...smile's OK is a 1998 album by The Hope Blister. "Dagger" "Only Human" "Outer Skin" "Sweet Unknown" "Let the Happiness In" "Is Jesus Your Pal" "Spider and I" "Hanky Panky Nohow" Louise Rutkowski – vocals Laurence O'Keefe – bass guitar Audrey Riley – cello Chris Tombling – violin Leo Payne – violin Sue Dench – viola Richard Thomas – saxophone, drums Audrey Riley – string arrangements Louise Laurence, Dmitri Willilams and Astrid Williamson – backing vocals Sheena Bizarre- Chatter and layered vocal Ivo Watts-Russell – producer John Fryer – mixing
Roger Keith "Syd" Barrett was an English singer and musician who co-founded the band Pink Floyd in 1965. Barrett named the group and was their original lead singer and principal songwriter, he was ousted in April 1968 after David Gilmour took over as their new guitarist and was hospitalised amid speculation of mental illness and his excessive use of psychedelic drugs. Barrett was musically active for less than ten years. With Pink Floyd, he recorded four singles, their debut album The Piper at the Gates of Dawn, portions of their second album A Saucerful of Secrets, several unreleased songs. Barrett debuted his solo career in 1969 with the single "Octopus" from his first solo album, The Madcap Laughs; the album was recorded over the course of a year with five different producers and included two tracks featuring members of Soft Machine. He recorded and released one more album, produced by Gilmour and featuring contributions from former Pink Floyd bandmate Richard Wright. Two years Barrett left the music industry, retired from public life and guarded his privacy until his death in 2006.
In 1988, EMI released an album of unreleased tracks and outtakes, with Barrett's approval. Barrett's innovative guitar work and exploration of experimental techniques such as dissonance and feedback influenced many musicians, his vocals are noted for their strong English accent. After leaving the music industry, Barrett dedicated himself to gardening. Pink Floyd recorded several tributes to him, most notably the 1975 album Wish You Were Here, which includes the homage "Shine On You Crazy Diamond". Barrett was born as Roger Keith Barrett in Cambridge, Cambridgeshire to a middle-class family living at 60 Glisson Road. Barrett was the fourth of five children, his father, Arthur Max Barrett, was a prominent pathologist and was related to Elizabeth Garrett Anderson through Max's maternal grandmother Ellen Garrett, Elizabeth's cousin. In 1951, his family moved to 183 Hills Road. Barrett played piano but preferred writing and drawing, he got a ukulele at 10, a banjo at 11 and a Hofner acoustic guitar at 14.
A year after he got his first acoustic guitar, he bought his first electric guitar and built his own amplifier. One story of how Barrett acquired the nickname "Syd" is that at the age of 14 he was named after an old local Cambridge jazz double bassist, Sid "The Beat" Barrett, which claims Syd Barrett changed the spelling to differentiate himself from his namesake. Another account is that when he was 13, his schoolmates nicknamed him "Syd" after he showed up to a field day at Abington Scout site wearing a flat cap instead of his Scout beret because "Syd" was a "working-class" name, he used both names interchangeably for several years. His sister Rosemary stated, "He was never Syd at home, he would never have allowed it." He went on to be a patrol leader. At one point at Morley Memorial Junior School he was taught by the mother of future Pink Floyd bassist Roger Waters. In 1957, he attended Cambridgeshire High School for Boys with Waters, his father died of cancer on 11 December 1961, less than a month before Barrett's 16th birthday.
On this date, Barrett left the entry in his diary blank. By this time, his brothers and sisters had left home and his mother decided to rent out rooms to lodgers. Eager to help her son recover from his grief, Barrett's mother encouraged the band in which he played, Geoff Mott and The Mottoes, a band which Barrett formed, to perform in their front room. Waters and Barrett were childhood friends, Waters visited such gigs. At one point, Waters organised a gig, a CND benefit at Friends Meeting House on 11 March 1962, but shortly afterwards Geoff Mott joined the Boston Crabs, the Mottoes broke up. In September 1962, Barrett had taken a place at the Cambridge Technical College art department, where he met David Gilmour. During the winter of 1962 and early 1963, the Beatles made an impact on Barrett, he began to play Beatles songs at parties and at picnics. In 1963, Barrett became a Rolling Stones fan and, with then-girlfriend Libby Gausden, saw them perform at a village hall in Cambridgeshire. At this point, Barrett started writing songs.
