{"title":"Echo \u0026 The Bunnymen Vinyl Records","description":"","products":[{"product_id":"heaven-up-here-by-echo-the-bunnymen-vinyl-lp","title":"Heaven Up Here by Echo \u0026 The Bunnymen [Vinyl LP]","description":"\u003ch3\u003eEcho \u0026amp; The Bunnymen – Heaven Up Here [180g Vinyl LP]\u003c\/h3\u003e\n\u003ch2\u003eDetails\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl LP, Album, Reissue, Remastered, Stereo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBarcode:\u003c\/strong\u003e 190295360887\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eGenre:\u003c\/strong\u003e Post-Punk \/ New Wave \/ Alternative Rock \/ Indie Rock\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLabel:\u003c\/strong\u003e Korova \/ Rhino \/ Warner\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginally Released:\u003c\/strong\u003e 29 May 1981\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReissue Released:\u003c\/strong\u003e 15 October 2021\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePressing:\u003c\/strong\u003e 180 Gram Vinyl\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCondition:\u003c\/strong\u003e New \u0026amp; Sealed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eDescription\u003c\/h2\u003e\n\u003cp\u003e\u003cem\u003eHeaven Up Here\u003c\/em\u003e is the second studio album by Echo \u0026amp; The Bunnymen — \u003cstrong\u003eIan McCulloch\u003c\/strong\u003e (vocals, guitar), \u003cstrong\u003eWill Sergeant\u003c\/strong\u003e (lead guitar), \u003cstrong\u003eLes Pattinson\u003c\/strong\u003e (bass) and \u003cstrong\u003ePete De Freitas\u003c\/strong\u003e (drums) — originally released on 29 May 1981 on Korova Records. The album was recorded at \u003cstrong\u003eRockfield Studios near Monmouth, Wales\u003c\/strong\u003e in March 1981, co-produced by \u003cstrong\u003eHugh Jones\u003c\/strong\u003e and the band. Coming less than a year after their debut \u003cem\u003eCrocodiles\u003c\/em\u003e, it found the group working at remarkable speed and with expanding ambition: the arrangements are fuller, the atmospheres darker and more immersive, and the production — driven by Jones's instinct for spatial clarity and De Freitas's extraordinary, thunderous drumming — gives the record a scale that few post-punk albums of the period could match. McCulloch's baritone, Sergeant's melodic but abrasive guitar work, and Pattinson's bass lines, heavy and elastic in equal measure, combine into a sound that was entirely the band's own.\u003c\/p\u003e\n\u003cp\u003eThe album reached \u003cstrong\u003enumber 10 on the UK Albums Chart\u003c\/strong\u003e in June 1981, becoming Echo \u0026amp; The Bunnymen's first Top 10 release, and their first album to appear on the American charts, reaching number 184 on the Billboard 200. It won the \u003cstrong\u003eNME Best Album award\u003c\/strong\u003e at the end of 1981 and was described by the NME at the time as darker and more passionate than \u003cem\u003eCrocodiles\u003c\/em\u003e — an assessment that has proved enduring. \u003cem\u003eHeaven Up Here\u003c\/em\u003e has since been placed at \u003cstrong\u003enumber 463\u003c\/strong\u003e in Rolling Stone's 500 Greatest Albums of All Time and ranked by the NME at number 39 on its list of the 50 greatest albums of the 1980s. Simon Reynolds, in his 2005 book \u003cem\u003eRip It Up and Start Again\u003c\/em\u003e, drew a direct comparison to Joy Division's \u003cem\u003eCloser\u003c\/em\u003e, noting both records were \"harrowed by the same things — hypocrisy, distrust, betrayal, lost or frozen potential.\"\u003c\/p\u003e\n\u003cp\u003eThe album opens with the taut, propulsive \u003cstrong\u003e\"Show of Strength\"\u003c\/strong\u003e before moving through a sustained sequence of tracks — \u003cstrong\u003e\"With a Hip\"\u003c\/strong\u003e, \u003cstrong\u003e\"Over the Wall\"\u003c\/strong\u003e, \u003cstrong\u003e\"It Was a Pleasure\"\u003c\/strong\u003e, \u003cstrong\u003e\"A Promise\"\u003c\/strong\u003e, and the title track — that collectively define the record's character: brooding, melodic, emotionally unguarded, and sustained by a rhythm section of unusual power. Both \u003cstrong\u003e\"A Promise\"\u003c\/strong\u003e (UK number 49) and \u003cstrong\u003e\"Over the Wall\"\u003c\/strong\u003e (UK number 32) were released as singles, though neither captures the album's cumulative impact as well as an unbroken listen does. The record closes with \u003cstrong\u003e\"All I Want\"\u003c\/strong\u003e, its quiet harmonica and McCulloch's vocal stripped back almost entirely, one of the more unexpected endings in post-punk.