Marc Almond -

Marc Almond is an English vocalist, songwriter, and arranger from Southport, Merseyside, who rose to fame as one-half of the synthpop duo Soft Cell, which released three albums between 1981 and 1984. Concurrently, he released two 1982–83 albums with the goth–cabaret side-project Marc and the Mambas. As a solo artist, he released nine full-length studio albums and several EPs between 1984 and 1995 on Some Bizzare, including two with backing by Mambas follow-through the Willing Sinners.

Early Life

He was born Mark Peter Sinclair Almond on July 9, 1957, in Southport, Lancashire; the first of two children borne to Sandra Mary Diesen and Peter John Sinclair Almond, Second Lieutenant of the King’s Liverpool Regiment. When he was six, the family settled in Horsforth, West Yorkshire.

Influences

As a child, Almond absorbed music from his parent’s collection, including jazz artists like pianist Dave Brubeck and singer Eartha Kitt. While attending Aireborough Grammar School, he listened to psychedelic and blues-rock artists like Free, Jethro Tull, The Doors, The Who, and Van der Graaf Generator. The first single he purchased was “Green Manalishi” by Fleetwood Mac.

In 1970, Almond became a devotee of T. Rex and changed the spelling of his forename to Marc in honor of Rex frontman Marc Bolan. Another icon during this period, David Bowie, introduced Almond to the work of Belgian songwriter Jacques Brel. Further influences from this period included diva Dusty Springfield and theatrical rock performer Alex Harvey.

Theatre Works

After earning O-Levels in Art and English from King George V School, Almond studied Performance Art at Southport College. He later attended Leeds Polytechnic, where he made several Warhol-influenced mini-movies and staged three theatre pieces: Zazou, Glamour in Squalor, and Twilights and Lowlifes.

Soft Cell

During his time at Leeds Poly, Almond met Dave Ball, an electronic musician in the Fine Arts department. In 1978, they formed the duo Soft Cell and recorded multiple demos. Their 1980 EP Mutant Moments landed them a contract with Phonogram subsidiary Some Bizzare. Between 1981 and 1984, they released three albums: Non-Stop Erotic Cabaret, The Art of Falling Apart, and This Last Night in Sodom.

Vermin in Ermine

Marc Almond released his debut solo album, Vermin in Ermine, in October 1984 on Some Bizzare, backed by the Willing Sinners.

The album ranges across a wide tonal spectrum, with dense, theatrically arranged tracks set against leaner, more stripped passages. Pianist Annie Hogan and cellist/keyboardist Martin McCarrick anchor the harmonic center while guitarist Richard Riley works across both electric and acoustic textures. Bassist Billy McGee — credited on bowed as well as plucked bass — and drummer Steven Humphreys drive the rhythm section. Vermin also features trumpeter Enrico Tomasso, saxophonist Gary Barnacle, violinist Gini Ball, and percussionists Martin Ditcham and Zeke Manyika. Bouzouki appears on the opening track, courtesy of a player credited as Spiros.

The album opens on “Shining Sinners,” a sprawling piece that moves through multiple textural shifts with bouzouki threading through the arrangement, and closes on “Tenderness is a Weakness,” which builds toward a shimmering, extended resolution. “Ugly Head” runs on a grinding, low-slung semi-orchestral pulse. “The Boy Who Came Back” takes a comparatively bright and direct path, with a fuller arrangement and a more direct vocal delivery.

CD and cassette editions contain three additional tracks, including the b-sides “Pink Shack Blues” and “Split Lip,” the latter in its full unedited form.

