Gorillaz ‎– The Fall - 2010 Electronic Downtempo Pop Rock - Black Vinyl LP

In stock

Gorillaz ‎– The Fall

Parlophone ‎– 5 86039-1, Warner Bros. Records ‎– 5 86039-1
Vinyl, LP, Album, Reissue

Standard black vinyl reissue. Not to be confused with Record Store Day reissue

Tracks are continuously numbered across sides.

℗ 2010 The copyright in this sound recording is owned by Parlophone Records Limited, under exclusive license to Warner Bros. Records Inc. © 2010 Gorillaz Partnership under exclusive license to Warner Bros. Records Inc. [...] Printed in Canada.

UK, Europe & US
17 Jul 2019
Electronic, Rock
Pop Rock, Lo-Fi, Downtempo





A1 Phoner To Arizona 4:15

A2 Revolving Doors 3:26
A3 Hillbilly Man - Guitar [Additional Guitar] – Mick Jones 3:50
A4 Detroit 2:03
A5 Shy-Town 2:55
A6 Little Plastic Bags 3:10
A7 The Joplin Spider 3:22



B1 The Parish Of Space Dust 2:26
B2 The Snake In Dallas 2:11
B3 Amarillo 3:24
B4 The Speak It Mountains 2:15
B5 Aspen Forest 2:50
B6 Bobby In Phoenix Featuring – Bobby Womack Vocals, Guitar – Bobby Womack 3:17
B7 California & The Slipping Of The Sun
B8 Seattle Yodel 0:39




Companies, etc.


Phonographic Copyright (p) – Parlophone Records Ltd.
Copyright (c) – Gorillaz Partnership
Licensed To – Warner Bros. Records Inc.
Mixed At – 13
Mastered At – Abbey Road Studios
Published By – Chrysalis Music Ltd.
Published By – Copyright Control
Published By – Patrick Stuart Music
Published By – Sussman & Associates
Published By – Sony / ATV Music Publishing
Published By – Lyrical Mile Music
Published By – Canopy Music, Inc.
Published By – Universal Music Publishing Ltd.
Published By – Keith Prowse Music Pub. Co. Ltd.
Published By – EMI Miller Catalog Inc.
Pressed By – GZ Media – 185523E





Artwork, Design – J.C. Hewlett, Zombie Flesh Eaters
Mixed By – Stephen Sedgwick
Photography By – Jamie Hewlett, Mike Smith, Oswald Lee Henderson, Seb Monk
Producer – Gorillaz, Stephen Sedgwick
Recorded By – Gorillaz, Stephen Sedgwick
Recorded By [Additional Recording] – Mike Smith (tracks: B11)
Written-By, Performer – Bobby Womack
Written-By, Performer, Computer [iPad], Vocoder [Korg Vocoder], Ukulele [Ukelele], Synth [Microkorg], Omnichord, Synth [Moog Voyager], Melodica, Guitar, Piano, Synth [Korg Monotron] – Gorillaz






Recorded between Montreal and Vancouver over 32 days on the Gorillaz North American Tour 2010.
A1 Recorded in Montreal on 3rd October.
A2 Recorded in Boston on 5th October.
A3 Recorded in New Jersey and Virginia on 10th and 11th October.
A4 Recorded in Detroit on 13th October.
A5 Recorded in Chicago on 15th October.
A6 Recorded in Chicago on 16th October.
A7 Recorded in Joplin on 18th October.
B1 Recorded in Houston on 19th October.
B2 Recorded in Dallas on 20th October.
B3 Recorded in Amarillo on 23rd October.
B4 Recorded in Denver on 24th October. Stream and forest recorded in Santa Fe on 25th October.
B5 Recorded in Santa Fe on 25th October and in Vancouver on 3rd November.
B6 Recorded in Phoenix on 26th October.
B7 Recorded in Oakland on 30th October. Train station announcement recorded at LA Train Station.
B8 Recorded in Seattle on 2nd November.