\u003c\/p\u003e\n\u003cp\u003eThis \u003cstrong\u003e2021 Rocktober reissue\u003c\/strong\u003e on \u003cstrong\u003eKorova \/ Rhino \/ Warner\u003c\/strong\u003e presents the complete 11-track album on \u003cstrong\u003e180 gram vinyl\u003c\/strong\u003e in a \u003cstrong\u003etextured sleeve\u003c\/strong\u003e replicating the feel of the original 1981 Korova pressing. Made in the EU.\u003c\/p\u003e\n\u003ch2\u003eTracklist\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShow of Strength\u003c\/li\u003e\n\u003cli\u003eWith a Hip\u003c\/li\u003e\n\u003cli\u003eOver the Wall\u003c\/li\u003e\n\u003cli\u003eIt Was a Pleasure\u003c\/li\u003e\n\u003cli\u003eA Promise\u003c\/li\u003e\n\u003cli\u003eHeaven Up Here\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Disease\u003c\/li\u003e\n\u003cli\u003eAll My Colours\u003c\/li\u003e\n\u003cli\u003eNo Dark Things\u003c\/li\u003e\n\u003cli\u003eTurquoise Days\u003c\/li\u003e\n\u003cli\u003eAll I Want\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch2\u003eCredits\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eIan McCulloch – Vocals, Guitar\u003c\/li\u003e\n\u003cli\u003eWill Sergeant – Lead Guitar\u003c\/li\u003e\n\u003cli\u003eLes Pattinson – Bass\u003c\/li\u003e\n\u003cli\u003ePete De Freitas – Drums\u003c\/li\u003e\n\u003cli\u003eHugh Jones \u0026amp; Echo \u0026amp; The Bunnymen – Producers\u003c\/li\u003e\n\u003cli\u003eLabel – Korova \/ Rhino \/ Warner\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Echo \u0026 The Bunnymen","offers":[{"title":"Default Title","offer_id":57514318332291,"sku":"190295360887","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/9757\/4275\/files\/af881c44-3ffd-464c-bafd-e99716dfb640.webp?v=1772796059"},{"product_id":"ocean-rain-by-echo-the-bunnymen-vinyl-lp","title":"Echo \u0026 The Bunnymen – Ocean Rain [180g Vinyl LP]","description":"\u003ch3\u003eEcho \u0026amp; The Bunnymen – Ocean Rain [180g Vinyl LP]\u003c\/h3\u003e\n\u003ch2\u003eDetails\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl LP, Album, Reissue, Remastered, Stereo\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCatalogue Number:\u003c\/strong\u003e KODE 8\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBarcode:\u003c\/strong\u003e 190295360863\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eGenre:\u003c\/strong\u003e Post-Punk \/ New Wave \/ Indie Rock\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLabel:\u003c\/strong\u003e Korova \/ Warner Music UK\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginally Released:\u003c\/strong\u003e 5 May 1984\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReissue Released:\u003c\/strong\u003e 15 October 2021\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePressing:\u003c\/strong\u003e 180 Gram Vinyl\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCondition:\u003c\/strong\u003e New \u0026amp; Sealed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eDescription\u003c\/h2\u003e\n\u003cp\u003e\u003cem\u003eOcean Rain\u003c\/em\u003e is the fourth studio album by Echo \u0026amp; The Bunnymen — released on 5 May 1984 on Korova Records — and by widespread consensus their masterpiece, and one of the defining British albums of the 1980s. Where its predecessors \u003cem\u003eCrocodiles\u003c\/em\u003e (1980), \u003cem\u003eHeaven Up Here\u003c\/em\u003e (1981) and \u003cem\u003ePorcupine\u003c\/em\u003e (1983) had refined the band's post-punk guitar sound into something increasingly atmospheric and melodically assured, \u003cem\u003eOcean Rain\u003c\/em\u003e represented a deliberate leap into grander, more orchestral territory. Produced by the band alongside \u003cstrong\u003eGil Norton\u003c\/strong\u003e, with recording split between \u003cstrong\u003eLes Studios des Dames in Paris\u003c\/strong\u003e (where the orchestral sessions took place), \u003cstrong\u003eAmazon Studios in Liverpool\u003c\/strong\u003e and \u003cstrong\u003eCrescent Studio in Bath\u003c\/strong\u003e, the album employed a \u003cstrong\u003e35-piece orchestra\u003c\/strong\u003e throughout — giving it a lush, cinematic sweep that set it apart from anything else in British independent music at the time, and ensuring it has aged with remarkable grace.