A1. “Shining Sinners” (6:38) — Almond
A2. “Hell Was a City” (4:02) — Almond
A3. “You Have” (5:38) — Almond
A4. “Crime Sublime” (3:12) — Almond
A5. “Gutter Hearts” (4:25) — Almond

B1. “Ugly Head” (7:56) — Almond
B2. “The Boy Who Came Back” (4:53) — Almond
B3. “Solo Adultos” (5:37) — Almond
B4. “Tenderness is a Weakness” (5:07) — Almond

CD/Cassette bonus tracks:

“Split Lip” (17:13) — Almond
“Joey Demento” (5:48) — Almond
“Pink Shack Blues” (4:49) — Almond

Almond and the Willing Sinners recorded Vermin in Ermine at Hartmann Digital Studios, Bavaria, with producer Mike Hedges and engineer Tom Thiel. Flood engineered “Shining Sinners” and “Crime Sublime.” Zeke Manyika played drums on “Pink Shack Blues” and “Ugly Head.” String arrangements were handled by Billy McGee, Gini Ball, and Martin Ditcham.

The cover photograph is by Peter Ashworth; the artwork design is by Huw Feather from a concept by Almond.

Some Bizzare issued “The Boy Who Came Back” as a May 1984 single (b/w “Joey Demento”), followed in August by “You Have,” backed with an edited “Split Lip.” In November, “Tenderness is a Weakness” became the third single with a non-album cover of “Love For Sale,” a Cole Porter standard.

Stories of Johnny

Marc Almond released his second solo album, Stories of Johnny, in September 1985 on Some Bizzare.

The album maintains the orchestrated, multi-textured approach of its predecessor with more direct yet fluid arrangements. Hogan plays piano, vibes, synthesizer, and marimba; McCarrick handles cello and synthesizer. Stories of Johnny also retains guitarist Richard Riley, bassist Billy McGee, and and drummer Steven Humphreys. String arranger Gini Ball enhances the sound, further embellished on select passages by harpist Julie Allis, percussionist Martin Ditcham, and brass player Enrico Tomasso.

Stories opens with “Traumas Traumas Traumas,” a taut, disquieting narrative. The title track moves at a quieter, more measured pace. “The House is Haunted,” presents a tight, spare arrangement of the Buzz Adlam number. “Love Letter” reintroduces electronic textures to a degree not heard in Almond’s work since Soft Cell, with keyboards working against strings and a late-song swell. “The Flesh Is Willing” takes a harder, more driving approach, and “Contempt” — shorter and more compressed — carries a sharp, confrontational tone. “I Who Never” opens into a wide, ascending structure, and “My Candle Burns” keeps to a quieter, more sustained frame. “Love and Little White Lies” closes the album on a slower, more expansive note.

A1. “Traumas Traumas Traumas” (5:07) — Almond
A2. “Stories of Johnny” (3:45) — Almond
A3. “The House is Haunted” (2:19) — Basil “Rose” Adlam
A4. “Love Letter” (4:51) — Almond
A5. “The Flesh is Willing” (4:45) — Almond

B1. “Always” (6:03) — Almond
B2. “Contempt” (3:36) — Almond
B3. “I Who Never” (4:31) — Almond
B4. “My Candle Burns” (3:49) — Almond
B5. “Love and Little White Lies” (5:13) — Almond

CD bonus tracks:

“Stories of Johnny” (with Westminster City School Choir) (4:18) — Almond
“Love Letter” (with Westminster City School Choir) (5:28) — Almond

Almond and the Willing Sinners recorded Stories of Johnny at Hartmann Digital Studios in Bavaria and at Battery Studios, Power Plant Studios, and Odyssey Studios in London, during late 1984 and early 1985, with producer Mike Hedges. Tom Thiel engineered at Hartmann; Stephen McLaughlin engineered at Battery; Ben Rogan and Pete Brown engineered at Power Plant; Marc Frank and Paul Batchelor engineered at Odyssey. Huw Feather designed the cover with photography by Andy Catlin.

“Stories of Johnny” first appeared as an August 1985 single, backed with the variation “Stories of Johnny (with The Westminster City School Choir).” It reached No. 17 in Ireland and No. 23 on the UK Singles Chart. In October, Some Bizzare lifted “Love Letter” backed with “Love Letter (with The Westminster City School Choir).”

In January 1986, “The House is Haunted by the Echo of Your Last Goodbye” became the third Stories single, backed with the non-album “Broken Bracelets,” a Hedges-produced Almond original.

