Frankie Goes To Hollywood – Welcome To The Pleasuredome
Tracklist
| F (Pray Frankie Pray) | |||
| A1 | Well... | 0:55 | |
| A2 | The World Is My Oyster | 1:02 | |
| A3 | Snatch Of Fury (Stay) | 1:23 | |
| A4 | Welcome To The Pleasure Dome | 12:15 | |
| G (Say Frankie Say) | |||
| B1 | Relax (Come Fighting) | 3:55 | |
| B2 | War (...And Hide) | 6:12 | |
| B3 | Two Tribes (For The Victims Of Ravishment) | 3:22 | |
| B4 | (Tag) | 0:33 | |
| T (Stay Frankie Stay) | |||
| C1 | Ferry (Go) | 1:41 | |
| C2 | Born To Run | 4:04 | |
| C3 | San Jose (The Way) | 3:07 | |
| C4 | Wish (The Lads Were Here) Including The Ballad Of 32 | 7:34 | |
| H (Play Frankie Play) | |||
| D1 | Krisco Kisses | 2:57 | |
| D2 | Black Night White Light | 4:05 | |
| D3 | The Only Star In Heaven | 4:16 | |
| D4 | The Power Of Love | 5:29 | |
| D5 | Bang... | 1:07 |
Companies, etc.
- Record Company – Island Records Inc.
- Distributed By – Atco Records
- Distributed By – Atlantic Recording Corporation
- Phonographic Copyright ℗ – ZTT
- Copyright © – ZTT
- Phonographic Copyright ℗ – Zang Tuum Tumb
- Copyright © – Zang Tuum Tumb
- Published By – Perfect Songs Ltd.
- Published By – Island Music, Inc.
- Published By – Dick James Music, Inc.
- Published By – Jobete Music
- Published By – Laurel Canyon Music
- Published By – Carbert Music, Inc.
- Mastered At – Sterling Sound
- Mastered At – Specialty Records Corporation
- Pressed By – Allied Record Company
- Mastered At – Sheffield Lab Matrix – △8349
- Mastered At – Sheffield Lab Matrix – △8350
Credits
- Acoustic Guitar – Steve Howe (tracks: A4)
- Arranged By [String Arrangement] – Anne Dudley (tracks: D4)
- Art Direction [Dome Souvenirs Models Were Ordered About By] – XLZTT
- Artwork [Colours On The Cover] – Lawrence Cole*
- Bass, Vocals – Mark O'Toole
- Coordinator [Co-ordination] – Zang Tumm Tumb Records*
- Costume Designer [Pleasure Guard-In Clothes] – J.P.G.*
- Design – ZTT Of Basing Street*
- Drums – Peter Gill
- Engineer [The Lads Were Engineered By] – Stuart 'Blushing' Bruce*
- Engineer, Producer [Production Assistant] – Steve Lipson*
- Guitar – Brian Nash
- Guitar [Lipson Service Guitar] – Lipson*
- Keyboards [Additional] – Anne Dudley
- Keyboards, Other [Pottery] – Andrew Richards*
- Lacquer Cut By [Runout Etching ☆] – Greg Calbi
- Lead Vocals [The Voice] – Holly Johnson
- Make-Up [Dome Souvenirs Models Made Up By] – Debbie Bunn
- Make-Up [Pleasure Guard-In Make Up] – Lynne Eaton*
- Management – Nu-Visions Management Ltd.
- Mastered By – Ian Cooper
- Model [Dome Souvenirs Modelled By] – Paul Rutherford
- Percussion, Other [Cignals] – Louis Jardim*
- Photography By [Black And White, Dutch Pink] – Anton Corbijn
- Photography By [Dome Souvenirs] – Peter Brown (23)
- Photography By [Party] – Steve Romney
- Photography By [Pleasure Guard-In] – Peter Ashworth
- Photography By [Pre Bang Liverpool] – John Stoddart (2)
- Photography By [Video] – a.j. Barratt*
- Photography By [Wargames] – Eric Watson (3)
- Producer [Produced And All That] – Trevor Horn
- Soloist, Guitar [Lipson Service Guitar] – Lipson* (tracks: A4)
- Stylist [Dome Souvenirs Models Styled By] – Iain R. Webb
- Stylist [Pleasure Guard-In Stylist] – Bashia (2)
- Technician [Software, Hardware], Other [The Fifth Dimension] – Jonathan Jeczalik*
- Text By [Acted During The Bang] – Paul Morley
- Vocals, Other ['I Came To Dance'] – Paul Rutherford
- Voice Actor [Acted During The Bang] – Patrick Allen
- Written-By – Whitfield - Strong* (tracks: B2)
Notes
This is an Allied Record Company pressing, indicated by "SP-AR" and "B-#####" codes in the matrix. There also exists a Specialty Records Corporation pressing which does not have the extra codes, and a Hauppauge pressing which has "SP-HRM" instead of "SP-AR".
Issued in a gatefold sleeve, with LPs housed in artwork-bearing inner sleeves. The second inner sleeve has a merchandise mail-order catalog and order form incorporated into the artwork. The sleeve front, on some copies, may include a sticker bearing the artist name and catalog number.
Title on cover & spine: Welcome To The Pleasuredome
Title on labels: The Pleasure Dome
Cat# on spine: 7 90232-1-H
Cat# on labels: 90232-1-H
Inner sleeves designate the discs as "Record 1/2" and "Record 3/4". The first inner sleeve and the back cover designate the vinyl sides as Side One (F), Side Two (G), Side Three (T), Side Four (H). The labels have F, G, T, H in custom artwork, and the typeset text says Side One pray frankie pray, Side Two say frankie say, Side Three stay frankie stay, Side Four play frankie play.
The total time for each side is printed on the labels as 15:37, 15:32, 16:32, and 18:03, respectively. Individual track durations are not printed on the release, but the total times listed do not exactly match the audio content, particularly for Side B. Actual times are 15:36, 14:02, 16:26, and 17:54, respectively.
Track titles here are as shown on back cover and inner sleeve. The labels have some variations:
[A3] Snatch Of Fury
[C1] Fury
[C3] San Jose
[C4] Wish The Lads Were Here Inc. Ballad Of 32
[D1] Ḱrisco Ḱisses
Track B4 is not listed on the release but is present on side B of the record.
Ian Cooper, the UK LP's mastering engineer, has a mastering credit on the first inner sleeve, but at least two sides of this US pressing were mastered (or further mastered) by Greg Calbi, indicated by the star next to the Sterling stamp in the dead wax.
Info on back cover:
Island Records,Inc.
Distributed By Atco Records Division Of Atlantic Recording Corporation [Warner logo]®A Warner Communications Company
75 Rockefeller Plaza, New York, New York 10019 ℗ © 1984 ZTT *TM Owned by Antilles Communications Ltd. Printed in U.S.A.
Info on inner sleeve (Record 3/4):
©ZTT 1984
NuVisions Management Ltd. (USA)
Info on both inner sleeves:
Printed in U.S.A.
Info on all labels:
℗ + © 1984 zang tuum tumb (excellence)
Island Records, Inc., *TM Owned by Antilles Communications Ltd., Dist. By Atlantic Recording Corp., 75 Rockefeller Plaza, N.Y., N.Y. [Warner logo]®A Warner Communications Company
Publishing info on labels:
[A1, A2, A4, B1, B3, C4, D1 to D5] Perfect Songs Ltd., . by Island Music, Inc., BMI.
[A3, C1] Dick James Music, Inc., BMI.
[B2] Jobete Music, ASCAP.
[C2] Laurel Canyon Music, ASCAP.
[C3] Carbert Music, Inc., ASCAP.
Runouts are etched, except [SRC logo] and Sterling which are stamped.
Issued in a gatefold sleeve, with LPs housed in artwork-bearing inner sleeves. The second inner sleeve has a merchandise mail-order catalog and order form incorporated into the artwork. The sleeve front, on some copies, may include a sticker bearing the artist name and catalog number.
Title on cover & spine: Welcome To The Pleasuredome
Title on labels: The Pleasure Dome
Cat# on spine: 7 90232-1-H
Cat# on labels: 90232-1-H
Inner sleeves designate the discs as "Record 1/2" and "Record 3/4". The first inner sleeve and the back cover designate the vinyl sides as Side One (F), Side Two (G), Side Three (T), Side Four (H). The labels have F, G, T, H in custom artwork, and the typeset text says Side One pray frankie pray, Side Two say frankie say, Side Three stay frankie stay, Side Four play frankie play.
The total time for each side is printed on the labels as 15:37, 15:32, 16:32, and 18:03, respectively. Individual track durations are not printed on the release, but the total times listed do not exactly match the audio content, particularly for Side B. Actual times are 15:36, 14:02, 16:26, and 17:54, respectively.
Track titles here are as shown on back cover and inner sleeve. The labels have some variations:
[A3] Snatch Of Fury
[C1] Fury
[C3] San Jose
[C4] Wish The Lads Were Here Inc. Ballad Of 32
[D1] Ḱrisco Ḱisses
Track B4 is not listed on the release but is present on side B of the record.
Ian Cooper, the UK LP's mastering engineer, has a mastering credit on the first inner sleeve, but at least two sides of this US pressing were mastered (or further mastered) by Greg Calbi, indicated by the star next to the Sterling stamp in the dead wax.
Info on back cover:
Island Records,Inc.
Distributed By Atco Records Division Of Atlantic Recording Corporation [Warner logo]®A Warner Communications Company
75 Rockefeller Plaza, New York, New York 10019 ℗ © 1984 ZTT *TM Owned by Antilles Communications Ltd. Printed in U.S.A.
Info on inner sleeve (Record 3/4):
©ZTT 1984
NuVisions Management Ltd. (USA)
Info on both inner sleeves:
Printed in U.S.A.
Info on all labels:
℗ + © 1984 zang tuum tumb (excellence)
Island Records, Inc., *TM Owned by Antilles Communications Ltd., Dist. By Atlantic Recording Corp., 75 Rockefeller Plaza, N.Y., N.Y. [Warner logo]®A Warner Communications Company
Publishing info on labels:
[A1, A2, A4, B1, B3, C4, D1 to D5] Perfect Songs Ltd., . by Island Music, Inc., BMI.
[A3, C1] Dick James Music, Inc., BMI.
[B2] Jobete Music, ASCAP.
[C2] Laurel Canyon Music, ASCAP.
[C3] Carbert Music, Inc., ASCAP.
Runouts are etched, except [SRC logo] and Sterling which are stamped.
Barcode and Other Identifiers
- Barcode (Scanned): 075679023216
- Barcode (Text): 0 75679 02321
- Rights Society: BMI
- Rights Society: ASCAP
- Matrix / Runout (Runout side A, variant 1): [SRC logo] ST-IL-845583-A 1·2 SP-AR B-203 47-A △8349 0- STERLING
- Matrix / Runout (Runout side B, variant 1): [SRC logo] ST-IL-845584-A 1-2 SP-AR B-20348 0- △8349-X ☆STERLING
- Matrix / Runout (Runout side C, variant 1): [SRC logo] ST-IL-845585-A 1-2 SPAR B-20349 △8350 ☆ STERLING 0-SM1-1
- Matrix / Runout (Runout side D, variant 1): [SRC logo] △8350-X B-20350 ST-IL-845586-A 1-2 SP-AR STERLING 0-SM1-1
- Matrix / Runout (Runout side A, variant 2): [SRC logo] ST-IL-845583-A 1-2 SP-AR B-20347-A △8349 0-SM1-1 STERLING
- Matrix / Runout (Runout side B, variant 2): [SRC logo] ST-IL-845584-A 1-2 SP-AR B-20348 △8349-X 0-SM1-1 ☆STERLING
- Matrix / Runout (Runout side C, variant 2): [SRC logo] ST-IL-845585-A 1-2 SPAR B-20349 △8350 0- ☆STERLING
- Matrix / Runout (Runout side D, variant 2): [SRC logo] ST-IL-845586-A 1-2 SP-AR STERLING 0- △8350-X B-20350
- Matrix / Runout (Runout side A, variant 3): [SRC logo] ST-IL-845583-A 1·2 SP-AR B-203 47-A △8349 0- STERLING
- Matrix / Runout (Runout side B, variant 3): [SRC logo] ST-IL-845584-A 1-2 SP-AR B-20348 0- △8349-X ☆STERLING
- Matrix / Runout (Runout side C, variant 3): [SRC logo] ST-IL-845585-A 1-2 SPAR B-20349 △8350 0- ☆STERLING
- Matrix / Runout (Runout side D, variant 3): [SRC logo] ST-IL-845586-A 1-2 SP-AR STERLING 0- △8350-X B-20350
- Matrix / Runout (Runout side A, variant 4): [SRC logo] ST-IL-845583-A 1-2 SP-AR B-203 47-A △8349 0- STERLING
- Matrix / Runout (Runout side B, variant 4): [SRC logo] ST-IL-845584-A 1-2 SP-AR B-20348 0- △8349-X ☆STERLING
- Matrix / Runout (Runout side C, variant 4): [SRC logo] ST-IL-845585-A 1-2 SPAR B-20349 △8350 0̶-̶ ☆STERLING 0-SM1-1
- Matrix / Runout (Runout side D, variant 4): [SRC logo] ST-IL-845586-A 1-2 SP-AR STERLING 0- △8350-X B-20350
Other Versions (5 of 201)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
|
Recently Edited
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Welcome To The Pleasuredome (2×LP, Album, EMI Pressing, Gatefold) | ZTT | ZTT IQ1 | UK | 1984 | ||
| Welcome To The Pleasuredome (Cassette, Album, Stereo, Red Ink) | ZTT | ZCIQ 1 | UK | 1984 | |||
|
Recently Edited
|
Welcome To The Pleasuredome (2×LP, Album, Picture Disc, Stereo) | ZTT | NEAT 1 | UK | 1984 | ||
|
Recently Edited
|
Welcome To The Pleasuredome (Cassette, Album) | ZTT | ISLC2-1012, ZCIQ 1 | Canada | 1984 | ||
| Welcome To The Pleasuredome (2×LP, Album, Stereo) | ZTT | 302 419-977 | Europe | 1984 |
Recommendations
Reviews
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Edited 5 months agoWow this thing sounds amazing! Got a super clean copy for a great price and when I dropped it on the table I was blown away with what came out of the speakers! Amazing copy for sure! Something to consider testing out the equipment with! -
Trevor Horn masterfully produced this record. The analog playback is incredible and so easy on the ears at high volume. -
I just got the SP-AR pressing and got a nice clean copy and it sounds great! Their sound and force really shine and just want to keep crankin' it up as much as your system can handle! Great range and depth of all instruments, synth, big fan of Relax, Two Tribes and Pleasuredome.
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Is this the version to buy to get a good pressing? Seems to be one of those albums with lots of versions but not too much info. The other one I’m considering is the MOV pressing
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I grew up on 70's rock, then heavily into punk into the 80's, 90's then into the whole alternative scene going into the millenium. There were bands like Michael Jackson, New Order, FGTH, Depeche Mode, Marcy's Playground and countless others, way to many to name. Some were rejected as the Judas Priest scandal came out about Rob Halford coming out, as somewhat misleading leatherette boys who thought that this was ultra male straight rock, then abbannoned after the fact. I never gave a toss what Elton John's private life was about, I enjoyed his music. I guess after I matured I put so many blinders down as to open my horizons to different styles. What I have found is that while the Tom Waits of the world, Cure, Genesis, broke boundries into progressive sampling of styles, none are ever credited to say the local FM status quo of the days current sound, but you hear it in some many bands.
FGTH were one band had commercial sucess with a couple singles but were so overtoned with some many gay overtones, I kinda shy'd away, never really listenning through the MTV years. But listenning and appreciating music for music/talent, my eyes were opened to the very underated sound these guys had. CHK CHK CHK (!!!) was the same for me, completely blown away by the music these guys were putting down.
Classic LP not even on the Rolling Stone top 500 -
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personally speaking i will be editing the album to remove the 2 cover tracks from my final listening version, all in all a complete musical trip for me apart from those covers.
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This is what "pop" is all about: four million random ideas thrown together into the biggest ball of hype that superstar producer Trevor Horn and the excess of the '80s could possibly produce. This record truly has something for everyone—extended prog workouts with demonic cackling, over-the-top electronic dance tracks, quasi-religious super-ballads, tons of gay jokes, a Ronald Reagan impersonator, a "tag" about orgasms, covers of Gerry + The Pacemakers *and* Bruce Springsteen, and a mellow guitar track trying desperately to cover up the sounds of ecstatic lovemaking. Coupled with the strange cubist artwork of goats and cattle performing fellatio on one another, and dozens of pairs of animals, two by two, marching into the head of a giant penis, not to mention the merchandise order form that features sexy (and he knew it) Paul Rutherford modeling a pinback button on his nipple and a cloaked woman standing at a 90° angle in a drawstring leather bag, and Welcome to the Pleasuredome becomes the sort of modern subversive pop art touchstone that Andy Warhol could only dream about. Truly a wonder of a record and worth every bizarre second of its epic play time, it's no wonder that the record has been re-released dozens of times and that new Frankie compilations seem to come out every other year. The world was their oyster, indeed.
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