The Language of Composition: Reading and Writing by Lawrence Scanlon Pdf
| Floodland | ||||
|---|---|---|---|---|
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| Studio album by the Sisters of Mercy | ||||
| Released | sixteen November 1987 | |||
| Recorded | 1987 | |||
| Studio |
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| Genre |
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| Length | 45:27 | |||
| Label | Merciful Release | |||
| Producer |
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| The Sisters of Mercy chronology | ||||
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| Singles from Floodland | ||||
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Floodland is the second studio album past English language gothic rock band the Sisters of Mercy. It was released on 16 November 1987, through Merciful Release internationally and distributed by WEA, with Elektra Records handling the United States release. After the release of the band's debut studio album, First and Terminal and Always (1985), members Craig Adams and Wayne Hussey left to form the Mission, causing the dissolution of the Sisters of Mercy. As a result, ring frontman Andrew Eldritch formed a side project known as the Sisterhood, recording new material with them. After the project's first album was received negatively overall, he went back to recording as office of the Sisters of Mercy and hired the Sisterhood member Patricia Morrison for the recording of a new album.
Eldritch wrote the songs of Floodland in Hamburg; the city's big amount of water influenced its championship every bit well as the recurring lyrical theme of water. He then called upon Larry Alexander to produce the album with him and Jim Steinman to produce the songs "Dominion" / "Mother Russia" and "This Corrosion". Recording sessions began at Power Station Studios in New York City during January 1987 and carried on throughout the first half of the yr at Strawberry Studios in Stockport and The Wool Hall in Bath. Eldritch served as the vocaliser, performed all instruments, and programmed the ring's drum machine, "Doktor Avalanche".
The pulsate automobile acted as the drum role player; Morrison did not contribute to the anthology despite beingness a member of the Sisters of Mercy. In contrast to First and Terminal and Ever, Floodland was created in a less conventional way, being pieced together on computers using sequencers. The music incorporates the genres of gothic rock and nighttime wave, while the lyrical content sees Eldritch cast as the observer of a slowly deteriorating world. Some of the events that inspired sure songs include the Chernobyl disaster, the Cold State of war, and the band'south previous breakup.
The singles "This Corrosion", "Rule", and "Lucretia My Reflection" were released in promotion. "This Corrosion" peaked at number 7 on the UK Singles Chart, while "Rule" and "Lucretia My Reflection" peaked at number 13 and 20, respectively. Floodland debuted on the UK Albums Chart at number 9, later being certified gold in UK by the BPI for selling 100,000 copies. It also reached the tiptop xl in other European countries, including Switzerland. Despite initially receiving mixed reviews from music critics, Floodland has retrospectively received praise and been considered a seminal gothic stone anthology by several critics.
Background [edit]
After the release of the Sisters of Mercy debut studio album First and Last and Ever in March 1985, frontman Andrew Eldritch intended for them to tape an ABBA comprehend as a single, and tried to rent Jim Steinman equally a producer.[1] Eldritch originally contacted him when the ABBA song "Gimme Gimme Gimme" (1979) was part of the band'south setlist. Steinman was interested in producing the cover version, just was too busy at that time. Shortly later on, the Sisters of Mercy disbanded.[2] The break-up occurred while the band prepared their 2nd studio album in October 1985, which was going to be titled Left on Mission and Revenge.[3] Eldritch, who had withal intended to tape the album but equally a solo artist, called bassist Patricia Morrison that same month, who was on a tour of the Great britain with her ring Fur Bible in support of Siouxsie and the Banshees, asking Morrison to collaborate.[iv]
The music press reported the break-upwards of the ring on 2 Nov 1985, announcing that "the Sisters of Mercy were down to vocaliser Andrew Eldritch and his faithful drum motorcar [Doktor Avalanche] this week after guitarist Wayne Hussey and bassist Craig Adams left the ring. Although this has scuppered recording plans for a new album this month, Andrew now intends to record the aforementioned album in the New year's day and could well be using Wayne equally a session guitarist. [...] Andrew has also approached former Gun Club bassist Patricia Morrison—now in Fur Bible—to play on the album, only it's non yet known whether Andrew volition continue with the name Sisters of Mercy."[5] Eldritch had no intention to carry on nether the disformed band'southward name, as members who left to class the Mission had an agreement with him that the name the Sisters of Mercy would exist used by no ane subsequently the interruption-up.[half dozen]
Eldritch released the single "Giving Basis" on 20 January 1986 equally office of a project under the name the Sisterhood, which features vocals by his musician friend James Ray. At the end of February 1986, the record label Merciful Release announced that the "forthcoming Andrew Eldritch album which for some months has had the working title Left on Mission and Revenge." The anthology was eventually titled Souvenir, being released in July 1986, again past the Sisterhood. Information technology was recorded at Fairview Studios in Willerby, Hull. Eldritch did not sing on the anthology for contractual reasons, though Morrison collaborated with him for the first time, contributing a spoken passage on the track "Jihad". Gift was negatively received overall and Eldritch lost his publishing deal with RCA Music Express every bit a consequence of it.[7] A 12-inch EP by the Sisterhood entitled This Corrosion was planned for release and prepare to feature an American vocalist, whose identity was meant to be kept secret until release.[8] The EP had been recorded at Fairview Studios with Alan Vega but remained unreleased, with Eldritch instead keeping the idea for when he would reboot the Sisters of Mercy.[9]
Recording [edit]
Eldritch hired Patricia Morrison (pictured, c. 1978 ) with the intention of having her play bass guitar on the album.