A Woman’s Story

May 1986, Marc Almond released A Woman’s Story, an EP of seven covers, including songs by Peter Hammill (“Just Good Friends”), Procol Harum (“A Salty Dog”), and Scott Walker (“The Plague”).

The release consists entirely of cover versions, drawing from chanson, pop, and folk-cabaret sources. The Willing Sinners — Hogan, McGee, McCarrick, Riley, and Humphreys — perform throughout, supplemented by Julie Allis on harp, Roland Sutherland on flute, Enrico Tomasso on trumpet, Martin Ditcham on percussion, and Audrey Riley and Jane West on backing vocals. Billy McGee and Martin McCarrick handle arrangements on “A Salty Dog” and “Just Good Friends,” both of which also feature Allis and Sutherland.

The tracklist moves from the dramatic sweep of the Cher-originated title track through Eartha Kitt’s “The Heel,” before crossing to the more intimate register of Johnny Ray’s “The Little White Cloud That Cried,” Lee Hazlewood’s “For One Moment,” and Hammill’s “Just Good Friends.”

“The Heel” maintains a heightened, declamatory character, while the two McGee/McCarrick-arranged pieces take a sparser, more atmospheric approach.

A1. “A Woman’s Story” (3:41) — Stevens, Tempo, Spector
A2. “The Heel” (3:19) — Wilson, Ferre, Robinson
A3. “A Salty Dog” (4:27) — Brooker, Reid
A4. “The Plague” (3:09) — Engel

B1. “The Little White Cloud That Cried” (2:14) — J. Ray
B2. “For One Moment” (2:57) — L. Hazelwood
B3. “Just Good Friends” (3:53) — Hammill

Almond recorded A Woman’s Story at Marcus Recording Studios with producer Mike Hedges and engineer Dick Beetham. Huw Feather created the sleeve art.

Ruby Red – Stained

In October 1986, Marc Almond released the five-song EP Ruby Red – Stained.

The Willing Sinners — Hogan on piano and marimba, McGee on double and electric bass, McCarrick on cello, accordion, yang t’chin, and pump organ, Riley on guitar, and Humphreys on drums and percussion — perform on the first four tracks. Peter Thoms plays trombone across those same tracks, Enrico Tomasso contributes brass, and Nigel Eaton plays hurdy-gurdy. Audrey Riley and Jane West provide backing vocals. “Jackal Jackal (Mustapha Tomb Stone Teeth)”, the closing track, features only Martin McCarrick on instruments and is co-written by Almond and McCarrick.

The EP opens with “Ruby Red,” a Spanish/Arabic-inflected number, followed by the lengthy “Anarcoma,” based on a cartoon character by Barcelona artist Nazario, with Tony Churruca providing a Spanish voice. “I’m Sick of You Tasting of Somebody Else” takes a shorter, more compressed form. “Broken Hearted and Beautiful” closes on a wider, more expansive frame.

A1. “Ruby Red” (3:37) — Almond
A2. “Anarcoma” (6:38) — Almond
A3. “I’m Sick of You Tasting of Somebody Else” (3:30) — Almond

B1. “Broken Hearted and Beautiful” (6:53) — Almond
B2. “Jackal Jackal (Mustapha Tomb Stone Teeth)” (6:05) — Almond, McCarrick

Almond recorded Ruby Red – Stained at Milo Studios; overdubs and mixing took place at Abbey Road Studios. Charlie Gray engineered the recordings. Mike Hedges and Haydn Bendall and Ian Grimble handled mixing. Marc Almond and Mike Hedges co-produced.

The cover painting is by Valita Amoeba; artwork is by Huw Feather.

Violent Silence

December 1986, Marc Almond released Violent Silence, his third consecutive EP.

The release documents a live performance given on September 26, 1984, at the Bloomsbury Theatre, London, as part of a festival celebrating French writer Georges Bataille, presented by Paul Buck and Roger Ely. Three of the five tracks are written by Almond; “Blood Tide” is credited to Hogan. Annie Hogan, Billy McGee, and Martin McCarrick are credited as musicians.

