Most people know Simple Minds chiefly as purveyors of arena-sized 1980s pop/rock grandeur a la "Don't You Forget About Me" and "Sanctify Yourself." By the time these Scots broke through with a wide-screen U2-ish approach, there'd already been plenty of water under the bridge. They started out firmly in edgy post-punk mode in the late '70s, and by the time of their third album, EMPIRES AND DANCE, they'd reached a crucial turning point. Though they'd begun the process on their preceding record, here they perfected their mix of post-punk/New Wave rock, colorful synthesizers, and dance beats, effectively creating the template for what would soon become known as the New Romantic sound (Duran Duran, Spandau Ballet, etc).
Empires and Dance is the third studio album by Simple Minds, released in 1980. It reached #41 in the UK Albums Chart. The opening track "I Travel" was released as a single in 1980, failing to chart. Following the release of this album, Simple Minds transferred to Virgin Records, where they met with much greater commercial success. Arista tried to capitalize on this success by re-releasing "I Travel" as a single in 1982, and again in 1983. Both times, it still failed to chart.
Walk Between Worlds is the eighteenth studio album by Scottish rock band Simple Minds, due to be released in February 2018 by BMG Rights Management.
In 1990, as Simple Minds continued to rampage full-steam into a downward slide of overwrought albums and evaporating relevance, Virgin U.K. began repackaging the group's singles as CD5s through the Themes series…
After languishing for ten years in the rock wilderness, the Scottish stadium-shakers are back with Black And White 050505, which has been trumpeted by manyas a mighty return to form. And yes, Jim Kerr's vocals are still tremulously emotive, Charlie Burchill is as stirring as ever on his jangling, soaring guitar and the songwriting errs, as always, on the side of supersize anthem. But this spanking new effort, while powerful, boasts a distinctly ethereal quality, softening the stomping stridency of the Simple Minds we knew in the 1980s. Opening track "Home" flirts with an intriguing new sound, haunting yet uplifting with Kerr at his dramatic best, while "Sparkle In The Rain" shimmers with chiming glory. Packed with potential crowd-pleasers, Simple Minds may have stuck wisely with their winning New Gold Dream formula, but they've brought it rocketing up to date. Fans will be gleefully punching the air within minutes. Dissenters, well, they might just be converted.
Neon Lights is Simple Minds' covers album. Frankly, these projects often serve little purpose beyond announcing that the artists concerned have run out of original ideas. With the Simple Minds' new album of freshly composed material, Our Secrets Are the Same, now shelved due to legal complications, the Minds have opted to doff their caps in the direction of the heroes of their youth, such as David Bowie, Lou Reed, and the Doors. This is the material the band performed when they were scrawny Glaswegian punks called Johnny & the Self-Abusers. The arrangements here are slightly dated techno-rock efforts, albeit without the expansive pomp and bluster of their stadium-straddling 1980s heyday. Even so, Neon Lights is probably too respectful. Many of these numbers–Echo & the Bunnymen's "Bring on the Dancing Horses," Bowie's "The Man Who Sold the World"–are identikit presentations, while electro-rock assaults on Them's "Gloria" and the Doors "Hello I Love You" are monotonous and misguided. A very interesting revision of Pete Shelley's "Homosapien" and a faithful, powerful reading of the Velvet Underground's "All Tomorrow's Parties" are much better.