Mixed [...] at Studio 13.
Mastered [...] at Abbey Road Studios.
Published by Chrysalis Music Ltd / Copyright Control. Except track B8 published by Chrysalis Music Ltd/Copyright Control/Patrick Stuart Music (BMI) Adm. Sussman & Associates/Sony/ATV Music Publishing/Lyrical Mile Music (BMI)/Canopy Music Inc., Adm. Universal Music Publishing Ltd/Keith Prowse Music Publishing o/b/o EMI Miller Catalog Inc.
Track B8 contains samples of: Country Legends 97.1FM Houston Texas with Dan Gallo and Chuck Akers. "Cowboy Town" as recorded by Brooks and Dunn, used courtesy of RCA/JIVE Label Group, a unit of Sony Music Entertainment. Written by Boon/Nelson/Dunn. Published by Patrick Stuart Music (BMI) Adm by Sussman & Associates/Sony/ATV Music Publishing/Lyrical Mile Music (BMI). Used by permission. All rights reserved. "Witchita Lineman" as performed by Glen Campbell. Used courtesy of Capitol Records, under license from EMI Music Marketing. Published by Canopy Music Inc., Adm. Universal Music Publishing Ltd. Used by permission. All rights reserved. "Hawaiian War Chant (Ta-Hu-Wa-Hu-Wai)" as recorded by Spike Jones, used courtesy of RCA/JIVE Label Group, a unit of Sony Music Entertainment. Written by Freed/Noble. Published by EMI Miller Catalog. Used by permission. All rights reserved.
Track B15 features the Archie McPhee Yodelling Pickle. Copyright 2008 Archie McPhee and Company. ww.mcphee.com/shop/products/Yodelling-Pickle.html



Barcode and Other Identifiers


Barcode (Printed): 190295491215
Matrix / Runout (Side A): 185523E1/A1 A1 JP
Matrix / Runout (Side B): 185523E2/A1





" Damon Albarn talked about retiring Gorillaz, but instead he made a new album, almost immediately after Plastic Beach. The Fall is low-key and concise, the shortest Gorillaz album. It only has one guest vocalist (Bobby Womack on "Bobby In Phoenix"), and even Albarn's presence is muted. His lyrics are often simple, fragmented chants (e.g. "little pink plastic bags blowing on a highway") that barely seem to rise above the music. Many songs sound like vignettes: only one is over four minutes long, and seven are under three.

What this means is, The Fall is as close as Gorillaz have ever come to making a pure electronic album. For the first time, we get a chance to focus on all those weird sound clips, effects, textures and layers that were always bubbling beneath the surface of Gorillaz albums. They come to the forefront and inspire a new emphasis on atmosphere. The instrumental opening track "Phoner To Arizona" starts with a fuzzy digital bass sound, fairly close to Plastic Beach, and adds some synth beeps from the same album, but also brings in dark, uneasy strings and a rhythmic hook that sounds like it was made by distorting the pitch on Albarn's voice and then chopping it up.

You can hear Plastic Beach in the rhythm section, the beats have the same tinny, cheap drum-machine sound. Maybe Plastic Beach was actually recorded on an iPad, too! But, surprisingly, the music on The Fall actually has more detail. Even the idyllic acoustic guitar line in the beginning of "Hillbilly Man" is more technically and rhythmically interesting than any ballad from Plastic Beach. The best tracks are the instrumentals. The biggest stand-out is the strutting, cinematic, horn-driven "The Snake In Dallas." But the breezy synth lead in "Detroit" is adorable and gentle, and the interplay between bright keyboard background and moody minor-key organ in "Shytown" (with some vocals, but it feels like another instrumental) creates a delicate mood, thoughtful but not gloomy.

The pacing is excellent, and short as the songs are, they reveal a surprising amount of variety. "Hillbilly Man" switches gears completely from acoustic guitar to trip-hop beats, dirge-like synths and scraping noises, but the same downbeat tone persists through the entire song. "California And The Slipping Of The Sun" kicks into a pretty great techno groove, but only close to the song's end. The production (but not the composition) is fairly simplistic and one-dimensional, the instruments sound compressed and artificial, but they are often manipulated in interesting ways, for example the desolate synth-chirping in "Little Pink Plastic Bags." Somehow the garish production style matches the somber mood and the album's overall concept. Apparently, it was recorded while on tour, and it has an atmosphere of transience and impermanence, sitting in some anonymous hotel room, looking out the window onto the usual highway, city or airport views and just killing time until something happens. "Slipping Of The Sun" even has what sounds like clips from a news broadcast or PA announcement.

It'd be a miracle if there wasn't any filler. "The Joplin Spider" is blaring synth noise (that can be good, but not with this flat production), and "The Speak It Mountains" takes too long to get going, with nearly a full minute of voices repeating "it is the dawn" before any music shows up. But even those two songs aren't a total loss. "Spider" brings in more melodic keyboards in the second half for a more trance-like sound. It fades out almost immediately on arrival, but what can you do? And "Mountains," once it gets over the voices, has a very relaxing two-note synth loop. It sounds like a nice intro to a song about the dawn, which unfortunately does not show up. "Aspen Forest" is a pleasant bit, not very memorable at first, but then a cascading harp-like phrase livens up the ending.' ( amazon customer)

More Information
Condition New
Format LP
Label Warner Brothers Records
Color Black