New Fads* ‎– Love It All

Label:
Play It Again Sam Records ‎– BIAS 285 CD, Play It Again Sam Records ‎– 450.0285.20
Format:
CD, Album
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

1 These Foolish Things
Programmed By – Icarus Wilson-Wright
4:29
2 Life Is An Accident
Keyboards – Peter Adams
3:02
3 Left Right 3:59
4 Every Once In A While
Producer [Additional], Mixed By – Fuzzy Logic (8)
4:13
5 Why Waste Your Love 3:36
6 Monday It Is 4:14
7 Saxophone
Keyboards – Peter Adams
3:34
8 What I Feel
Programmed By – Icarus Wilson-Wright
3:52
9 PSV
Producer [Additional], Mixed By – Fuzzy Logic (8)
4:15
10 Kill My Instincts 3:33
11 Souvenir 1:54

Companies, etc.

Credits

Barcode and Other Identifiers

  • Barcode: 5 413356 428520
  • Label Code: LC 7800
  • Rights Society: Sabam/Biem
  • Matrix / Runout: [DADC Austria logo] BIAS285CD 11 A3
  • Matrix / Runout (Imprinted on mould): *

Other Versions (4 of 4) View All

Cat# Artist Title (Format) Label Cat# Country Year
BIAS LP 285, 450.0285.10 New Fads* Love It All(LP, Album, Promo, W/Lbl) Play It Again Sam Records, Play It Again Sam Records BIAS LP 285, 450.0285.10 Belgium 1994 Sell This Version
BIAS 285 LP, 450.0285.10 New Fads* Love It All(LP, Album) Play It Again Sam Records, Play It Again Sam Records BIAS 285 LP, 450.0285.10 Belgium 1995 Sell This Version
CTX013CD, 450.0285.20, IRS: 990.354 New Fads* Love It All(CD, Album) Cortex, Play It Again Sam Records, Play It Again Sam Records CTX013CD, 450.0285.20, IRS: 990.354 Australia 1994 Sell This Version
BIAS 285 WHITE CD New Fads* Love It All(CD, Album, Promo) Play It Again Sam Records BIAS 285 WHITE CD Belgium 1994 Sell This Version

Recommendations

Reviews

Add Review

pyenapple

pyenapple

April 1, 2011

Fantastic third album. I find it criminal that this group broke up when it did, just as the songwriting blossomed to match the awesomeness of its already-tight instrumentation and studio production. Sadly, the New Fads fell between the cracks: too willfully indie, still draped in post-Madchester stylings during the U.S.-led grunge invasion of 1992, and too anti-pop to be embraced by young UK music fans awakened during the Britpop counter-attack of 1994. This is music beloved by those lucky ones who discover it.