Industry & Seduction: A Thompson Twins Collection (Remastered 2025) Thompson Twins

• 1 Hold Me Now (2025 Remaster) 04:47
• 2 If You Were Here (2025 Remaster) 02:55
• 3 Doctor! Doctor! (Remastered 2024) 04:38
• 4 Lies (2025 Remaster) 03:11
• 5 Lay Your Hands on Me (7" Version) (2025 Remaster) 04:09
• 6 King for a Day (2025 Remaster) 04:12
• 7 You Take Me Up (Remastered 2024) 04:26
• 8 Love on Your Side (2025 Remaster) 03:59
• 9 Sister of Mercy (Remastered 2024) 05:10
• 10 The Gap (Remastered 2024) 04:43
• 11 We Are Detective (2025 Remaster) 03:05
• 12 In the Name of Love (2025 Remaster) 03:52
• 13 Future Days (2025 Remaster) 03:00
• 14 No Peace for the Wicked (Remastered 2024) 04:04
• 15 Roll Over (2025 Remaster) 05:00
• 16 Kamikaze (2025 Remaster) 03:55
• 17 Don't Mess with Doctor Dream (7" Version) (2025 Remaster) 03:36
• 18 Revolution (7" Version) (2025 Remaster) 03:23
• 19 Nothing in Common (7" Version) (2025 Remaster) 03:34
• 20 Breakaway (2025 Remaster) 03:32
• Total Runtime 01:19:11

Info zu Industry & Seduction: A Thompson Twins Collection (Remastered 2025)

„Industry & Seduction“ ist die erste Retrospektive der Thompson Twins, die in Zusammenarbeit mit den Bandmitgliedern Tom Bailey, Alannah Currie und Joe Leeway kuratiert wurde. Die Sammlung vereint Musik aus ihrer gesamten bahnbrechenden Karriere und fängt die gesamte Entwicklung einer der abenteuerlustigsten und einfallsreichsten Pop-Bands der 1980er Jahre ein. Sie enthält auch Musik aus ihrem späteren, von Kritikern übersehenen Projekt „Babble“.

Von frühen experimentellen Stücken und Underground-Kuriositäten bis hin zu Welthits wie „Hold Me Now“, „Love On Your Side“, „Doctor! Doctor!“ und „We Are Detective“ beleuchtet die Sammlung die ständige Neuerfindung der Band – vom Chaos der Kunsthochschule über makellosen Pop und Dub-beeinflussten Dance bis hin zu verträumten Post-Rave-Klanglandschaften. Es ist eine mutige, brillante musikalische Reise, die auf Kontrasten basiert: Digitale Grenzen treffen auf emotionale Anziehungskraft – „Industry & Seduction“.

Thompson Twins

Digitally remastered

Thompson Twins
By appealing to fans of '80s dance-pop as well as post-punk and new wave, the Thompson Twins were one of the more popular synth pop groups of the early MTV era, scoring a handful of hits in the early to mid-'80s. Neither a duo nor related, but rather named after characters in the Tintin cartoon, the band enjoyed international success with songs like ‘Hold Me Now,’ ‘Lay Your Hands on Me’ and ‘King for a Day’ - all US Top Ten hits.

In their original incarnation, which featured Bailey (vocals, keyboards), guitarist Pete Dodd, guitarist John Roog, and drummer Chris Bell, Thompson Twins released a handful of independent singles and became fixtures on the burgeoning New Romantic scene in London. In 1981 they released their debut album, ‘A Product Of...’. Not long after its arrival, Bailey added his girlfriend Alannah Currie (percussion, saxophone, vocals), Joe Leeway (percussion, vocal), and former Soft Boys bassist Matthew Seligman to the group. Thompson Twins recorded one album in this seven-piece incarnation, 1982's ‘Set’, which was issued in America as ‘In the Name of Love’. Following its release, the group was trimmed to a trio - Bailey, Currie, and Leeway. They released ‘Quick Step & Side Kick’ in 1983, and the album became a major hit in the UK, climbing all the way to number two, as the singles ‘Love on Your Side’ and ‘We Are Detective’ reached the Top Ten. In America, the record was released under the truncated title ‘Side Kicks’ and earned a cult following.

The Thompson Twins had their American commercial breakthrough in 1984 with ‘Into the Gap.’ Single ‘Hold Me Now’ peaked at number three in the US.

Leeway left the group in 1986, and the Thompson Twins remained a duo, releasing ‘Close to the Bone’ the following year, which charted in a handful of countries including Canada and Norway. In 1988 they released the remix album ‘The Best of Thompson Twins: Greatest Mixes’. ‘Big Trash’, the band's 1989 album, produced the minor UK hit ‘Sugar Daddy.’ They released their final LP, the club-inspired ‘Queer’, in 1991. The single ‘Come Inside’ hit the Top Ten of the UK dance chart and topped the dance chart in the UK.

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