Double-CD, career-spanning retrospective that offers little in the way of surprises: it's a tastefully selected overview of her career highlights, heaviest (and justifiably so) on her late '60s albums. There's the inevitable feeling of letdown as disc two progresses; her post-early '70s material is far less interesting than her earliest work, even if it's inoffensive. All of the first five albums (through 1971's Gonna Take a Miracle) are now on CD, so this is most suitable for the fan who isn't passionate enough to be a completist. Includes a couple of previously unreleased live tracks from the 1990s; the version of "Sweet Blindness," unfortunately, is not the original late-'60s recording, but from a late-'70s live album.
Collection includes: Branigan (1982); Branigan 2 (1983); Self Control (1984); Hold Me (1985); Touch (1987); Laura Branigan (1990); Over My Heart (1993).
Pop singer and actress Laura Branigan was born in 1957 in the upstate New York town of Brewster. It wasn't until her senior year in high school that Branigan thought of pursuing a musical career, after she landed a lead role in a school musical, which led to her acceptance at the American Academy of Dramatic Arts in New York City by the mid-'70s. Branigan then signed on as a backing vocalist for Leonard Cohen, as she toured the world with the renowned singer/songwriter throughout the late '70s; resulting in the singer landing a recording contract on her own with Atlantic Records…
Warner Music Group is proud to present Best Of The 80's. 3 CDs, 50 tracks including Yes, a-ha, Europe, Rick Astley, George Benson and may others.
Andy McCluskey and Paul Humphreys make up Orchestral Manoeuvres in the Dark, who were responsible for some of the catchiest and brightest synth pop that the '80s had to offer. O.M.D.'s material was a step above other keyboard pop music of the time, thanks to the combination of intelligently crafted hooks and colorful rhythms that bounced and jittered with pristine charm. Their squeaky-clean brilliancy initiated by both their synthesizers and subdued yet attractive vocal styles gave them a more mature sound over bands like Duran Duran and A Flock of Seagulls, who were attracting a younger audience. The Best of O.M.D. is an excellent compilation of their polished music, starting out with less provocative material like the basic electronic wash of "Electricity" and the bare but ebullient fervor of "Enola Gay." As this set moves along, so does the craftiness of their work, which is evident on tighter sounding songs like "Tesla Girls" and "Locomotion," where the intricacy of their formula begins to take a more resounding shape. O.M.D.'s best work came from 1985's Crush album, which harbored the midnight airiness found in "So in Love" as well as the adolescent innocence that streamed its way through "Secret," which are two of the best tracks on this set.