Bucks’ liner notes describe the performance: Almond entered dressed in black and performed for twenty-three minutes before stepping backwards off the stage, still singing, without bows or encores.

The set opens with “Blood Tide” as an overture, moving through “Healthy as Hate,””Things You Loved Me For,””Body Unknown,” and closing on “Unborn Stillborn.”

A1. “Blood Tide” — Hogan
A2. “Healthy as Hate” — Almond
A3. “Things You Loved Me For” — Almond

B1. “Body Unknown” — Almond
B2. “Unborn Stillborn” — Almond

The recordings were made at Wave Studios; engineering and mixing took place at Milo Studios with engineer Charlie Gray. The release appeared in 1986 with mixing completed that year. Photography is by Ben Thornberry; design and logo by Huw Feather.

Mother Fist and Her Five Daughters

On April 6, 1987, Marc Almond released his third proper solo album, Mother Fist and Her Five Daughters, his second of two co-billed to the Willing Sinners.

The album takes a sparser and more theatrical frame than its predecessors, with the arrangements drawn more tightly around individual songs. Hogan plays piano, marimba, and pump organ; McCarrick handles cello, accordion, and yang t’chin alongside keyboards; Riley plays acoustic and electric guitar; McGee plays double bass and electric bass; Humphreys plays drums and assorted percussion. Hurdy-gurdy by Nigel Eaton, trombone by Peter Thoms, and trumpet by Enrico Tomasso extend the sound across several tracks. Audrey Riley and Jane West provide backing vocals. Five of the twelve tracks carry co-writing credits shared between Almond and Hogan, and Hogan is separately credited for arrangements alongside McCarrick’s cello arrangements. The album title derives from a short story by Truman Capote, to whom Almond dedicates the record in the liner notes.

The opening title track moves against a Spanish-inflected rhythm with Arabic scalar color in the arrangement, castanets prominent in the texture. “There Is a Bed” follows at a slower, more sustained pace, piano and bass carrying the main weight. “Saint Judy” maintains a loose, druggy cadence. “The Room Below” introduces squeeze-box alongside Spanish guitar for a more compressed, slightly parodic arrangement. “Mr. Sad” opens with a stripped solo vocal and electric guitar before expanding into a full orchestral passage. “Melancholy Rose” moves at a brighter, more driving tempo, while “Champ” — built around a boxer’s perspective — sets declamatory vocals against high, wailing violin. “The River” closes the album in a slower, more expansive frame.

A1. “Mother Fist” (4:29) — Almond
A2. “There is a Bed” (4:50) — Almond
A3. “Saint Judy” (5:53) — Almond
A4. “The Room Below” (3:30) — Almond, Hogan
A5. “Angel in Her Kiss” (3:42) — Almond, Hogan
A6. “The Hustler” (3:15) — Almond, Hogan

B1. “Melancholy Rose” (3:10) — Almond
B2. “Mr Sad” (3:49) — Almond
B3. “The Sea Says” (4:03) — Almond, Hogan
B4. “Champ” (4:23) — Almond, Hogan
B5. “Ruby Red” (3:41) — Almond
B6. “The River” (5:17) — Almond

Almond and the Willing Sinners recorded Mother Fist and Her Five Daughters at Milo Studios and Abbey Road, London, during the summer of 1986, with producers Mike Hedges and Marc Almond. Charles Gray engineered at Milo; Haydn Bendall and Ian Grimble engineered at Abbey Road. Mike Hedges is additionally credited for vocals and engineering at Abbey Road.

The artwork is by Huw Feather with photography by Ben Thornberry.

Some Bizzare issued “Ruby Red” as a single in October 1986. Some Bizzare issued “Melancholy Rose” as a single on February 2, 1987. Some Bizzare issued “Mother Fist” as a single on March 23, 1987. The album reached No. 41 on the UK Albums Chart.

