Orchestral manoeuvres in the dark enola gay chords
I'm using all these cliches, but I hope you get the idea. We wrote a couple of songs that were used on the album and they sound great and it really renewed my enthusiasm. It was meeting a couple of people in town that got me kick-started again. I was starting to think 'I can't do it with him, I can't do it without him, what the hell am I going to do?'. On Paul's departure I was still having trouble writing songs because I was tired and depressed, and didn't have any energy. "Paul and I were having trouble writing songs '86, '87 and '88 - that's why we released a Best of. I feel much more positive and enthused than I have for years. If they gave me one I liked, I could use it, and if they didn't, I could throw them away without hurting them or upsetting them because a band member's pride wasn't in the way. I could go and work with anybody but I didn't have to use their ideas. It was nerve-wracking to start with because I didn't have anybody to bounce ideas off or get ideas from, but I also didn't have to put up with peoples' egos any more. Then I realised that I didn't have to work with just the same people any more. I'd had ten years of non-stop music and I'd run out of energy I had no more enthusiasm or ideas left. But it's a good thing I did because I had to have a rest. "I look back now and during everything that happened - Paul's departure, the year in which I was depressed and didn't do anything musical - I didn't want to stop. So it was messy and it dragged on but now everything's sorted out. Once lawyers get involved they stir all the shit up because they want to make more money out of you. It wasn't made any easier by the fact that we had lots of contracts to sort out. "I think it was very difficult for both of us to begin with. "It was very difficult to begin with", admits McCluskey. However you look at it, the split had the makings of a very difficult time. They formed their first band together in 1977, and spent around 13 years working together as OMD. And having heard what he's done, it does sound as if he's done the right thing."Ĭribbing from the official record company biog, the pair first met at school in 1968.
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Ultimately he just figured that he knew how to arrange songs as well, so why did I always get to do it? So he decided to leave and do his own thing. So I did the steering and the overall arranging and production, if you like, and Paul did the natural creative thing. So I'm the one who had to think 'why don't we do a song that would sound like that?', 'why don't we write a song about this?' or 'why don't we use these instruments?'. I'm the one who did all the thinking and grafting because I don't think I'm as gifted as Paul.
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Paul is a natural and intuitive musician, he writes and plays things out of the top of his head. Although we wrote the songs together, and the parts were written by both of us, the basic direction of the band, the overall personality that was stamped on the band, was usually mine. Now I've had a chance to sit down and think about how we used to work. "You know, when you're working with somebody you don't analyse how it works, you just get on and do it. There was all sorts of little intricacies but that, I think, is basically it. "In thinking about it and analysing it over the last three years", he explains in his distinctive Liverpudlian accent, "what I've basically boiled it down to is that Paul Humphreys wanted to make some music that sounded like Paul Humphreys and not like OMD, because OMD was dominated by Andy McCluskey. Taking precious time out of the few days between the close of an American tour and the opening of a tour of Britain, Andy McCluskey seems happy to talk about the new album and the events preceding its release - including the departure of "the other half" of OMD, keyboardsman Paul Humphreys. The sound is still unmistakably that of the band who penned 'Enola Gay', but much has changed in the intervening decade. Most recently 'Sailing on the Seven Seas', taken from album number nine, Sugar Tax, has put OMD back into the charts - and teen magazines - in 1991. First with 'Souvenir' and 'Joan of Arc' in '81, then with 'Maid of Orleans' in '82, with 'Locomotion' in '83, then 'Talking Loud and Clear' in '84. So idiosyncratic was their sound, they could easily have been dismissed as a one-hit wonder.
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Taking advantage of the post-punk open-mindedness of the British pop audience, they took to the stage armed with a few synths, a tape recorder and a deceptively simple style of songwriting. FROM THE MOMENT ORCHESTRAL MANOEUVRES in the Dark first broke into the Top 20 (with 'Enola Gay' in 1980), you had to wonder if they were capable of doing it again.