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Availability:
Only 1 left in stock, order soon!
Arrives
Saturday, Jun 13
Format: MP3 Music, March 30, 1979
Description
Green Vinyl. Enduringly credible, Magazine have always been the music connoisseur's choice; frequently name checked by some of the most gifted musicians of recent years including Radiohead, Morrissey, Jarvis Cocker, U2, Johnny Marr and MGMT. NME. Com went so far as to included Magazine in a poll as one of the most influential bands of all time. Created by frontman, Howard Devoto - who co-formed Buzzcocks with Pete Shelley - Magazine's sound focused on the double barrels of Dave Formula's swirling keyboards and John McGeoch's ahead-of-it's-time innovative guitar work, underpinned by Barry Adamson's pulsing yet deviously irregular basslines. Atop of this sat Howard Devoto's lyrics. Leading the vanguard of post-punk, their released four groundbreaking albums before disbanding. 1979's Secondhand Daylight is repressed for the first time on colored vinyl and features unseen images and new notes from band members compiled and curated by Rory Sullivan-Burke.
Language : English
Product Dimensions : 0.12 x 12.83 x 12.63 inches; 8.48 ounces
Manufacturer : Integral
Date First Available : September 19, 2024
Label : Integral
Number of discs : 1
Customer Reviews: 4.6 4.6 out of 5 stars (96)
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Top Amazon Reviews
my favorite magazine CD remastered with extra tracks sounds even better than before a no brainer must have CD purchase
Reviewed in the United States on September 21, 2013 by mike hunt
Excellent cd. Highly recommend.
Reviewed in the United States on February 18, 2016 by Wes
The best tracks on this album I have long loved and still do - "Rhythm of Cruelty", "Back to Nature", and "Believe That I Understand". They have some rock aggression and some hooks, and work splendidly. Magazine sound like the best band in the world to me when they're in this mode. Tracks 3 - 5 to me represent the cul-de-sac that this band fell into. The music's just pedestrian; it sounds like typical rock or disco filler that you would hear on some other mediocre album from 1979. Over such a backdrop, Devoto's lyrics and vocal lines generate no traction. The horrible drum sounds on this record don't do anyone any favors either - ironically, John Doyle's a fine drummer, but you wouldn't know if from the way his snare drum is echoed and magnified in this mix. Of the other tracks, two of them sound like Pink Floyd to a shocking degree (though "Feed the Enemy" has some original elements) and "Permafrost" is a strange abstract tone poem, which I neither like nor dislike but know not to play in mixed company. An abitious mess of a record.
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Reviewed in the United States on November 15, 2012 by Scott McFarland
I wore out the grooves on two copies of this record, which makes the digital version especially welcome. Those who had a chance to see Magazine during their "Secondhand Daylight" tour already know how special this band was. The band was tight and incisive, but I realized how bassist Barry Adamson pulled everything together so perfectly. The bass swoops and dances through the songs, making the album compulsively listenable.
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Reviewed in the United States on April 22, 2020 by poikkeus
Seeing them, listening to them and meeting them..... Simply one of my favorites, then and now......
Reviewed in the United States on February 9, 2021 by FoxFieldBear
I hope I can express in words how important and viceral this album is to me, so here I shall attempt the impossible. Discussion of this album is almost impossible as it is pure aesthetics and aural alienation personafied. An album whose perfection is conceptually so far ahead of it's time that I haven't bothered buying anything since this period because essentially nothing *new* or worthwhile has happened. This album floated out of a tape deck late one dusky evening as a girlfriend and I kanoodled for the first time when I was 14 years old, I am now 30. I was scarred deeply by the eerie perfection and calculated paranoia this work evokes and found myself literally entering an altered state. I am a professional musician of a family of muso's and consider myself a serious knowledge on music. This album is without a doubt probably the most influential and perfect record I have EVER heard in my life. John Mcgeough's (Guitar) Vichey French minimalism and elegantly oblique saxophony is superlative and sublime. Mcgeough it should be noted wrote the long play instrumental that to this day sends shivers up my spine, he wrote it on piano and then transcibed it to other instruments. Barry Adamson (Bass) as one reviewer correctly pronounced, IS the bottom end of the world as he weaves his ultimate fat, liquid-toned, fretless flanged, bass lines that thump and resonate so deep and hard, he surely proves that nobody plays bass like him in the world. Listen to the end of Cut out Shapes for the most mind blowing pulsing, phat bass lines as genius Devoto sings, "We met in a psychiatric unit!". Every track on this album is a total masterpiece including one of my all time favourites "Feed the Enemy", "No room to move, no room for doubt!" From the bizzare album art work in weird sickly yet soothing psyche ward green, the head and mask on a stake, to the playlist and the way it has been ordered, this album attained a perfection so beyond the conceptual understanding of the post punk genre, that it essentially flopped! But to me that was it's greatest secret and success, because without a doubt mediocrity rules. That these guys never made another album like this, their last, Magic Murder and the Weather, came very close in some instances, is absolutely tragic! This band as far as I am concerned were from outer space to be playing music this beautiful and utopian in 1979, what with Dave Forumula's menacing and erudite carnavalesque synth lines and the drummers fabulously boxy/reverb skins and slightly phased cymbals... PERFECTION! I ache when I listen to this record because I wonder if anyone else out there understands just how incredible this entire album is and how perfect this combination of musicians were I won't even get into Devoto, the guy was a narrative-noir of self effacing angst and without being tuneful perse pulls off being the greatest singer. This band was an ART BAND and even that doesn't do them justice, in the same way the Doors were an Art Band; performance art! I learnt more from Mcgeough as a guitar player growing up than anyone else, he was my god, as was this band. If you want to take the next logical step, check out my other all time favourite band and album. Mcgeough left Magazine to join Siouxsie and the Banshees, although he did write and play on Kaleidescope (Christine and Happy House, are incredible!) get the album JUJU and you will realise the same eerie perfection discovered from Second Hand Daylight. I could go on forever about this album but feel a deep sense of connection with other reviewers here who have recognised it's genius also, and breathed the thin air!
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Reviewed in the United States on January 13, 2002 by S. White
Not as good as Real Life ... still worth having in you collection of 70's punk
Reviewed in the United States on October 9, 2014 by KEG6768
I am so glad to read the reviewer above who says he entered an "altered state" because of the perfection of this album. For some reason it was panned by critics at the time and yet it is quite extraordinary. The later music on "Correct Use of Soap" shows Devoto trying to be more entertaining - almost more funny, you might say - and Correct...Soap is the best Magazine album I think. But Secondhand Daylight is absolutely at the core of the genius of Devoto, Formula, Adamson and crew. I simply cannot understand why this album is not recognised as one of the ten or twenty greatest in the history of pop music. Devoto's mastery of words and his ability to combine them with music to make something so real, so fightening...very, very few albums have ever come close.
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Reviewed in the United States on May 14, 2011 by radio man