The Stars We Are

Marc Almond released his fourth solo album, The Stars We Are, in September 1988 on Some Bizzare.

The album marks Almond’s first release under the La Magia billing, a trio of former Willing Sinners members comprising Hogan, McGee, and Humphreys, with a wider chamber ensemble and several guest vocalists. Hogan plays piano, marimba, and vibraphone and handles instrumental arrangements throughout; McGee plays bass and keyboards and serves as string arranger and conductor; Humphreys plays drums, percussion, and handles programming and sampling.

An ensemble of string players — including violinists Gini Ball, Sally Herbert, Philippa Holland, and Chris Tombling, violists Sue Dench, Chris Pitsillides, and Jocelyn Pook, cellists Christine Jackson and Audrey Riley, and oboist Julia Girdwood with Derek Hannigan on bass clarinet — extends the orchestral scope significantly beyond previous records. Enrico Tomasso contributes trumpet and flugelhorn. Victoria Wilson-James sings on “These My Dreams Are Yours”; Suraya Ahmed sings on “She Took My Soul in Istanbul.” Nico performs on “Your Kisses Burn,” recorded shortly before her death; Agnes Bernelle duets with Almond on the CD bonus track “Kept Boy.”

The album opens with the title track, a hymn-like anthem with lavish orchestral backing. “These My Dreams Are Yours” follows at a slower, more introspective pace with dense string arrangements. “Bitter Sweet” moves in a sweeping, song-centered structure with a prominent ascending chorus. “Only the Moment” takes a measured, steady tempo with sustained orchestral color. “Your Kisses Burn” pairs Almond’s tenor with Nico’s low, weathered voice over a heavy string arrangement.

“The Very Last Pearl” carries a lighter, slightly jazz-inflected pulse. “Tears Run Rings” moves at a firmer, more rhythmically driven pace with electronics in the foreground. “Something’s Gotten Hold of My Heart,” a cover of Roger Greenaway and Roger Cook’s 1967 Gene Pitney recording, appears on original editions as a solo Almond track; later versions replace it with a duet recorded with Pitney himself. “She Took My Soul in Istanbul” closes the standard running order with Middle Eastern percussion and a second lead vocal from Suraya Ahmed.

A1. “The Stars We Are” (3:44) — Almond, Hogan
A2. “These My Dreams Are Yours” (5:28) — Almond
A3. “Bitter Sweet” (3:21) — Almond, Hogan
A4. “Only the Moment” (4:41) — Almond, Hogan
A5. “Your Kisses Burn” (4:43) — Almond [duet with Nico]

B1. “The Very Last Pearl” (4:45) — Almond
B2. “Tears Run Rings” (4:22) — Almond
B3. “Something’s Gotten Hold of My Heart” (4:40) — Greenaway, Cook
B4. “The Sensualist” (5:28) — Almond, Hogan
B5. “She Took My Soul in Istanbul” (6:22) — Almond, McGee

CD bonus tracks:

“The Frost Comes Tomorrow” (4:18) — Almond, Hogan
“Kept Boy” (6:14) — Almond, McGee [with Agnes Bernelle]
“Something’s Gotten Hold of My Heart” (4:40) — Greenaway, Cook [featuring Gene Pitney]

Almond recorded The Stars We Are at Matrix Studios, 35 Little Russell Street, London, in 1988. Marc Almond, Annie Hogan, Billy McGee, and Bob Kraushaar produced; Kraushaar also handled mixing and produced “Something’s Gotten Hold of My Heart.” Huw Feather designed the cover with photography by Andy Catlin.

The album reached number 41 on the UK Albums Chart, number 144 on the US Billboard 200, and number 5 on the Swiss Albums chart. It was certified Silver by the BPI.

Parlophone issued “Tears Run Rings” b/w “Everything I Wanted Love to Be” as a single on August 22, 1988. Multiple 12-inch formats appeared, including two extended remixes by Justin Straus and La Magia, a red vinyl 12-inch, an etched single-sided 12-inch, a CD single, and a numbered 7-inch box set with postcards, a badge, and a booklet. “Tears Run Rings” reached number 26 on the UK Singles Chart.

