11-disc M People career-spanning box set in February that features albums, remixes, rarities and two DVDs.
Turning away from the sweet pop of Out of Time, R.E.M. created a haunting, melancholy masterpiece with Automatic for the People. At its core, the album is a collection of folk songs about aging, death, and loss, but the music has a grand, epic sweep provided by layers of lush strings, interweaving acoustic instruments, and shimmering keyboards. Automatic for the People captures the group at a crossroads, as they moved from cult heroes to elder statesmen, and the album is a graceful transition into their new status. It is a reflective album, with frank discussions on mortality, but it is not a despairing record – "Nightswimming," "Everybody Hurts," and "Sweetness Follows" have a comforting melancholy, while "Find the River" provides a positive sense of closure. R.E.M. have never been as emotionally direct as they are on Automatic for the People, nor have they ever created music quite as rich and timeless, and while the record is not an easy listen, it is the most rewarding record in their oeuvre.
R.E.M. abandoned the enigmatic post-punk experiments of Murmur for their second album, Reckoning, returning to their garage pop origins instead. Opening with the ringing "Harborcoat," Reckoning runs through a set of ten jangle pop songs that are different not only in sound but in style from the debut. Where Murmur was enigmatic in its sound, Reckoning is clear, which doesn't necessarily mean that the songs themselves are straightforward. Michael Stipe continues to sing powerful melodies without enunciating, but the band has a propulsive kick that makes the music vital and alive. And, if anything, the songwriting is more direct and memorable than before – the interweaving melodies of "Pretty Persuasion" and the country rocker "(Don't Go Back To) Rockville" are as affecting as the melancholic dirges of "Camera" and "Time After Time," while the ringing minor-key arpeggios of "So. Central Rain," the pulsating riffs of "7 Chinese Bros.," and the hard-rocking rhythms of "Little America" make the songs into classics. On the surface, Reckoning may not be as distinctive as Murmur, but the record's influence on underground American rock in the '80s was just as strong.
R.E.M. began to move toward mainstream record production on Lifes Rich Pageant, but they didn't have a commercial breakthrough until the following year's Document. Ironically, Document is a stranger, more varied album than its predecessor, but co-producer Scott Litt – who would go on to produce every R.E.M. album in the following decade – is a better conduit for the band than Don Gehman, giving the group a clean sound without sacrificing their enigmatic tendencies. "Finest Worksong," the stream-of-conscious rant "It's the End of the World as We Know It (And I Feel Fine)," and the surprise Top Ten single "The One I Love" all crackle with muscular rhythms and guitar riffs, but the real surprise is how political the mid-tempo jangle pop of "Welcome to the Occupation," "Disturbance at the Heron House," and "King of Birds" is. Where Lifes Rich Pageant sounded a bit like a party record, Document is a fiery statement, and its memorable melodies and riffs are made all the more indelible by its righteous anger.