Afterward what was dubbed the "Sisterhood fiasco" by Sounds,[10] Eldritch decided to continue under the name the Sisters of Mercy, feeling as though doing so would improve the proper noun's reputation after the previous fallout.[6] He also thought that it would have been nonsensical to alter the name, as he all the same wrote songs the same way as before.[ii] Eldritch, who in 1985 showtime moved to Bramfeld and so to St. Pauli, began to compose a new album while in Hamburg, under the Warner Elektra Atlantic (WEA) characterization.[11] The demos for the album were mainly recorded with a Casio CZ-101 synthesiser, audio-visual guitars and a new drum machine. At the fourth dimension, Eldritch was attempting to find a MIDI drum machine of a modest price that featured a "tighter snare drum" sound.[12]
Despite hiring her to play bass guitar on the anthology, Eldritch afterwards claimed that Morrison did not contribute to the songwriting for it, with him proverb that information technology was practically a solo record. Eldritch insinuated that she suffered from writer's block and was unable to come with many musical ideas, besides calculation that he "couldn't even get her to pick upward the bass in the first place."[thirteen] He reaffirmed this in a 2012 interview with Classic Rock, stating that she "didn't make the cut" and therefore did not appear on Floodland.[14] Merciful Release role manager Boyd Steemson also gave confirmation that Morrison'southward contributions were minimal.[15] Eldritch denied that his arroyo to songwriting had changed since the ring split, maxim "'This Corrosion' sounds like 'Temple of Beloved' II, '1959' sounds like 'Afterhours' part 2. I don't meet any difference or any real change. I think I just carry on where I stopped."[16] He licensed the publishing to SBK Songs Limited, which is now part of EMI Music Publishing.[17]
The starting point for the album was the song "This Corrosion", which was set to exist produced by Steinman. Eldritch had immediately thought of him when he came up with the idea for the song.[16] He stated that "when we were trying to sell 'Corrosion' to Steinman, we told him it was like the high-point of a Borgia's disco evening and he went for it."[6] Eldritch also used Steinman to become his record label to concede an appropriate recording budget. He figured that the label would non grant coin to use on choirs, but that they would immediately do and then if Steinman were to ask for it.[18] Co-ordinate to Steemson, Max Hole, the caput of WEA'due south A&R, managed to get the band a budget of £50,000 for "This Corrosion".[15]
The recording of "This Corrosion" and "Dominion" / "Mother Russia" started during Jan 1987 in New York Metropolis.[10] Steinman and Eldritch used Ability Station Studios in the city's Manhattan borough, where they worked with engineer Larry Alexander.[xix] On both songs, Steinman used half dozen background singers and 40 members of the New York Choral Gild.[20] [21] Eldritch recalled that he was unsure as to why so many vocalists sung all at in one case, just noted that this "seemed like a skilful idea at the fourth dimension" and worked out well in the finish.[22] Steinman mainly focused on the product of the choral singings and did not contribute much to the actual composition and arrangements. This caused him to receive but fractional production credit on "Dominion / Mother Russia".[2]
The residuum of Floodland was recorded in England. Initially, Eldritch worked with an unknown producer, whom he eventually fired.[xvi] He called Alexander while in New York City and hired him equally a co-producer. The two travelled to England, where they recorded at multiple studios. They spent fourth dimension at Strawberry Studios in Stockport earlier transitioning to The Wool Hall in Bathroom to finish recording. The mixing for the album was and then done at AIR Studios in London.[19]
Composition [edit]
Music [edit]
An Akai S900 sampler, the model Eldritch used to assemble the drum sounds on Floodland.
