Difference between revisions of "Alice (single)"

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'''SISTERS OF MERCY: ’Alive/Floorshow’ (Merciful Release)'''
 
'''SISTERS OF MERCY: ’Alive/Floorshow’ (Merciful Release)'''
 
  
 
One of this week’s surprises. Supremely intense and disturbingly demonic, this double-A-sided package is nonetheless ‘rockier’ than you might expect. ’Floorshow’ is the definite standout, an unsettling traditional sub-HM rhythm supplemented by bizarre ’slow-slow-quick-quick-slow’ dancestep instructions and various contorted cries of disruption and despair.
 
One of this week’s surprises. Supremely intense and disturbingly demonic, this double-A-sided package is nonetheless ‘rockier’ than you might expect. ’Floorshow’ is the definite standout, an unsettling traditional sub-HM rhythm supplemented by bizarre ’slow-slow-quick-quick-slow’ dancestep instructions and various contorted cries of disruption and despair.

Revision as of 12:19, 23 October 2015

Alice - Single cover front (common version)
Alice - Single cover front (15 November 1982 pressing)


Single no. 3 of The Sisters of Mercy ...

Release Notes

  • Label: Merciful Release
  • Catalogue#: MR 015
  • Format: 7" single
  • Released: November 1982 (UK)


Remarks

  • Runout grooves:
    "kenny giles walks on water" and
"for spiggy-flash that ash"
in gold on black print.


  • A second pressing with white and gold on black cover prints was released on 15 November 1982 in France and in the UK.
  • In 1983, Alice was also released in a 12" - version, see Alice EP.



Tracks


Band/Recording Personnel



Additional Pictures


- Please click into pictures for larger views -

Alice - 7" single cover (back)
     
Alice - 7" single label Side A
Alice - 7" single label Side B


Reviews/Press Cuttings

Press Review

YES PLEASE

SISTERS OF MERCY: ’Alive/Floorshow’ (Merciful Release)

One of this week’s surprises. Supremely intense and disturbingly demonic, this double-A-sided package is nonetheless ‘rockier’ than you might expect. ’Floorshow’ is the definite standout, an unsettling traditional sub-HM rhythm supplemented by bizarre ’slow-slow-quick-quick-slow’ dancestep instructions and various contorted cries of disruption and despair.

’Alice’ is rather more obviously JD-derived, but it remains broodin compelling, with vocals reminiscent of Peter Hammill gargling with the remains of a shattered car windscreen. I await the upcoming Winston Smith feature with interest.