In late October, “Bitter Sweet” became the second single, backed with the non-album “King of the Fools.”

EMI issued “Something’s Gotten Hold of My Heart” featuring Gene Pitney as a single on January 3, 1989, with the original Almond solo version as the B-side alongside “The Frost Comes Tomorrow.” The single reached number one on the UK Singles Chart, where it held for four weeks, and also topped charts in Finland, Switzerland, West Germany, and Ireland. A music video featuring Almond and Pitney was filmed in Las Vegas.

On March 28, 1989, “Only the Moment” appeared as a fourth single, backed with the exclusive “Real Evil.”

Jacques

In December 1989, Marc Almond released Jacques, a collection of twelve English-translated covers of Belgian singer-songwriter Jacques Brel.

Almond recorded the songs over four years with players from the Willing Sinners and La Magia: pianist Annie Hogan, cellist-accordionist Martin McCarrick, contrabassist Billy McGee, drummer Steven Humphreys, guitarist Richard Riley, keyboardist Charles Gray, oboist Julia Girdwood, and violinist Gini Ball.

“The Devil (Okay)” opens at a brisk pace, while “If You Need” and “We Must Look” compress the writing into tighter spans. Between them, “The Lockman” slows around its worker’s narrative. “The Town Fell Asleep” spreads outward through the sting arrangements of cellist Audrey Riley. Pianist Maurice Horhut replaces Hogan on “I’m Coming” and “My Death.”

A1. “The Devil (Okay)” (3:00) — Brel
A2. “If You Need” (1:57) — Brel
A3. “The Lockman” (4:05) — Brel
A4. “We Must Look” (1:47) — Brel
A5. “Alone” (3:25) — Brel, Shuman
A6. “I’m Coming” (6:13) — Brel, Jouannest, Buck

B1. “Litany For a Return” (2:00) — Brel, Rauber, Buck
B2. “If You Go Away” (4:15) — Brel, McKuen
B3. “The Town Fell Asleep” (5:35) — Brel
B4. “The Bulls” (2:40) — Brel, Shuman
B5. “Never To Be Next” (4:53) — Brel
B6. “My Death” (4:53) — Brel, Shuman

Almond recorded Jacques at Milo Studios, London, over the course of four years, with producer Charles Gray and engineer Jim Toler. The cover painting is by Johnny Deux.

Enchanted

Marc Almond released his sixth solo album, Enchanted, on August 7, 1990, on Some Bizzare.

The album sees Almond working without Hogan for the first time, her departure marking the end of La Magia as a working ensemble. McGee remains as the central musical collaborator, providing keyboards, bass guitar, orchestra arrangements, conducting, and brass arrangements on two tracks. Gary Maughan operates Fairlight and additional keyboards alongside percussion. Jack Emblow plays accordion; Enrico Tomasso handles brass throughout; the False Harmonics String Ensemble provides the orchestral string sound.

Julie T. Wallace speaks on “A Lover Spurned.” Guest players extend the instrumental range across specific tracks: flamenco guitar and handclaps from Juan Ramirez and flute from Roland Sutherland appear on “The Desperate Hours”; Hossam Ramzy contributes percussion on “Waifs and Strays,””Widow Weeds,” and “Orpheus in Red Velvet”; Dave Gregory plays guitar on “The Sea Still Sings.” Marie France sings on “Carnival of Life.”