The music of Floodland was described every bit a mix of gothic rock and dark wave.[23] In dissimilarity to the Sisters of Mercy's previous album, Starting time and Final and Always, which had been recorded in a conventional way, Floodland was pieced together on a figurer that used sequencers to help. Eldritch worked on the recorded parts with a Voyetra Sequencer Plus, while a Yamaha SPX-90 was used as an effects unit and the parts were saved on a Compaq Portable 286. The guitars were played by Eldritch himself, autonomously from the solo on "This Corrosion", which was played past Steinman'southward friend Eddie Martinez.[2] The drum sounds on the album were sampled together from various pulsate machines with an Akai S900. The tom sound was from an Oberheim DMX, which had previously been used on Kickoff and Last and Always. The other drum sounds were from a Yamaha RX-5.[24] The rail "1959" features merely the sound of a pianoforte, merely was pieced together with a sequencer by Eldritch and played without an bodily pianoforte.[13]
Lyrics [edit]
Hamburg, where Eldritch resided while writing the songs of Floodland, inspired the album's title and recurring theme of water.
Regarding the title Floodland, Eldritch realised that, afterwards writing all the songs for the album, the theme of water came upwards multiple times throughout. He attributed the theme'due south recurrence to the amount of water within Hamburg, where he was writing these songs.[18] Michael Bonner of Uncut viewed Eldritch equally casting himself in a role where he is a "jaded observer, watching cynically as he and the world slouch towards Armageddon," calculation that the songs are bonded together by "images of the apocalypse that straddle the gap betwixt the personal and the political."[25]
Floodland 's two-part opening track, "Dominion" / "Female parent Russia", was inspired by "Ozymandias" (1818), a Shelley sonnet about a tyrant whose legacy of conquest diminishes every bit time passes past, from which one line is lifted. Bonner noted that the song seemed to have been inspired past geopolitics of the Cold War as well. Eldritch additionally took inspiration from his time in Fundamental Europe during the aftermath of the 1986 Chernobyl disaster. He considered the vocal to be nigh "the prostitution of Europe by the Americans," adding that this was a part of his "hate/hate human relationship with America. I simply had the idea of all them huddled in their mobile homes while Mother Russia rained down on them."[25] "Alluvion I" and "Alluvion Ii" both utilize the give-and-take "flood" equally a metaphor for sex. Eldritch felt that a flood could be something stimulating, adding: "almost people [...] just become wet under sure circumstances."[26] He chosen "Lucretia My Reflection" his "Welcome on board, Patricia" song, saying that he had always idea of her equally a "Lucretia-blazon person."[26] "1959" is a partially-autobiographical song, which takes its title from Eldritch's birth year. He thought that the song regards "innocence–inherited every bit opposed to environmental."[25]
The deviation of Wayne Hussey (pictured in 2004) from the ring and his "clichéd lyrics" served as the inspiration for the lyrics of "This Corrosion".
The centrepiece of the album, "This Corrosion", goes dorsum to the conflict between Eldritch and his old bandmates, who had formed the Mission. The lyrics of the runway are a parody of lyrics in the manner that Hussey especially wrote them, which Eldritch considered to be typically "clichéd" and "meaningless". As a result, Eldritch felt that most of the lyrics "should exist idea of in quotation marks. It would be besides disruptive to print them all."[26] He also noted that "This Corrosion" on the lyrics sheet is capitalised in the way of a song title considering "information technology's the title of somebody else's song," recalling a list of song titles that Hussey kept to himself. Eldritch claimed that Hussey would select the titles that he thought were the best and generate lyrics out of them. Eldritch claimed: "It didn't have to accept any pregnant, information technology just had to sound skilful."[2]
"Driven Like the Snow", similarly to "Nine While Nine" from Get-go and Last and Always, is nigh Eldritch's former girlfriend Claire Shearsby, even beingness noted as "Nine While Nine Part 2" past him. He thought of the song as a way to logically explain why their relationship had to fall apart.[26] Speaking of "Never Country", Eldritch commented that it imagines "the entire population of the earth starting to travel from some indefinable indicate in infinite toward the globe at increasing speed. It would take an eternity to attain the earth—by which time you'd be reasonably spiritualised—and even when you lot reached the destination, you lot wouldn't actually hit the basis. You'd be going so fast yous'd just become through and out the other side, where at that place is another eternity of pettiness. I just tried to write a song about these impressions."[26] The lyrics Eldritch spoke of were found on the full 12-infinitesimal version of the vocal, which remained unreleased until it was included on the 2006 reissue of Floodland.[27]
Release and promotion [edit]
"This Corrosion" was selected as the atomic number 82 unmarried from Floodland, although Eldritch initially had pleaded for "Dominion" to exist the lead single.[eighteen] The song was released on xviii September 1987 through Merciful Release, a subsidiary of WEA operated past Eldritch, being released as a 7-inch, 12-inch, CD and cassette; each version contained a different mix of the song. Eldritch originally wanted the long version on the single release, but the record label desired for an edited version instead. The mix of the LP version is similar to that of the 12-inch version, though the version lasts about 45 seconds longer. The cassette version was mixed by Steinman, and differs from other single versions.[2] The B-side of the single was "Torch", which Eldritch produced and played every instrument for. Information technology had been written in 1985 for the scrapped anthology Left on Mission and Revenge album. The 12-inch single added Eldritch's version of the Sisterhood song "Colours" (1985), while WEA conceded a budget of over £fifty,000 for the music video of "This Corrosion".[28] The video was shot at a warehouse in Wapping and directed past Stuart Orme. The Sisters of Mercy wanted to film in Kazakhstan of the Soviet Union, but at the same time, Russian tape characterization Melodiya were in negotiations with the West regarding video rights, and filming in that location would have botched the negotiations.[29]
Floodland was released in the Uk on 16 November 1987, subsequently receiving a release in the United States on 11 January 1988 through Elektra Records.[30] [31] The album had simultaneous releases on vinyl, cassette, and CD. The cassette release included "Torch", the B-side to "This Corrosion",[32] and the CD release included both "Torch" and "Colours", the latter existence another B-side from the single releases for "This Corrosion", equally bonus tracks.[33] Morrison's proper noun was not included in the credits for Floodland, although she was pictured on the sleeve and appeared nether her existent name of Anne Rainone in the "Thanks" department of the inner sleeve. She downplayed the lack of inclusion in interviews, proverb: "if you expect at Sisters' records, the names for what people play usually aren't there. Andrew writes the songs so there's no reason for anyone else to be featured. I was well aware of that when the album came out merely what I didn't realise was that it would misfile other people. If people haven't seen the printing we've done, they don't know I'thou in the band."[4] Eldritch withal considered Morirson to be a vital office of the Sisters of Mercy, every bit she contributed greatly to the band'south visual identity by actualization in music videos released for Floodland and on the album comprehend.[14] Eldritch chose not to embark on a tour to promote the album,[34] feeling that it was not made to be played live.[35] He later on recalled not having a band set up to accompany him on a tour, which was the real reason why he chose not to tour and instead opted to promote Floodland through singles, music videos, and television appearances only.[fourteen]
Following the release of Floodland in November, a remix of "Dominion" was announced as the second unmarried in December 1987 and released in the last week of February 1988.[18] [25] A cover version of the Hot Chocolate song "Emma" (1974) was recorded to be released as part of the unmarried.[25] The single'south other B-side tracks, fabricated from various "Dominion" segments, were prepared shortly earlier the "Dominion" music video shoot.[36] "Sandstorm" consists of diverse sampled saxophone and keyboard parts from "Dominion", mixed to a moody short instrumental runway, which was used in the opening section of the video. "Untitled" is a slowed-down instrumental extract from "Dominion". The CD single for the vocal contained "Ozymandias", which is "Rule" played backwards. The video for "Dominion" was filmed during Feb 1988 in the Jordanian city of Petra; it was the kickoff always music video to accept been shot in Jordan.[37] After the commercial success of "This Corrosion", WEA had again conceded a budget of £50,000 and they enlisted director David Hogan, who shot the video in ii days after iv-and-a-half months of preparation.[28] [38] Eldritch called the video "Lawrence of Arabia part two."[39]
The 3rd and final single from the album, a remix of "Lucretia My Reflection", was released on 27 May 1988.[40] The B-side of the unmarried was "Long Train";[twoscore] the title references lyrics from "Lucretia My Reflection".[17] An accompanying music video was filmed past director Peter Sinclair at locations in Bharat, including a cotton wool manufactory in Bombay.[37] [41] Eldritch had too considered releasing "1959" as a unmarried at some point; information technology was later released as a promotional single that aimed for radio play. The vocal likewise received a music video that was filmed in India.[10]
Reception [edit]
Critical [edit]
| Review scores | |
|---|---|
| Source | Rating |
| Rolling Rock |   [42] |
| The Village Voice | C+[43] |
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |  [44] |
| Classic Rock |   [45] |
| Sputnikmusic | 4/5[23] |
Floodland was met with mixed reviews from music critics. Mark Coleman of Rolling Stone felt that the album was a stride down from the Sisters of Mercy'southward previous material. He described it every bit "Meat Loaf joining the Cure for a remake of Lou [Reed]'s Berlin", adding that the album is "hilarious, sure, but always listenable at the very to the lowest degree". Coleman provided praise, however, for "This Corrosion", calling it a "bona fide toe-tapper of a single."[42] In The Village Vocalism, Robert Christgau compared the band'southward "doldrums" negatively to young man gothic rock band Fields of the Nephilim, albeit less dumb also equally compensated with "disco" and "proper nouns".[43]
Floodland has since received retrospective praise from music critics, however. Writing for AllMusic, Chris True heralded the album as "a definite milestone," complimenting its "lush production" and "lyric imagery that is both scary and glorious." He added that the ring create "a black soundscape that is majestic and vast" with "Dominion" / "Female parent Russian federation" and that "slower tracks, like 'Inundation' and '1959,' are some of the best ethereal sounds goth has to offer, and the downright regal 'This Corrosion' is 1 of the best songs of the genre."[44] Sputnikmusic staff fellow member ManosG wrote that "Floodland may not be as dark, influential or focused every bit the ring's debut but is even so an splendid album with an amazing song performance by Andrew [Eldritch]". He also called "Lucretia My Reflection" 1 of the all-time songs in the Sisters of Mercy'southward discography, alongside giving praise to "Rule / Female parent Russia", "1959", "This Corrosion", and "Flood II".[23] Floodland was after considered an essential gothic rock album by Classic Rock,[46] Result of Sound,[47] Spectrum Culture,[48] LA Weekly,[49] and Treble.[fifty]
Commercial [edit]
Floodland reached number nine on the UK Albums Chart. Preorders solitary bodacious the album silver certification on the mean solar day of its release, and on 11 March 1988 it was certified gold in the United kingdom past the British Phonographic Industry (BPI) for selling 100,000 units.[xxx] According to Eldritch, Floodland recouped the high product costs in 1989.[51] In Frg, which Eldritch claimed was the band'due south second largest market place behind the Uk,[51] the album entered the Tiptop 100 albums chart on 14 December 1987 at number 32, remaining on the chart for twenty weeks.[52] In 1993, Floodland was certified aureate in Germany by the Bundesverband Musikindustrie (BVMI) for sales of 250,000 units.[53] In the US, the album debuted at number 174 on the Billboard 200 during the week of half-dozen February 1988.[54] Information technology went on to peak at number 101, after spending six weeks on the chart, during the week of 12 March 1988.[55]
Track listing [edit]
All tracks are written by Andrew Eldritch.[17]
Floodland vinyl track listing [17]
| No. | Title | Producer(s) | Length |
|---|---|---|---|
| one. | "Dominion" / "Mother Russian federation" | Larry Alexander, Andrew Eldritch, Jim Steinman | vii:00 |
| 2. | "Inundation I" | Alexander, Eldritch | 6:22 |
| 3. | "Lucretia My Reflection" | Alexander, Eldritch | 4:57 |
| iv. | "1959" | Alexander, Eldritch | 4:09 |
| No. | Championship | Producer(s) | Length |
|---|---|---|---|
| 1. | "This Corrosion" | Steinman | 9:xvi |
| two. | "Overflowing II" | Alexander, Eldritch | 6:19 |
| 3. | "Driven Like the Snow" | Alexander, Eldritch | iv:39 |
| iv. | "Never Land" (a fragment) | Alexander, Eldritch | 2:46 |
| Total length: | 45:27 | ||
Cassette track listing [32]
| No. | Title | Producer(south) | Length |
|---|---|---|---|
| 1. | "Dominion" / "Mother Russia" | seven:00 | |
| 2. | "Flood I" | 6:22 | |
| iii. | "Lucretia My Reflection" | 4:57 | |
| iv. | "1959" | iv:09 | |
| v. | "Torch" | Eldritch | three:55 |
| No. | Championship | Length |
|---|---|---|
| half-dozen. | "This Corrosion" | x:55 |
| 7. | "Flood II" | vi:47 |
| eight. | "Driven Like the Snow" | half dozen:27 |
| 9. | "Never State" (a fragment) | 2:55 |
| Full length: | 53:28 | |
CD runway list [33]
| No. | Title | Producer(s) | Length |
|---|---|---|---|
| one. | "Dominion" / "Mother Russia" | 7:01 | |
| two. | "Flood I" | half-dozen:22 | |
| 3. | "Lucretia My Reflection" | 4:57 | |
| iv. | "1959" | 4:09 | |
| five. | "This Corrosion" | 10:55 | |
| 6. | "Overflowing Ii" | six:47 | |
| 7. | "Driven Like the Snowfall" | 6:27 | |
| 8. | "Never Country" (a fragment) | 2:55 | |
| ix. | "Torch" | 3:55 | |
| 10. | "Colours" | Alexander, Eldritch | 7:23 |
| Total length: | sixty:51 | ||
2006 reissue bonus tracks [27]
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 11. | "Never Land" (total length version) | Eldritch | 12:00 |
| 12. | "Emma" | Errol Brownish, Tony Wilson | vi:21 |
| Total length: | 79:12 | ||
Personnel [edit]
Personnel adapted from Floodland liner notes, except where noted otherwise.[17]
| The Sisters of Mercy [nb 2]
| Technical personnel
| Additional musicians [nb 3]
|
Charts [edit]
Certification [edit]
References [edit]
Notes
- ^ The studios used for recording are uncredited in the album'southward liner notes. They are listed based on the band members' and producers' accounts of the sessions.
- ^ The band members' instruments are not credited in the album'south liner notes. Their primary instruments are listed based on the ring members' accounts of the album's recording and their de facto primary roles in the ring.
- ^ The additional members who took role in the recording sessions are not credited in the anthology's liner notes. They are listed based on the band members' and producers' accounts of the sessions.
Citations
- ^ Spex, August 1985, p. 5
- ^ a b c d e f Ruff, Spex, Jan 1988
- ^ "Andrew Eldritch interview". Heaven Trax. 1987. Sky1.
- ^ a b Sutherland, Tune Maker, June 1988, p. 14
- ^ Sounds magazine two Nov 1985 (folio 3)
- ^ a b c Sutherland, Melody Maker, September 1987
- ^ "Sisters – Most Gift". The Sisters of Mercy (official website). Archived from the original on xxx November 2015. Retrieved two December 2012.
- ^ Spencer; Strickland, Sounds, February 1986
- ^ Glasperlenspiel 06, June 2003, p. 6
- ^ a b c Scanlon, Sounds, December 1987, p. 10
- ^ Ute Arndt, Bernd Gerstacker, Thomas Duffé: St. Pauli – Gesichter und Ansichten vom Kiez (Historika Photoverlag 1995)
- ^ "Sisters Tech – Doktor Avalanche". The Sisters of Mercy (official website). Archived from the original on 11 January 2013. Retrieved 29 September 2018.
- ^ a b Riemann, Bravo, September 1992, p. 28
- ^ a b c Elliott, Paul (13 November 2016). "Cats, Goths & The Sisters Of Mercy: An Audition With Andrew Eldritch". Classic Rock. Archived from the original on 21 June 2020. Retrieved 21 June 2020.