\u003c\/p\u003e\n\u003cp\u003eThe opening track announces the album's ambitions without qualification. \u003cstrong\u003e\"The Killing Moon\"\u003c\/strong\u003e — released as a single in January 1984, reaching number nine in the UK — is built on a fingerpicked acoustic guitar figure, a billowing orchestral arrangement, and Ian McCulloch's most emotionally committed vocal performance: a song about fate, desire and premonition that McCulloch has described as arriving fully formed in the night. It remains one of the most perfect British pop singles of the decade and one of the most frequently licensed pieces of music in television and film history — perhaps most memorably used over the opening sequence of \u003cstrong\u003eRichard Kelly's\u003c\/strong\u003e \u003cem\u003eDonnie Darko\u003c\/em\u003e (2001), which introduced it to an entirely new generation of listeners. \u003cstrong\u003e\"Silver\"\u003c\/strong\u003e and \u003cstrong\u003e\"Seven Seas\"\u003c\/strong\u003e — both Top 30 UK singles — demonstrate the band's ability to translate the album's orchestral scale into focused, radio-length pop with genuine emotional weight. The album's other tracks — \u003cstrong\u003e\"Nocturnal Me\"\u003c\/strong\u003e, \u003cstrong\u003e\"Crystal Days\"\u003c\/strong\u003e, \u003cstrong\u003e\"The Yo Yo Man\"\u003c\/strong\u003e, \u003cstrong\u003e\"Thorn of Crowns\"\u003c\/strong\u003e, \u003cstrong\u003e\"My Kingdom\"\u003c\/strong\u003e and the closing title track — are collectively as strong as any consecutive nine-track sequence in the post-punk canon. McCulloch's band at this point — \u003cstrong\u003eWill Sergeant\u003c\/strong\u003e (guitar), \u003cstrong\u003eLes Pattinson\u003c\/strong\u003e (bass) and \u003cstrong\u003ePete de Freitas\u003c\/strong\u003e (drums) — were at the peak of their collective precision and creative rapport.\u003c\/p\u003e\n\u003cp\u003eThe album reached \u003cstrong\u003enumber four on the UK Albums Chart\u003c\/strong\u003e on release and was certified \u003cstrong\u003eGold\u003c\/strong\u003e by the BPI. In the decades since, its critical reputation has only grown: \u003cem\u003eNME\u003c\/em\u003e placed it among their 500 Greatest Albums of All Time; \u003cem\u003eThe Guardian\u003c\/em\u003e named it one of the 1000 Albums You Must Hear Before You Die. McCulloch's consistent contention — that it was \"the greatest album ever made\" — while characteristically immodest, has attracted rather less argument than such claims usually do.\u003c\/p\u003e\n\u003cp\u003eThis \u003cstrong\u003e2021 Korova \/ Warner Music UK reissue\u003c\/strong\u003e — released as part of the \u003cstrong\u003eRhino Rocktober 2021\u003c\/strong\u003e programme — is remastered and pressed on \u003cstrong\u003e180 gram black vinyl\u003c\/strong\u003e, housed in a faithful replica of the original sleeve with a \u003cstrong\u003eprinted inner sleeve\u003c\/strong\u003e reproducing the original inlay. The shrinkwrap carries a circular hype sticker reading \"Remastered 180gram heavyweight vinyl\". Made in the EU.\u003c\/p\u003e\n\u003ch2\u003eTracklist\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eSide A\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSilver\u003c\/li\u003e\n\u003cli\u003eNocturnal Me\u003c\/li\u003e\n\u003cli\u003eCrystal Days\u003c\/li\u003e\n\u003cli\u003eThe Yo Yo Man\u003c\/li\u003e\n\u003cli\u003eThorn of Crowns\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Killing Moon\u003c\/li\u003e\n\u003cli\u003eSeven Seas\u003c\/li\u003e\n\u003cli\u003eMy Kingdom\u003c\/li\u003e\n\u003cli\u003eOcean Rain\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch2\u003eCredits\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eIan McCulloch – Vocals, Guitar\u003c\/li\u003e\n\u003cli\u003eWill Sergeant – Guitar\u003c\/li\u003e\n\u003cli\u003eLes Pattinson – Bass\u003c\/li\u003e\n\u003cli\u003ePete de Freitas – Drums\u003c\/li\u003e\n\u003cli\u003eGil Norton – Producer\u003c\/li\u003e\n\u003cli\u003eEcho \u0026amp; The Bunnymen – Producers\u003c\/li\u003e\n\u003cli\u003eLabel – Korova \/ Warner Music UK\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Echo \u0026 The Bunnymen","offers":[{"title":"Default Title","offer_id":57514370924931,"sku":"190295360863","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/9757\/4275\/files\/f0b75801-9162-4f57-b33c-259a9aeac742.webp?v=1772796448"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0932\/9757\/4275\/collections\/f0b75801-9162-4f57-b33c-259a9aeac742.webp?v=1778780206","url":"https:\/\/vikingrecords.co.uk\/collections\/echo-and-the-bunnymen-vinyl-records.oembed","provider":"Viking Records Ltd","version":"1.0","type":"link"}