Compilation, by THE WORK

Compilation

by THE WORK

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transmekanik Super roots music

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Compilation
Record/Vinyl + Digital Album
// This is a limited edition of 400 NUMBERED copies with a handmade on GATEFOLD Sleeve // // Hand stamped with acrylic paint //

Includes unlimited streaming of Compilation via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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1.	Fingers and Toes 02:52		buy track
2.	I Hate America 05:57		buy track
3.	Brickyard 04:41		buy track
4.	State-Room 03:26	info	buy track
5.	Do It 02:19		buy track
6.	Hell 03:13		buy track
7.	Abdomen 01:58		buy track
8.	Dangerfish 02:18	info	buy track
9.	Eat 05:29		buy track
10.	Read To Me 03:27		buy track
11.	Stone 02:39		buy track

about

Mick Hobbs : bass, guitar
Rick Wilson : drums, percussion, voice, ‘cello
Tim Hodgkinson : flat guitar, keyboard, alto sax, main voice
Bill Gilonis : guitar

Side A: tracks 1 and 2 were originally released on a 7” single in 1981; tracks 3, 4 and 5 are from ‘Slow Crimes’ (LP/CD, 1982).

Side B: tracks 2, 3 and 6 are from ‘Rubber Cage’ (LP/CD, 1990); track 4 is from ‘See’ (CD, 1992); tracks 1 and 5 are from ‘The 4th World’ (live recording from 1994, released on CD in 2010).

Mastered by Noel Summerville at 3345 Mastering, Peckham. Tape baking and analogue to digital transfers by FX Rentals, Acton. DAT transfers and digital editing by Andrew Jacques. Sleeve notes by Chris Cutler. Cover art by Jelodanti.

Many thanks to Maggie Thomas, Chris Gray, Charles Bullen, Pete Bullen, Volkmar Miedtke, Udi Koomran, Andy Le Vien, Clara Djian and Nicolas Leto.

Released and distributed by Jelodanti Records.
Co-production : Et mon cul c'est du Tofu

All tracks © The Work, 1981–2018.

credits

released September 10, 2018

When "The Work" was New

It was that time of the century: punk had seen prog off the premises and the New Wave had clambered over their exhausted bodies to claim the citadel for itself. The genius of the New Wave was that it didn’t represent any particular musical idea; it was just a name, so anything could fly under its banner – as long as it observed the accepted musical, attitudinal and sartorial conventions. Poorly disguised hangovers from prog, jazz or metal would be rooted out but, in the newly polymorphous cultural climate, rebranding – if honest – would not be punished; indeed, everyone was at it. And the prize was a novel and reinvigorated aesthetic.

extract from the text of Chris Cutler 2017

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