The inside of the sleeve features two stickers. On the left side, the sticker reads SOM JLTS - 001 A/B. On the right side, the sticker reads SOM MERCY - 2 (11/21/16) A/B. Content features an early Floodland demo. Other Versions (2 of 2) View All. Cat.
The Sisters of Mercy are an English rock band, formed in 1980 in Leeds. After achieving early underground fame there, the band had their commercial breakthrough in the mid-1980s and sustained it until the early 1990s, when they stopped releasing new recorded output in protest against their record company WEA. Currently, the band are a touring outfit only. The group has released three original studio albums, the last of which was released in 1990.
The discography of the British rock band The Sisters of Mercy consists of three studio albums, two compilation albums, two extended plays (EPs), and sixteen singles. The Sisters of Mercy were formed in Leeds in 1977 by Andrew Eldritch (vocals, drums) and Gary Marx (guitar) and they released their debut single, "The Damage Done" in the same year on their own independent record label, Merciful Release
Back to the page of The Sisters Of Mercy. Single, 1980, Self Produced. 3. Home Of The Hitmen. First and Last and Always. Album, 11 Março 1985, WEA, East West Records. Re-Issue in 2006 by WEA with 6 bonustracks.
The Sisters of Mercy. Produced by Andrew Eldritch & Larry Alexander. Living as an angel in the Place that I was born Living on air Living in heaven Giving the lie down, the line To the There's my heaven. And I know Which way the wind blows In nineteen fifty-nine. Which way the wind blows In nineteen fifty-nine. Floodland The Sisters of Mercy. 1. Dominion, Mother Russia. 2. Flood I. Lucretia My Reflection.
The Sisters of Mercy: gli altri album. Floodland Collection Data di pubblicazione: 4 novembre 2011. Dominion Data di pubblicazione: 4 novembre 2011. Video tratto dall'album Original Album Series: Sisters of Mercy. Guarda il video Black Planet. Tutti i testi di The Sisters of Mercy. The Sisters of Mercy: i testi più cercati.
The album also contains probably the most idiosyncratic song in The Sisters of Mercy cannon in the form of ‘1959’. Stark and almost painfully naked, Eldritch’s lone voice is set in bleak contrast against a melancholy piano. Devoid of irony or point scoring, it’s also Floodland’s most honest moment. While Eldritch may have viewed ‘This Corrosion’ as an extension of 1983’s classic ‘Temple of Love’, his modus operandi had made a seismic shift. The high production values and gloss that buffed Floodland to an almost blinding sheen made it obvious that The Sisters of Mercy, or at least Eldritch, would’t be going on the road anytime soon, save the occasional mimed TV appearance to promote the three singles dispatched from the album. Again, another contradiction given The Sisters of Mercy’s well-earned reputation as an incredible live band.
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