Around this time and Gilmour played acoustic gigs together. Barrett had played bass guitar with Those Without during the summer of 1963 and both bass and guitar with The Hollerin' Blues the next summer. In 1964, Barrett and Gausden saw. After this performance, Barrett was inspired to write "Bob Dylan Blues". Barrett, now thinking about his future, decided to apply for Camberwell College of Arts in London. Barrett enrolled in the college in the summer of 1964 to study painting. Starting in 1964, the band that would become Pink Floyd evolved through various line-up and name changes including "The Abdabs", "The Screaming Abdabs", "Sigma 6", "The Meggadeaths". In 1965, Barrett joined them as the Tea Set; when they found themselves playing a concert with another band of the same name, Barrett came up with "The Pink Floyd Sound". During 1965, they went into a studio for the first time, when a friend of Richard Wright's gave the band free time to record. During this summer Barrett had his first LSD trip in the garden of friend Dave Gale, with Ian Moore and Storm Thorgerson.
During one trip and another friend, Paul Charrier, ended up naked in the bath, reciting: "No rules, no rules". That summer, as a consequence of the continuation of drug use, the band became
Pieter Nooten is a Dutch musician and composer best known for his work with Clan of Xymox. Nooten's musical career began in the late 1970s. Starting out as the drummer in a local symphonic rock band, he changed to bass guitar and keyboards, playing in different bands. At the height of house squatting culture and new wave, Nooten met Anka Wolbert and Ronny Moorings who had just formed Clan of Xymox together. During the mid-eighties Clan of Xymox recorded two acclaimed albums on 4AD. In 1987, he teamed up with Michael Brook to record Sleeps with the Fishes, released on 4AD; this album would become Nooten's most acclaimed work. In 1989, Clan of Xymox released their third album, Twist of Shadows. By 1990, in spite of the band's success, he decided to leave Xymox due to growing internal musical differences. While Xymox wanted to stick to their 1980s roots, he started exploring new musical directions; the new, young dance culture intrigued him and a post as in-house producer at the famous One4Two studio's in Amsterdam was undertaken.
During the first half of the nineties Nooten produced countless dance 12 inches and ambient orientated music for labels and projects, some of which reached the national record charts. By 1995, he moved back over to London and renewed the cooperation with Anka, who had left Xymox. Nooten became somewhat tired with the more and more morose dance music, he signed a publishing deal with Momentum. Anka and Pieter signed with EMI under the name Vaselyn. However, due to record company internal re-organizations, the Vaselyn project in London was unexpectedly cut short. Anka and Nooten decided to take the material of Vaselyn with them knowing that some day, this material will get released. Shortly afterwards Nooten took an extended sabbatical from the major record industry during which time he wrote music for theatre and other media occasions. In 2004, Anka and Pieter started producing Sophie Zeyl's debut album Two Ways of Running. After recordings were finished in 2005, he started remixing the material for Ourspace.
They both released Anka's solo album Cocoon Time on I-rain Records. In 2008, Nooten started writing and composing again, he released a compilation on the Twilight label. In 2010, Nooten signed with Rocket Girl in the UK, releasing the 12 track CD called Here Is Why which showed his skill as a producer for other artists. Surround Us was produced using a MacBook Pro and Midi keyboard. In 2013, Nooten released the double CD Haven again on Rocket Girl, he performed during the 2014 World Press Photos awards and wrote a acclaimed Bach transcription for the NY based Red Hot organization. Tired of the restrictions of writing and releasing music only, Nooten set up La Compania Parpadeo with dancer and choreographer Miryam Chachmany in 2014, crossing borders between traditional flamenco music and neo-classical music, visual art and dance. In 2014, Nooten teamed up with long time friend Bert Barten and Real World producer/engineer/composer Stephen W Tayler, collaborating on an avant garde music project. In August 2017, Nooten announced a pledge music campaign to fund his next album, released in November 2018 under the name'Stem".
Albums: Clan of Xymox Medusa Twist of Shadows Phoenix Albums: Sleeps with the Fishes Singles/EPs: "I Call Upon" "Proze & Cons" "Into the Light" "Gotta Get Back" Singles/EPs: Trancelucent Singles/EPs: "Hanggliding" "Albatross" "Open Up" "What Kids Do on a Rainy Day" Albums: Ourspace Collected Here Is Why Surround Us Haven Stem Facebook page Pieter Nooten website
Chris Bell (American musician)
Christopher Branford Bell was an American guitarist and songwriter. Along with Alex Chilton, he led the power pop band Big Star through its first album #1 Record, he pursued a solo career throughout the mid-1970s, resulting in the posthumous I Am the Cosmos LP. All Music Guide praised Bell as "one of the unsung heroes of American pop music" and noted his lasting impression, saying: "Despite a life marked by tragedy and a career crippled by commercial indifference, the singer/songwriter's slim body of recorded work proved massively influential on the generations of indie rockers who emerged in his wake."His catalog of proto-alternative rock has inspired the likes of Beck, R. E. M. Teenage Fanclub, Primal Scream, Afghan Whigs, Pete Yorn, The Posies, The Replacements, all of which have covered his music or expressed their admiration for Big Star in the press, his life was documented in the acclaimed Big Star: Nothing Can Hurt Me documentary, released in 2013 on Magnolia Pictures. In August 2018, Bell's life, the career of Big Star, was documented in the book There Was a Light: The Cosmic History of Chris Bell and the Rise of Big Star.
