Don't know what it is with me and synthetic music. Got no problems with Eno or other more experimental stuff, but as soon as my old analog heroes come out to electronic backings replacing "real" instruments my ears just wanna shut down. Maybe it's the process itself that bothers me - instead of hearing a bunch of skilled band members or studio musicians either playing their pants off or just being beautifully adaptive I get one guy at an advanced keyboard doing both melody layers and rhythms...or worst case scenario a pre-programmed computor handeling all the backing. Indeed simpler and cheaper for the record companies, but for me it also means more alienated listening. So with a record like this I can't help pondering how it would have been if performed all analog. I get very well written melodies and lyrics, his voice is darker than ever and the female background vocals winsome. It became his biggest seller, high on lists world wide and spawning a number of successful 45:s. And many of the songs have remained, both publically and in me - "First We Take Manhattan", "Ain't No Cure For Love", "I'm Your Man" and "Take This Waltz"...all helping to build a masterpiece in my book...if it weren't for the synths. If made the old-fashioned way it probably would have sold less in the eighties, but considered a more timeless classic today. Nonetheless, even if I have to crash through synthetic walls to get to the core I do like it a lot. He was a master of his craft with the abitity to reach out, even in circumstances like this. Issued and reissued on all possible formats all over the world through the years. First US and Canadian vinyl on Columbia (FC 44191). Japan 2017 remastered CD on Sony (SICP 7159). Premiere UK had labels as shown here in a thin fully laminated cover. (LÄK*)
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