NOTES

This reissue has a few minor differences from the original release. The cover is identical to the black issue, even down to the contact details for the OMD song book on the rear, but the new catalogue number has been added to the credits.

The inner sleeve lists the range of reissued Virgin albums at that point in time while the labels are the generic red/green labels that featured on most Virgin reissues.

'Enola Gay' was the only single released from the album.

'VCLXI' was the name of Andy and Paul's early experimental partnership. The title actually comes from a number on a valve that features on the reverse of the sleeve for Kraftwerk's album Radio-Activity.

'Motion And Heart' was briefly considered as a possible second single and the band subsequently recorded a new version at Amazon Studios, Liverpool. This version featured on the B-side of 'Souvenir'.

The lyrics in 'Statues' are partially about Ian Curtis, the lead singer of Joy Division who died in May 1980. OMD had played with Joy Division at early concerts and the band's melancholic tunes had a profound effect during the recording of Organisation.

'The Misunderstanding' was an early song that dated back to OMD's former incarnation as The Id.

'The More I See You' is a cover version of a song originally sung by Dick Hayes in the 1945 film Billy Rose's Diamond Horseshoe but was also a 60s hit for Chris Montez. OMD's version actually started out as a separate song but then Andy began singing the lyrics to 'The More I See You' over the top and decided that they complemented each other.

'Promise' marked Paul Humphreys' debut as lead vocalist on a song he had also written himself.

'Stanlow' is actually the name of an oil refinery located on the Wirral peninsula at Ellesmere Port. As well as Andy's father and sister both working there, the breathtaking view of the refinery lit up at night was a welcome sight to the band when coming home from tours. The rhythmic intro is actually one of the diesel pumps at Stanlow recorded by Andy himself.

TRIVIA

The sleeve depicts a moody landscape scene. This was chosen by Peter Saville from a photo library and was picked to reflect the melancholic tone of the album.