The oral-history style bio contains rare interviews with Bell, his band mates and family. Before his more famous work in the 1970s with Alex Chilton, Bell played in a number of Memphis garage bands beginning in the 1960s, he had started playing music at age 12, influenced by The Beatles and other British Invasion groups like The Yardbirds and The Who. One of Bell's early groups included Memphis natives Richard Rosebrough and Terry Manning, with whom he continued to work for the rest of his music career. Rosebrough, born on September 16, 1949, died on October 2015 after a period of ill health. In 1964 and 1965, Bell played lead guitar in a British Invasion-influenced group called the Jynx with local musicians, including lead vocalist Mike Harris, rhythm guitarist David Hoback, drummer DeWitt Shy, bassist Bill Cunningham, bassist Leo Goff. Other lead vocalists at some of the group's shows and rehearsals included local teens Ames Yates, Vance Alexander, Alex Chilton. Chilton, who attended many Jynx shows and sang lead vocals at a couple of gigs, soon joined the Box Tops with Cunningham, as the Jynx split up in 1966.
Bell continued to perform and record in Memphis throughout the rest of the decade, including a stint in the heavier psych-rock band Christmas Future with Terry Manning and Steve Rhea. By the late 1960s, after attending UT in Knoxville, he had turned his focus toward writing original songs, Manning brought Bell into the studio for his first professional recordings as a session guitarist; the group known as Big Star stemmed from two Bell band projects that began in the late 1960s while he recorded and performed live in groups named Icewater and Rock City. These groups featured a revolving set of musicians including Jody Stephens, Terry Manning, Tom Eubanks, Andy Hummel, Richard Rosebrough, Vance Alexander, Steve Rhea. Recordings by these groups appear on the various artists collection Rockin' Memphis 1960's–1970's Vol. 1, Rock City, Looking Forward: The Roots of Big Star. Bell asked Chilton to join several months. During a period of recording demos and tracks for their first album, the group settled on the name'Big Star'.
The lineup for Big Star's first album was composed of Bell, Chilton and Stephens. Bell and Chilton wrote most of the group's songs, with occasional writing contributions from Hummel and Stephens. Manning played several session horn players were employed. Bell was more influenced by the music of the British Invasion than Chilton, he steadfastly retained his Beatles-oriented pop influences throughout his career. Along with Ardent Studios founder John Fry and engineer Terry Manning, Bell is credited with much of the mixing and engineering work done on the first Big Star album #1 Record. After this album failed to achieve commercial success, Bell left the band in 1972, he struggled with depression for the rest of his life. He had problems with alcohol and other drugs while becoming immersed in Christianity. According to his brother David, Bell may have left Big Star due to a belief that he was overshadowed by the more famous Chilton. Bell concentrated on solo work after leaving Big Star, recording demos at Ardent Studios and Shoe Recording in Memphis with old friends including Rosebrough, Cunningham, Ken Woodley, Chilton and Jim Dickinson.
One of Bell's better known solo songs from this period is "You and Your Sister", featuring Bell's guitar work and vocals, Chilton's backing vocal, Cunningham's string arrangements and bass work. From 1975 to 1976, Bell co-produced recording sessions for the power pop group Prix, contributed guitar and backing vocals. Bell played in groups with local songwriter Keith Sykes, as well as the Baker Street Regulars with Van Duren and Jody Stephens in 1976. During the late 1970s, a few of Bell's pop song lyrics began to reflect the influence of his interest in Christian spirituality. Although he released "I Am the Cosmos" backed with "You and Your Sister" as a single in 1978 on Chris Stamey's Car Records label, none of his solo material was released on a full-length album during his lifetime. At this time, Bell worked at his father's restaurant and continued to grapple with clinical depression. 14 years after his death, the songs from his Car Records single and several of his other 1970s recording
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Breathless are an English dream pop band formed in 1983 by Dominic Appleton, Gary Mundy, Ari Neufeld and Tristram Latimer Sayer. Across nearly four decades, Breathless has released seven studio albums, one compilation album and 13 singles and EPs, all on their own label, Tenor Vossa Records, their music has been described as "melancholic", with AllMusic's Ned Raggett calling the band "underappreciated" and saying "the majority of Breathless' work has squarely fit into a lush vein of haunting, epic music unafraid of a moody theatricality". Appleton is known for his vocal contributions in 4AD supergroup This Mortal Coil, appearing on three tracks on their 1986 album Filigree & Shadow, one track on their 1991 album Blood. Dominic Appleton and Gary Mundy knew each other from school and had played earlier in a group called A Cruel Memory. Appleton met bassist Ari Neufeld while working at London's Virgin Megastore. Neufeld recruited Appleton as a keyboardist for a band she was in, but the two soon realized that while they were happy making music together, the band as a whole didn't please them.