A1. “Madame De La Luna” (4:47) — Almond, McGee
A2. “Waifs and Strays” (5:09) — Almond
A3. “The Desperate Hours” (4:27) — Almond
A4. “Toreador in the Rain” (2:52) — Almond
A5. “Widow Weeds” (5:39) — Almond, McGee

B1. “A Lover Spurned” (5:37) — Almond
B2. “Deaths Diary” (4:00) — Almond
B3. “The Sea Still Sings” (3:48) — Almond
B4. “Carnival of Life” (4:38) — Almond
B5. “Orpheus in Red Velvet” (5:07) — Almond

Almond recorded Enchanted at Marcus, Beethoven Street, Sarm West, Advision, and Mayfair Studios, London. Bob Kraushaar produced all tracks except “A Lover Spurned” and handled mixing; Gary Maughan co-produced all tracks except “The Desperate Hours” and “A Lover Spurned”; Stephen Hague produced “A Lover Spurned.” Mike Drake handled mixing and additional engineering on “A Lover Spurned.”

The cover photograph is by Pierre et Gilles; artwork direction is by Green Ink. Enchanted reached No. 52 on the UK Albums Chart.

Some Bizzare issued “A Lover Spurned” b/w “Exotica Rose” as a single in February 1990. The single reached the UK top 30. Some Bizzare issued “The Desperate Hours” b/w “The Gambler” as a single in May 1990. Some Bizzare issued “Waifs and Strays” b/w “City of Nights” / “Old Jack’s Charm” as a single in November 1990.

Tenement Symphony

Marc Almond released his sixth solo album, Tenement Symphony, on October 14, 1991, on Some Bizzare.

The album divides into a “Grit” side and a “Glitter” side. The first half runs through songs produced by Almond, McGee, Nigel Hine, and the Grid, while the second half presents the six-part Tenement Symphony produced by Trevor Horn. David Ball co-wrote and performed on two songs from the first side and also supplied the symphony prelude. J. J. Belle, Mitch Dalton, and Richard Riley cut guitar lines through the “Grit” side, while Anne Dudley’s keyboards, arrangements, and orchestration shape the larger second-side material.

“Meet Me in My Dream” opens with synthesizer-led drive. “Beautiful Brutal Thing” and “I’ve Never Seen Your Face” keep the first side in broad pop-theatrical motion, and “Vaudeville and Burlesque” spreads out before “Champagne” closes the sequence. The symphony begins with Ball’s short prelude, then opens into “Jacky” in a large orchestrated setting. “What Is Love?” showcases Horn’s reunion with Buggles co-founder Bruce Woolley. Debussy’s Trois Chansons de Bilitis appears in brief extract before the two closing numbers: “The Days of Pearly Spencer,” a David McWilliams cover followed by “My Hand Over My Heart,” a third Almond/Ball original.

A1. “Meet Me in My Dream” (4:24) — Almond, Ball
A2. “Beautiful Brutal Thing” (5:02) — Almond
A3. “I’ve Never Seen Your Face” (5:02) — Almond, Ball
A4. “Vaudeville and Burlesque” (6:52) — Almond
A5. “Champagne” (5:47) — Almond

B1. “i. Prelude” (0:23) — Ball
B2. “ii. Jacky” (4:49) — Brel, Jouannest
B3. “iii. What Is Love?” (5:04) — Woolley, Horn
B4. “iv. Trois Chansons de Bilitis – Extract” (0:54) — Debussy
B5. “v. The Days of Pearly Spencer” (4:22) — McWilliams, Almond (additional lyrics)
B6. “vi. My Hand Over My Heart” (5:15) — Almond, Ball

Almond recorded Tenement Symphony at Maison Rouge, Sarm West Studios, and Fishermans Room, Berlin, and at CTS Studios, Berwick Street Studios, RAK, and Pacific Studios in London, in 1991. The Green Ink graphic firm designed the cover with photography by Klanger and Boink.

“Jacky” first appeared in September as an advance single, backed with the non-album “Deep Night.” It reached No. 14 in Ireland and No. 17 on the UK Singles Chart. “My Hand Over My Heart” followed in January 1992 as a second single, backed with the exclusive “Deadly Serenade.”

In April, WEA issued “The Days of Pearly Spencer” with the non-album “Bruises.” Almond’s interpretation of the McWilliams classic reached No. 8 in Ireland and No. 4 on the UK Singles Chart.

Tenement Symphony reached No. 39 on the UK Albums Chart.

Discography: