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The Waking Hour Import


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Audio CD, Import, July 9, 1996
$19.99
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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Dalis Car 5:12$0.99  Buy MP3 
listen  2. His Box 4:42$0.99  Buy MP3 
listen  3. Cornwall Stone 5:19$0.99  Buy MP3 
listen  4. Artemis 4:37$0.99  Buy MP3 
listen  5. Create And Melt 5:37$0.99  Buy MP3 
listen  6. Moonlife 4:56$0.99  Buy MP3 
listen  7. The Judgement Is The Mirror 4:38$0.99  Buy MP3 

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Product Details

  • Audio CD (July 9, 1996)
  • Number of Discs: 1
  • Format: Import
  • Label: Beggars Banquet
  • ASIN: B00000189F
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (29 customer reviews)
  • Amazon Best Sellers Rank: #270,640 in Music (See Top 100 in Music)

Editorial Reviews

Japan & Love And Rockets members

Customer Reviews

I started to really appreciate this piece of art.
Jackson
To me, the marriage between Karn's musical frames and Murphy's unique voice is one made in heaven.
MusicFreak
If you're a fan of Murphy's solo work or Japan, I highly recommend it.
Kathryn Goolsby

Most Helpful Customer Reviews

18 of 20 people found the following review helpful By sleep no more on August 21, 2005
Format: Audio CD
When first released, this album was a real enigma - Mick Karn fans wanted something similar to his first solo album "Titles", Peter Murphy fans were thinking Bauhaus, and back to Karn again, for those (most) that had no idea his even did a solo album, they were waiting for something like the later era Japan. The common thread between karn and Murphy was a love of 70's glam and after they had each explored and became tired of the formulas with their previous acts, they moved onwards to record one of the most interesting and challenging albums of the ultra-fertile mid 80's. Murphy's lyrics have never been better----singing over karn's somewhat chaotic bass lines was a true test of meddle for PM who had always been much more straight forward and seemingly in-control. For the most part he seems a bit lost as he takes his well-worn personal themes and lays them atop music that simply didn't make sense to him - the crazy thing, is that it all worked beautifully. To this day I think it's the best thing Murphy's ever done (though he disowns it no doubt due to a bit of ego clashing with Karn and Bauhaus fans that simply couldn't accept it (but for some reason could accept Tones on Tail). I wonder if David Jay and David Sylvian could have come up with something this interesting......At any rate - a true jem for Goth fans as well as a treat for the artsy Fripp, Eno, Laswell set......Karn has to be one of the best bass players ever to walk on this planet and the fact that he collaborated with Murphy was something I felt was ultra-cool (Karn could play circles around most jazz and studio heavy hitters). Very cool and highly recommended.
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7 of 8 people found the following review helpful By MusicFreak on January 4, 2003
Format: Audio CD
Unlike my fellow reviewers here, I am not that familiar with either Murphy's or Karn's works. I knew about Bauhaus via a friend of mine, who taped me almost a whole album. But, what drew me to this cd was a Bass Player magazine review of it. It more than lived up to the praise it received there. Karn's bass is on equal footing with Murphy's vocals - something one doesn't find in many albums. The atmosphere it creates is definitely unique, the rythms and sonorities seem almost from another planet. I was definitely impressed. To me, the marriage between Karn's musical frames and Murphy's unique voice is one made in heaven. Definitely a powerful match. For fans of unique, experimental music only.
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8 of 10 people found the following review helpful By Kerry Garrett on October 10, 2005
Format: Audio CD Verified Purchase
Bauhaus was gone. Dave and Pete didn't like each other anymore. Pete met Mick and had a one album stand.

This is a very unique album. Pete had just come off of Bauhaus and Mick from Japan and Numan. They pulled those two major musical forces together to bring us Dali's Car. Soft spoken and spooky, it is a short album and each of the songs is distinctive and will get stuck in your head for years. I bought this album when it came out. It was stolen and I didn't buy it again for many years. The reason I bought it after more than a decade was that I would still sing the songs to myself and I needed to hear them again.
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4 of 5 people found the following review helpful By P. McKenna on July 8, 2006
Format: Audio CD
I have to admit, having heard this years after it's initial release, it holds some kind of odd fascination for me that I didn't get the first time around. I have to admit, I was not a fan of Peter Murphy at all back in those days.

After very recently hearing this in, of all places, a pub and ona local college radio station, I was floored by what unfolded.

The combining of Mick Karn and Peter Murphy's muses for a time worked really well, at least long enough to put out "The Waking Hour". Freed from the constraints of their respective bands, Karn (ex-Japan) and Murphy (ex-Bauhaus) constructed a set of mysterious, hypnotic and oddly alluring art-rock songs.

Here, Murphy begins to find his legs as a vocal artist, eschewing the over-the-top histrionics and caterwauling of Bauhaus in favor of darkly melodic (owing to his on the cusp of tenor and baritone vocal range)and more textured/nuanced ideas that a studio environment allowed him to explore. Of course, he writes the usual variety of mysterious and cryptic lyrics to go along with it.

Mick Karn really carries this album as its resident multi-instrumentalist. The songs are driven by a combination of slithery, snaky and angular unpredictable fretless bass lines propelled along by steady yet very interesting rhythmic patterns generated by drum machines (with some live percussion mixed in). If I have to give it minus points for anything, it's the now extrenely dated nature of the drum machines on here.
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10 of 14 people found the following review helpful By Michael Stack VINE VOICE on April 11, 2005
Format: Audio CD
A one-off collaboration between ex-Japan bassist/multi-instrumentalist Mick Karn and ex-Bauhaus vocalist Peter Murphy, this one never quite reaches the elvel you'd hope it does. The two of them don't ever quite blend together, stylistically-- essentially, Karn sets up a number of moods, similar in voicing to his first solo record ("Titles") or the last Japan album ("Tin Drum") and Murphy sings over them. Murphy seems out of place here-- this is a far cry from Bauhaus-like gothic music and further still from the sort of pop that he'd succeed so well with in the near future, and he doesn't always seem to know what to do. Evidentally the project started as mailing tapes back and forth and fell apart when the pair got into the studio.

Mind you, when he does succeed, the results are breathtaking-- the opening couple tracks, "Dali's Car" and "His Box" both feature brilliant bass playing from Karn and a totally off-kilter and bizarre vocal from Murphy, but the album fizzles out after that, between dull ("Cornwall Stone"), ill-conceived ("Create and Melt") and totally forgettable ("Moonlife" and the instrumental "Artemis", which would not have been out of place on Karn's previous record). The closer and single from the album, "The Judgement is the Mirror", fares somewhat better, but lacks any real energy.

Overall, this album just didn't work-- its an odd record and has its moments of beauty, but it doesn't move me like much of the work from Karn and Murphy separately have.
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