They split away from the group and started working on songs, with Appleton taking over vocal duties and suggesting Mundy for the guitarist role. The name "Breathless" was taken from Jean-Luc Godard's French New Wave film of the same name. In April 1984, Breathless released their first single, "Waterland"/"Second Heaven"; the band recorded "Waterland", "Second Heaven", an unreleased song entitled "The First Issue" at Denmark Street Studios in London two weeks after drummer Tristram Latimer Sayer joined the band. They recorded a follow-up to their debut single with "Ageless", a three-song 12" single released in November 1984; the sessions for the single yielded an entire album's worth of songs, but according to Neufeld, "We were young inexperienced in recording", the band was disappointed in all but three of the songs recorded. The recording sessions at Alvic Studios in West London marked the first time the band would work with engineer/producer Drostan Madden, recommended to Breathless by 4AD's boss Ivo Watts-Russell.
The EP Two Days from Eden followed in August 1985, prior to their debut album, The Glass Bead Game, issued in June 1986. The band recorded with John Fryer at Blackwing Studios in London. Another EP, Nailing Colours to the Wheel, was released in November 1986. While recording their sophomore studio album, Three Times and Waving, drummer Latimer Sayer left the band, he was subsequently replaced by Martyn Watts. Three Times and Waving was released in November 1987, the album cover features a 1961 painting from Jean Dubuffet entitled "Spinning Round"; the year 1989 saw Breathless release their third album Chasing Promises and the follow-up single "I Never Know Where You Are". According to Neufeld, the band had intended to use a re-recorded version of Chasing Promises album track "Moment by Moment" for release as a single, but were "so pleased" with the recording of new track "I Never Know Where You Are" that they decided to make the song the A-side; the song would feature prominently on the band's next album as the opening track.
The double A-side single "Always"/"Flowers Die" was released in the summer of 1990. Neufeld said, "We felt that we wanted a rawer, less produced sound for our next record and decided to have a change of scene and go back to recording with Drostan ", so the band produced their fourth album, Between Happiness and Heartache, with Madden and Ken Gardener at Rooster and Blackwing Studios; the album was released in October 1991, while the first proper single, "Over and Over"/"All That Matters Now", followed in November. A music video was produced for "Over and Over", directed by Damon Heath. A compilation of tracks recorded between 1983 and 1993 was issued as Heartburst in March 1994, preceded by the 1993 non-album single "Don't Just Disappear"; the band took a recording hiatus after the release of "Don't Just Disappear" and did not release any new music until mid-1999. Breathless re-emerged in 1999 with their fifth album Blue Moon, an album featuring a more prominent drone rock influence. Two singles were released from the album: "Magic Lamp" in June 1999, "Walk Down to the Water"/"Goodnight" in June 2000.
Following album Behind the Light was released in June 2003 and continued the band's sonic foray into space and drone rock. In 2006, Martyn Watts announced his departure from the band, but in 2011 Breathless announced the return of original drummer Latimer Sayer; the seventh Breathless studio album, Green to Blue, was released in November 2012, issued as a double album. Green to Blue was the first new recording from the band following a nine-year hiatus, features special guest and This Mortal Coil/4AD alumna Heidi Berry providing backing vocals on album track "Just for Today". Most the band reissued Blue Moon as an expanded double CD and a first-time pressing on double vinyl in February 2016. Between 1986 and 1991, Appleton was asked by 4AD label founder Ivo Watts-Russell to contribute vocals to the 4AD supergroup This Mortal Coil, appearing on three tracks on their 1986 sophomore album, Filigree & Shadow, one track on their 1991 album Blood. Appleton was one of a select few artists to contribute to This Mortal Coil, not a 4AD signing.
Watts-Russell said of Appleton, "Without exaggeration Dominic Appleton is by far my favourite living male vocalist. He has such a beautifu