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Knit a smart hat in Starlight reflective yarn so you can be seen in the dark. The Nile has a nice cable knit which will make the hat stand out. Get started right away and protect yourself and your loved ones against both the cold and being invisible in the dark. (Sophisti-Po p, Art Pop) The Blue Nile - 1984 - A Walk Across The Rooftops & 1989 - Hats, FLAC (tracks+.cue) lossless.
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Along with Talk Talk and Bark Psychosis, one of my favorite bands - and their sincerity and experimentation with polyrhythms / textures is wonderful. This record makes me so happy lately, especially when I'm depressed.The whole album seems to take place in an imaginary version of New York City. But one imagined by someone from Glasgow.
It's romanticized, and more like a film-noir version than the real one: Men dressed in gray suits, rainy streets and steam rising from grates, lonely subway rides, a crowded city at night where everyone is very much alone and in their own world.I think the album is important because it experiments with aural space - much like Talk Talk's 'Laughing Stock' - without losing the emotional focus on the songs (also true of Talk Talk). It's not just experimentation for experimentation's sake - the arrangements really improve the sound. The odd time signatures of percussion that will come in and out of a song, the way string arrangements will double synths, the way each note is clear and fine. It reminds me of a line-drawing compared to say a beautiful watercolor that might be 'Five Leaves Left' by Nick Drake. The way that there is a sort of thinness to a lot of the instrumentation that rides over the warmth of the rest of the music. Like 'Laughing Stock,' this was an album that took a long time to make - in this case supposedly five years.High points for me are 'The Downtown Lights,' which is a gorgeous ballad, and 'From a Late Night Train,' which details the narrator's realization that despite the fact that a relationship has ended, he's still in love with the person. Man, do I love this band, or at least the first two records.
Nowhere near the appreciation they deserve. I like A Walk Across the Rooftops more, there was sort of a youthful semi-optimism to it. A young band making music that is just so unique to itself because they're just fuckin' doing it almost like Spiderland or something. Then Hats comes out and it's like they've seen the other side, just a devastating album at times 'From a Late Night Train' UGH forget about it, what a song. They just create a world that's so unique to themselves. Happy to see them talked about here.Also if you've never listened to Paul Buchanan's solo album I'd strongly recommend it. Some real heartbreaking stuff, just his voice and a piano like on 'Easter Parade' or 'Regret.'
Production's a lil blown out but still so, so good.
.Hats is the second studio album by Scottish band, originally released on 16 October 1989 on and.After a prolonged delay in which an entire album's worth of work was scrapped, The Blue Nile released Hats to rave reviews, including a rare five-star rating from magazine. It also became the band's most successful album, reaching number 12 on the UK album charts and spawning three singles: ', ', and 'Saturday Night'., a fan of the band, personally selected The Blue Nile as her opening act for her US tour in 1990. She later recorded a duet with them, a cover of their own 'Easter Parade' from, which was featured as a to the single 'Headlights on the Parade'. 'The Downtown Lights' was covered by two artists in 1995: by (with whom The Blue Nile worked on her debut album ) on her second solo recording and by on his album. Contents.Recording Having finished promotion work for their debut album, the group's record company were keen to have a follow-up record, and in early 1985 sent the band to a house in the golfing resort town of near the Castlesound Studios where the previous album had been produced.
However, sessions for the new record hit problems almost immediately. The band did not yet have enough material to make another album, and with the group forced to share a house and having to spend all their time in close proximity with each other, arguments developed among the homesick band members. Exhausted and stressed, their problems were compounded when, to whom Linn had licensed the Blue Nile's records, began legal proceedings against Linn Records, demanding new material. 'We were up against the wall,' singer Paul Buchanan told magazine in 2013. 'Living away from home, no money, miserable, getting sued.
We were absolutely zonked, the record company weren't pleased and everyone around was starting to think, this record is never going to get made. It was exhausting.' After almost three years in the studio which produced virtually nothing, having begun and scrapped several songs, the group was forced to vacate Castlesound to make way for, another Virgin band, to record their second album Song. Like The Blue Nile, It's Immaterial also ran into difficulties making their record, overrunning their allotted time and eventually spending a year at Castlesound. During this time, The Blue Nile had no option but to return home to; back in familiar surroundings and freed from time constraints, Buchanan overcame his, while Robert Bell and Paul Joseph Moore began putting musical ideas down on a. As a result, when the band was finally able to return to Castlesound in 1988, the ideas for the album were already in place and according to Buchanan, 'we knew exactly what we were doing.
We actually recorded the rest of Hats super quick. Honestly, half of Hats was, like, a week.' In a 2012 interview with, Buchanan reflected on the time lost trying to make the album:'We pretty much put the record A Walk Across the Rooftops out, promoted it and then the next thing we knew we were back in the studio.
That whole gestation period had gone missing. We didn't really have the songs. We laboured away in the studio trying to generate the material there, which just didn't work.
We recorded but we just didn't believe in what we'd recorded. I think people perceived it as it was all to do with us sort of being in the studio for five years, but of course you couldn't be in the studio for five years, you'd lose your mind.
There was a two year period where we would have gone back in but we couldn't get back in! So when we got back we actually finished Hats quickly. The period when we got bumped out the studio we had nothing else to do, so we packed up and went home. Which is what we should have done in the first place, because when we went back home we reverted to our old routines—practise, play and sit about each other's little flats and talk things through. We should have done that to begin with, really.'
Release The album was released in October 1989 simultaneously in both the UK and the US: since The Blue Nile was essentially unknown in the in 1989, the cover artwork for the US release of Hats was slightly modified for marketing reasons, with the band's name in larger letters. As a promotional tool, —who distributed Hats in North America—took out a full-page advertisement in magazine offering a free copy of the CD to anyone who called a which was provided.Three singles were released from the album: the first, ', was released in September 1989 and peaked at #67 in the, followed by ' in September 1990 which reached #72, and 'Saturday Night' in January 1991, which reached #50.In the United States, Hats peaked at #108 on the. 'The Downtown Lights' reached #10 on the chart in early 1990, becoming the group's only single chart entry in that country.In November 2012 released two-CD 'Collector's Edition' versions of Hats and its predecessor A Walk Across the Rooftops in the UK and Europe, each containing a remastered version of the original album plus a second CD of bonus tracks. The remastering process was overseen by original engineer Calum Malcolm, along with contributions by Paul Buchanan and Robert Bell, who chose the songs for the bonus CD.Critical reception Professional ratingsReview scoresSourceRating9/108.8/1010/10On its initial release in 1989, Hats received highly positive reviews from music critics.
Describing the album as 'absolutely superb', David Cavanagh of found that Hats differed significantly from A Walk Across the Rooftops in both its recording technology and aspired moods. Johnny Black of noted the more stripped-down nature of the album's songs and praised the band's new direction, stating that 'if Hats has a flaw, it's only that it's too perfect, too considered.'
's felt that the album demonstrated the band's flair for writing 'incredibly simple-sounding, emotional records about the stuff that fascinates them.' , writing in, stated that 'only the laziest ear would confuse this crystalline perfection with the hygiene and polish of plastic pop' and described the album as ' big music, that leaves you feeling very small, very still and very close to tears.' . ^ Ankeny, Jason. Retrieved 16 December 2016. ^ Thomson, Graeme (January 2013). 'River of No Return'.
London: 56–60. Murray, Robin (20 November 2012). Retrieved 10 March 2013.
^ Edwards, D.M. (1 February 2013). Retrieved 10 March 2013.
Roberts, David (ed.) (2006). London, England: Guinness World Records Ltd. CS1 maint: extra text: authors list. ^. Retrieved 4 July 2013. Heim, Chris (15 March 1990).
Retrieved 24 October 2015. (2011). (5th concise ed.). ^ McNair, James (January 2013).
'The Blue Nile: Hats'. P. 104. ^ (7 October 1989). 'The Blue Nile: Hats'. P. 40.
Sodomsky, Sam (7 January 2018). Retrieved 7 January 2018. ^ Black, Johnny (October 1989). 'The Blue Nile: Hats'.
P. 91. ^ Thigpen, David (17 May 1990). Archived from on 2 October 2007. Retrieved 1 October 2015. ^ Cavanagh, David (14 October 1989). 'The Blue Nile: Hats'. P. 20.
(7 October 1989). 'The Blue Nile: Hats'. P. 38.
'Albums of the Year'. Melody Maker. 23 December 1989. Pp. 60–61. 'Albums of the Year'. 23 December 1989. Pp. 52–53.
'Singles of the Year'. Melody Maker.
23 December 1989. P. 137. Hats (CD liner notes (remastered edition)).
CS1 maint: others. Hats (CD liner notes). CS1 maint: others External links.
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