Eight-X (30)

Hello, the weeks fly by and so another Eight-X is upon us again, the well still bubbles up music from those days that hasn't been tasted yet. Like Theatre Of Hate, a grand lttle pretentious name for their revolutionairy message admittedly the world was a bit more black and white and all that has come from it is ever more shades of ever darker grey. Paul Young seemed on his way to become one of the top eighties stars when two things happened..he got troubles with his voice and George Michael showed up..Well he got two smash albums and here's the first.....Working Week sort of targeted their audience with their name..no punk or wave associations. They came forth from Weekend that had released La Variete.. Anyway without Young Marble Alison they went on as the rest of the week... A bit latin jazz..have your cocktails ready..

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Theatre Of Hate - Westworld (82 ^ 385mb)

Theatre of Hate was one of the first and best post-punk bands in Britain in the late '70s and early '80s, making big, powerful, thumping, brave, tribal-rhythm rock. Theatre of Hate's intellectual edge and relevant sociopolitical lyrics are still amazing, now that many years have passed with few grabbing the torch Unfortunately, ToH's one true LP, 1982's Westworld, produced by the Clash's Mick Jones, is not as consistently brilliant as the singles that preceded it.

Led by singer-songwriter and ex-member of punk band The Pack, Kirk Brandon, the original group also consisted of: guitarist Steve Guthrie, bassist Stan Stammers (The Straps/Epileptics), saxophonist John Lennard and drummer Luke Rendle from Crisis/The Straps. Inspired of Antonin Artaud's book Theatre and its Double, the band takes its name from the concept of the Theatre of Cruelty: "Artaud called for the emotional involvement of the audience. Singer Kirk Brandon borrowed the thespian term because he was trying to do the same.

Theatre of Hate garnered much early attention as a live act and in 1981 made their debut with the concert LP He Who Dares Wins Live at the Warehouse Leeds. Shortly after the album's release however, Steve Guthrie left the band. Another concert recording, Live at the Lyceum followed, and in August 1981 Theatre of Hate entered the studio with producer Mick Jones of The Clash to record their first non-live album debut, Westworld, which was released on February 19th 1982 and went on to reach the UK Top 20.

Shortly after the album was recorded new guitarist Billy Duffy (formerly of The Nosebleeds) joined the band and drummer Luke Rendle was replaced by Nigel Preston. In late 1982, Theatre of Hate released another live album entitled He Who Dares Wins: Live in Berlin, and Billy Duffy was fired from the band in December 1982. In spring 1983, Theatre of Hate disbanded. Brandon went on to front Spear of Destiny with bassist Stan Stammers and guitarist Billy Duffy started Death Cult with singer Ian Astbury, which would later become successful after shortening their name to The Cult.

In 1991 Theatre of Hate reformed for the Return to 8 tour which included some of the original band members, these included Kirk Brandon, Stan Stammers and John 'Boy' Lennard, with the addition of Pete Barnacle on drums and Mark 'Gemini' Thwaite on guitar. In July/August 1994 Kirk Brandon, Stan Stammers, John McNutt and Art Smith went into Mix-O. Lydian Studio, Boonton, N.J. with Brad Morrision to record a new album under the Theatre of Hate banner.Retribution wasn't released until early 1996 in both the US and UK.To coincide with Westworld's 25th anniversary, Theatre of Hate reformed for a week-long tour culminating at the Carling Academy Islington on 29th April, 2007. Of the original line-up, only Stammers was unavailable, due to conflicting schedules and family commitments in the US where he now lives.Replacing him was Craig Adams, former bassist with The Cult, The Sisters of Mercy and The Mission, joining Brandon, Guthrie, Lennard, and Rendle for the reunion.



01 - Do You Believe In The Westworld (5:18)
02 - Judgement Hymn (5:27)
03 - 63 (2:51)
04 - Love Is A Ghost (3:35)
05 - The Wake (4:19)
06 - Conquistador (3:04)
07 - The New Trail Of Tears (2:50)
08 - Freaks (3:48)
09 - Anniversary (5:25)
10 - The Klan (6:52)
11 - Propaganda (2:50)
12 - Legion (3:38)
13 - Rebel Without A Brain (3:40)
14 - Incinerator (4:27)
15 - Nero (Remix) (7:27)

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Paul Young - No Parlez (83 ^362mb)

Paul was born in Luton, Bedfordshire. After school, he went to work at the Vauxhall Motors factory and in his spare time played in several bands as bass guitarist. He started his music career playing bass and guitar in several local bands, gradually working his way up to lead singer posts. Young first made a splash as frontman of new wavers the Streetband, who scored a national U.K. hit with 1978's "Toast." When they disbanded in 1979, Young and several bandmates quickly regrouped as the Q-Tips, a retro-minded soul outfit with a jones for classic Motown. With a self-titled album on Chrysalis and a relentless touring schedule, the Q-Tips generated significant interest in Young's solo potential, and in 1982 he signed with CBS, hastening the Q-Tips' breakup.Young forged a songwriting partnership with Q-Tips keyboardist Ian Kewley, who also joined Young's new backing band the Royal Family .

