Annex Records

These four pieces are arranged for solo guitar along with four duets, featuring cello, English horn, piano by George Winston and violin by Darol Anger.

Orchestral Manoeuvres in the Dark (OMD) were a clever, unique synth band from the 1980s and early '90s. They produced some of the catchiest and most melodic dance songs of that decade. However, they always had an experimental side to them (as evidenced on the Peel Sessions, 1979-1983) of which only true fans are aware. They used the B-sides of their singles to stretch their imagination and that of the listeners, and finally most of these non-album tracks have finally been collected on one CD. Many of these songs were never released outside of England and Europe, so North American fans can now delight in such brilliant songs as "Almost" (available here in a previously unissued version), "Annex," and their wonderful cover of Lou Reed's "Waiting for the Man" to name three. The CD is nicely packaged and well annotated. A lot of the music is instrumental and not what casual fans are used to hearing from OMD, but it is no less enjoyable than their biggest hits. Actually, this makes a necessary companion for their hits compilation, The OMD Singles (1998). A must for fans. This is yet another great compilation from OMD and Virgin in that it provides fans and collectors with important music in one collection. The only criticism is the editing of the brilliant "66 & Fading" from its original six minutes to just over two.

Orchestral Manoeuvres In The Dark - Organisation (1980) {2003 Virgin Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 379 Mb| MP3 @320 -> 141 Mb
Full Artwork @ 300 dpi (jpg) -> 24 Mb | 5% repair rar
© 1980, 2003 Virgin Records / EMI | DIDCDR2 / 7243 581506 2 9
New Wave / New Romantic / Synth Pop

On their debut album pioneering British synth-pop duo O.M.D. proved that electronically based sounds could evoke genuine emotion. On the follow-up ORGANISATION, O.M.D. expand on the relatively lo-fi sound of their first effort, maturing as songwriters in the process. On the hit "Enola Gay" (the name of the plane that dropped the bomb on Hiroshima) and throughout the album, state-of-the-art synthesizers and drum machines are employed to offer a much richer sound than the group's previous recordings.