Teardrop Explodes� second single, "Bouncing Babies", was released in July 1979, following the departure of organist Paul Simpson and the arrival of his replacement Gerald Quinn. With those changes, the group's sound, too, would alter dramatically, as Quinn took the band into the crypt-like depths of proto-Goth; in true Phantom of the Opera style, his organ haunts the grooves, while Gary Dwyer pounds his drums like a man who�s just discovered he's been buried alive, and Michael Finkler reenacts the Texas Chainsaw Massacre with his buzzsaw guitar.
Ecstatic reviews greeted the single, but its lifespan was short � before long, �Bouncing Babies� was so hard to find that the Freshies came close to scoring a hit simply by bemoaning that difficulty � their &"I Can't Get (Bouncing Babies by the Teardrop xplodes)" itself ranks alongside its namesake among the most memorable of the age.
Julian Cope was a leader in the post-punk band Teardrop Explodes . This tune is from his finest solo album :Peggy Suicide. The production is very sleek and crystal clear .
The mood of this song is somewhat a mix of mystic and playful-its theatrical and druggy.Its pretty much dragging along in the same tempo from beginning to end , but it never gets close to boring.
The lead single from one of the Church's all time highs, the dark, powerful Priest Aura, "Ripple" was much like the album it came from - lengthy, with an emphasis on artistic impact rather than radio-friendly ease, charged with a feeling of impending, unnerving threat. The initial guitar chime and Steve Kilbey's singing may provide a familiar feeling for long-time listeners, but the edge of spite and conflict in the words carries through in the performance - Kilbey's not so much blending into the mix as suddenly slicing through it. The full arrangement almost has a touch of film noir threat to it, but not as much as the amazing chorus. Starting with a soft, almost sighed overdubbed vocal part like a mysterious signal, it literally does ripple up in the mix, sneaking up on the listener instead of turning into any kind of a singalong. It's the same approach as with "Under the Milky Way," but the air here is less elegant melancholia and more unsettling electric charge, extra guitar feedback carving arcs through the arrangement, instrumental breaks providing only short, temporary relief.