His debut solo single, "Iron Out the Rough Spots," was released in late 1982, and was followed by a cover of Nicky Thomas' reggae-pop hit "Love of the Common People." Neither single did particularly well on the charts, but his version of the lesser-known Marvin Gaye number "Wherever I Lay My Hat (That's My Home)" was a roaring success, topping the U.K. charts and pushing his debut album, No Parlez, to the same position later that year. No Parlez gave Young his first Top 40 hit in the U.S. with the Jack Lee-penned "Come Back and Stay" , and also drew attention with its left-field cover of Joy Division's "Love Will Tear Us Apart." Young mounted an international tour in support of the album, which sold several million copies worldwide; afterwards, however, he suffered the first of numerous throat ailments which would pop up throughout his career.

Kept out of action for much of the latter-half of 1984, Young nonetheless made a contribution to the Band Aid "Do They Know It's Christmas?" single, and returned to the U.K. Top Ten with a version of Ann Peebles' "I'm Gonna Tear Your Playhouse Down." The latter appeared on his sophomore album The Secret of Association, released in 1985. That year, Young scored the biggest hit of his career with "Every time You Go Away," a previously obscure Hall & Oates album track from 1980. "Every Time You Go Away" topped the pop charts in both the U.K. and U.S., ending up as far and away his biggest success in the latter. Young followed it with another U.K. Top Ten hit in the original "Everything Must Change," and watched The Secret of Association become his second U.K. chart-topping album.Young concentrated mostly on original material (co-written with Kewley) on his third album, 1986's Between Two Fires. A slicker, less soul-flavored outing, Between Two Fires sold respectably to Young's U.K. fan base, but didn't produce any major hits, and slowed his momentum somewhat. In its wake, Young took several years off from recording, chiefly for personal reasons but also to rest his voice. He didn't return until 1990, when Other Voices restored his commercial standing with a reading of the Chi-Lites' classic "Oh Girl," his only other U.S. Top Ten. He returned to the U.K. Top Five in 1991 with "Senza Una Donna (Without a Woman)," a duet with Italian pop singer Zucchero that appeared on Young's hits comp From Time to Time: The Singles Collection.

1993's The Crossing was his final album for Columbia." In late 1994, Young issued an album of soul covers called Reflections, on the smaller Vision Music label. He then disappeared for several years, giving occasional live performances but mostly resting his voice and procuring new material. Eventually, Young released an eponymously titled album in 1997, displaying a stronger country influence, the record failed to sell well even in the U.K., and Young found himself without a label again. In 1999, he mounted a small-venue tour of the U.K. that earned him solid reviews. He subsequently concentrated on Los Pacaminos, a Tex-Mex/country-rock band he'd started on an informal basis in the mid-'90s; they issued a self-titled debut album in 2002.



01 - Come Back And Stay (4:21)
02 - Love Will Tear Us Apart (4:12)
03 - Wherever I Lay My Hat (That's My Home) (5:10)
04 - Ku-Ku Kurama (4:11)
05 - No Parlez (4:57)
06 - Love Of The Common People (4:51)
07 - Oh Women (3:31)
08 - Iron Out The Rough Spots (4:44)
09 - Broken Man (3:51)
10 - Tender Trap (4:26)
11 - Sex (4:45)
Bonus
12 - Come Back And Stay (12' Mix) 7:31
13 - Iron Out The Rough Spots (12' Mix) 7:29
14 - Wherever I Lay My Hat (That's My Home) (Live) 5:59

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Working Week - Working Nights (85 ^ 485mb )

British jazz-dance outfit Working Week was formed in 1983 by guitarist Simon Booth and saxophonist Larry Stabbins, who previously teamed in Weekend. The duo debuted the following year with "Venceremos (We Will Win)," a tribute to Chilean protest singer Victor Jara featuring vocal contributions from Robert Wyatt and Everything But the Girl's Tracey Thorn; singer Julie Tippetts assumed the spotlight on the follow-up, "Storm of Light," with the full-length Working Nights appearing in 1985.
Much of this, their first album, was recorded when the musicians had barely met, let alone formed the close liaison you would expect from listening to Working Nights.

In fact, you'd think they had been playing together for 10 years to listen to this magical collection of songs. Although they cover a wide range of tempos and styles, there's not a weak link to be seen anywhere, from the haunting opening chords of Inner City Blues onwards. Almost unfair to single any track out, but with due deference to the gorgeous voice of Julie, my favourite is the instrumental No Cure, No Pay. This is latin-jazz par excellence - the ensemble playing from the horn section is as fine as you've heard anywhere, with brilliant solos from Annie Whitehead and Harry Beckett, backed by Kim Burton's rhythm piano .

Guest singers continued revolving in and out of the Working Week lineup prior to the permanent addition of Juliet Roberts in time for 1986's Companeros; in the wake of 1987's Knocking on Your Door, however, Roberts left the group. Further guest vocalists worked with the band for their 1989 album Fire in the Mountain with vocalist Yvonne Waite as sole vocalist for 1991's Black and Gold.



01 - Inner City Blues (5:38)
02 - Sweet Nothing (3:37)
03 - Who's Fooling Who (5:02)
04 - Thought I'd Never See You Again (6:12)
05 - Autumn Boy (6:28)
06 - Solo (4:38)
07 - Venceremos (4:37)
08 - No Cure No Pay (8:19)
09 - Stella Marina (Main Mix) (10:54)
10 - 10 Storm Of Light 6:40
11 - Bottom End 5:45
12 - Venceremos (We Will Win) (Jazz Dance Special 12 Inch Edit) 4:09

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