Secondhand Daylight
Occupation
- Vocals: Howard Devoto
- Guitar: John McGeoch
- Bass: Barry Adamson
- Drums: John Doyle
- Keyboard: Dave Formula
Secondhand Daylight is the second album by the British post-punk band Magazine.
Genesis
After the lack of commercial success of the single Shot by Both Sides and the album Real Life, the band tried to increase awareness through tours. Drummer Martin Jackson left the band in July and Paul Spencer jumped in September and October for a few concerts in mainland Europe a. In October, John Doyle new drummer in magazines. End of October Give me Everything included as a producer with Tony Wilson and published in November by Virgin Records as the third single of the band. Used as a B-side Magazine I Love you, you big dummy by Captain Beefheart. The single was not marketed by Virgin and the band completed until December more concerts to praise the single.
Devoto intensified its work with Adamson and Formula who were involved on the debut only a title in the compositions for the album. In January 1979, the band for the recording of the second album went back into the studio. Devoto originally wanted to have John Barry as producers and as this proved impossible, he suggested Tony Visconti, producer of David Bowie. Ultimately, Colin Thurston produced the album, who had worked with Visconti as a sound engineer on Bowie's Low and Iggy Pop's The Idiot. The images thread primarily in Visconti's Good Earth Studios instead, and were completed in Virgins mobile studio.
Title list
In a 2007 remastered edition released two singles from the time of release of the album are also included:
Vinyl Cover
The records cover contains a lithograph of the British illustrator and cartoonist Ian Pollock.
Publication and chart success
The album was released by Virgin Records on 30 March 1979. A tour of the UK in February and March washed the album in April in the charts. It reached number 38 and stayed eight weeks.
Reception
The album was recorded differently. While Nick Kent from the NME ruled Magazine its a power with which one must reckon ( " Magazines are a force to be reckoned with" ), saw Garry Bushell of Sounds in the album a step backwards in the lie of progressive rock ( " retreat to the '70iesprogressive lie " ). Andy Kellmann of Allmusic 's verdict: "It leaves the immediate impression of Real Life and The Correct Use of Soap miss, but it deserves just as much recognition for his irresistible bearing irritability. " ( "It lacks the immediate impact of Real Life and The Correct Use of soap, but it deserves just as much recognition for its compellingly sustained petulance. " )