- ^ a b McIntyre, Classic Rock, July 2007, p. 61
- ^ a b c Niechziol, ME/Sounds, February 1988
- ^ a b c d e Floodland (vinyl sleeve). The Sisters of Mercy. Merciful Release. 1987. MR441L.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ a b c d Scanlon, Sounds, December 1987, p. 9
- ^ a b Crane, Larry (May–June 2013). "Larry Alexander (bonus): Diana Ross, Devo, Springsteen, Steely Dan". Tape Op. Archived from the original on 2 December 2018. Retrieved 1 December 2018.
- ^ "Frequently Asked Questions". The Sisters of Mercy (official website). Archived from the original on 11 Jan 2016. Retrieved 29 September 2018.
- ^ "Past Concerts". New York Choral Lodge (official website). Archived from the original on 29 September 2018. Retrieved 29 September 2018.
- ^ Andrew Eldritch Television interview (Bingo plan, BRT 26 Feb 1988)
- ^ a b c one thousand, manos (9 May 2014). "Review: CD The Sisters of Mercy – Floodland Album". Sputnikmusic. Archived from the original on iii October 2020. Retrieved i January 2015.
- ^ "Sisters Tech – Doktor". The Sisters of Mercy (official website). Archived from the original on eleven Jan 2013. Retrieved xiii December 2018.
- ^ a b c d e Bonner, Uncut, 2006
- ^ a b c d east Mico, Melody Maker, November 1987
- ^ a b Floodland (CD booklet). The Sisters of Mercy. Merciful Release; Rhino Records. 2006. 5101-17580-2.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ a b ME/Sounds, May 1988
- ^ "Patricia Morrison interview". Patricia Morrison (official website). 22 January 2005. Archived from the original on viii March 2012. Retrieved 8 May 2012.
- ^ a b c "British album certifications – Sisters of Mercy – Floodland". British Phonographic Industry.
- ^ "Floodland / words and music Andrew Eldritch ; [performed by] the Sisters of Mercy". United States Copyright Office. Archived from the original on 3 Oct 2020. Retrieved 3 October 2020.
- ^ a b Floodland (cassette menu). The Sisters of Mercy. Merciful Release. 1987. MR441C.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ a b Floodland (CD booklet). The Sisters of Mercy. Merciful Release. 1987. 242246-2.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ McIntyre, Classic Rock, July 2007, p. 61–62
- ^ RIP, July 1991
- ^ Tilton, Record Mirror, February 1988
- ^ a b Morrison, Patricia (1988). "Patricia Morrison – Sisters of Mercy" (Video). Videowave Music. Archived from the original on 11 August 2016. Retrieved 23 June 2020.
- ^ A. Scanlon, Sounds, March 1988
- ^ Eldritch, Andrew; Morrison, Patricia (22 February 1988). "Sisters of Mercy interview" (Video). Supersonic Super Channel. Archived from the original on 29 September 2016. Retrieved 23 June 2020.
- ^ a b "Lucretia My Reflection" / "Long Train" (promotional canvass). The Sisters of Mercy. Warner Elektra Atlantic. 1988. 247 889-vii; LC 4281. Archived from the original on 28 July 2011. Retrieved ten Oct 2010.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ Thompson, p. 187
- ^ a b Coleman, Rolling Rock, May 1988
- ^ a b Christgau, Robert (29 November 1988). "Christgau'southward Consumer Guide: Turkey Shoot". The Hamlet Phonation. Archived from the original on xviii June 2017. Retrieved 26 March 2017 – via robertchristgau.com.
- ^ a b Truthful, Chris. "The Sisters of Mercy: Floodland at AllMusic. Retrieved 20 September 2011.
- ^ Sleazegrinder, Classic Stone, December 2006, p. 101
- ^ Rowley, Scott (13 July 2016). "The Top 10 Essential Goth Albums". Classic Stone. Archived from the original on 11 June 2019. Retrieved 22 June 2020.
- ^ Lopez, Samantha (8 October 2019). "10 Goth-Rock Albums Every Music Fan Should Ain". Outcome of Sound. Archived from the original on 27 April 2020. Retrieved 22 June 2020.
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External links [edit]
- Floodland at Discogs (listing of releases)
- Floodland (Adobe Flash) at Spotify (streamed copy where licensed)
- Floodland (Remastered & Expanded; Deluxe Version) (Adobe Wink) at Spotify (streamed copy where licensed)
Source: https://en.wikipedia.org/wiki/Floodland_(album)
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