The Sisters Of Mercy - Under The Gun

The Final Sisters post, until they release some more music (or I dig out some bootlegs) for a while. I suppose it's kinda fitting to close on their last release.

"Under the Gun" (1993) serves as a slick, high-gloss finale to The Sisters of Mercy’s studio output, famously featuring Terri Nunn of Berlin. While it captures the band's transition into a more commercial, "goth-pop" sound with its polished production and melodic hooks, it remains one of their most divisive tracks. Die-hard fans often criticise it as a "cheesy" departure from the grit of Floodland, yet others defend it as a soaring, atmospheric power ballad that expertly blends Andrew Eldritch’s baritone with Nunn’s provocative energy.

The Sisters Of Mercy - A Slight Case of Overbombing

A Slight Case of Overbombing serves as a definitive, high-octane summary of The Sisters of Mercy’s evolution from underground goth icons to masters of the "over-the-top" industrial anthem. Arranged in reverse chronological order, the compilation highlights Andrew Eldritch’s shift toward a polished, cinematic sound, anchored by the bombastic Jim Steinman-produced tracks like "This Corrosion" and the 1992 re-recording of "Temple of Love." While purists sometimes miss the raw, murky atmosphere of their earliest EPs, the album is widely praised as an essential gateway for new listeners, capturing the band’s signature blend of deep vocals, relentless drum machines, and dark, epic grandeur.

The Sisters Of Mercy - Some Boys Wander By Mistake (Bootleg)

The Some Boys Wander By Mistake bootleg is a highly regarded unofficial compilation that serves as the "missing piece" to the band's official 1992 collection, Some Girls Wander By Mistake. It is prized by fans for gathering elusive early B-sides, single versions, and rarities like "Afterhours" that were left off the official release, effectively completing the archive of the band’s raw, gothic era. Reviewers frequently note that the audio quality is exceptionally high for a bootleg, often sounding as though it were sourced directly from master tapes or pristine vinyl. Because it fills these specific discographical gaps with such professional presentation, it remains an essential, albeit unofficial, staple for serious collectors of early Sisters of Mercy material.

The Sisters Of Mercy - Some Girls Wander by Mistake

Some Girls Wander by Mistake serves as a definitive time capsule of The Sisters of Mercy’s formative years, compiling their independent EPs and singles released between 1980 and 1983. It is widely praised for capturing the band’s raw, post-punk energy and the atmospheric "gothic" gloom that established their cult status before they moved toward a more polished, commercial rock sound. While the production across tracks like "Alice," "Temple of Love," and the experimental Reptile House EP varies from primitive to cinematic, the collection is considered essential for its brooding basslines, shimmering guitars, and the debut of the iconic Doktor Avalanche drum machine. Critics generally view it as a high-water mark for the genre, offering a dark, cohesive journey through the band’s most influential early work.

The Sisters Of Mercy - BBC Sessions 1982-1984

The Sisters of Mercy's BBC Sessions 1982–1984 is a critically acclaimed 12-track compilation that officially documents the band’s formative, independent years before their major-label debut. Released physically for Record Store Day in 2021, the collection gathers three radio sessions—two with John Peel and one with David "Kid" Jensen—featuring raw, energetic versions of early classics like "Alice" and "Heartland," alongside fan-favourite covers such as Dolly Parton's "Jolene" and The Stooges' "1969". Reviewers frequently praise the release for its superior sound quality compared to historical bootlegs, with many noting that these "embryonic" takes of future hits like "Walk Away" and "No Time To Cry" offer a more intense, guitar-driven edge than their later studio counterparts. While some listeners have debated the CD's compression, the overall consensus from sites like Rate Your Music and Norman Records is that it serves as an essential archive of the band at the height of their Gothic rock influence.

The Sisters Of Mercy - Disco Thing

The 8-track digital version of the Disco Thing bootleg, often associated with fan-curated "Ultrasound" or extended remix collections, expands upon the original vinyl's limited tracklist with a focus on rare dance-floor edits and long-form versions of classic hits. While the original 7" release was noted for its poor audio quality and historic inclusion of "Jolene," this digital iteration typically features high-fidelity remixes of tracks like "Alice" (Ultrasound Extended Version), "Walk Away," "Lucretia My Reflection," and "Marian". These versions are specifically mixed to enhance the band's industrial and dance-rock elements, providing a cleaner, more bass-heavy listening experience than the notoriously lo-fi bootlegs of the 1980s. Despite being an unofficial fan release, it is highly regarded in the community for providing accessible, club-ready versions of tracks that were previously only available on obscure white labels or expensive import singles.

The Sisters Of Mercy - John Peel Session 12'' 1984

The Sisters of Mercy’s 1984 John Peel Session is a cornerstone of early gothic rock, capturing the band at their most primal and atmospheric. Recorded at the BBC's Maida Vale studios, the session features definitive versions of tracks like "Walk Away" and "No Time to Cry," characterized by Andrew Eldritch’s cavernous baritone and the driving, mechanical pulse of the Doktor Avalanche drum machine. Critics often prefer these recordings over the later First and Last and Always studio versions, as they possess a raw, "live-in-the-studio" energy and a sharp, crystalline guitar tone that defines the genre's mid-80s peak.

The Sisters Of Mercy - Body Electric 7"

The Sisters of Mercy's 1982 "Body Electric" 7-inch, backed with "Adrenochrome," is widely regarded as the "definitive moment" when the band’s signature sound—built on a harshly thumping drum machine, raw guitars, and Andrew Eldritch’s developing "manic" vocals—first coalesced. Critics at the time, including Dave McCullough of Sounds, hailed it as a "Single of the Week," describing it as a track "so loud it hurts" with an "electric persistence" that outperformed contemporary peers. While some later retrospective reviews suggest the production sounds "anemic" compared to their later, more polished work, the single is celebrated as a "coherent statement of intent" that helped define the early eighties gothic rock aesthetic. Collectors and fans also highly value the original release for its striking artwork—Francis Bacon’s Head VI drenched in red—and its release on the independent CNT label, which reflected the band’s early anarchist-leaning, DIY spirit.

The Sisters Of Mercy - The Damage Done 7'' [Bootleg]

The original 1980 7" release of The Damage Done is a raw, primitive slice of post-punk that sounds more like a clunky garage band than the polished gothic icons the Sisters would become. Clocking in with a thin, scratchy production, the title track and its B-sides ("Watch" and "Home of the Hit-Men") feature Andrew Eldritch’s vocals at a much higher, more nervous register, backed by simple, jagged guitar work. While some critics dismiss it as a "clumsy" debut, collectors and fans prize bootleg versions for their historical value, as they capture a rare moment of unrefined energy before the band adopted their signature drum-machine-heavy, baritone-driven sound.

The Sisters Of Mercy - Good Things

Last one, I promise! The last of the bootleg compilations, this time live recordings from all over Europe, and beyond. What’s the difference you ask? Good Things has only unreleased tracks played live but as yet (come on, you gotta dream a little) to be committed to disc. The live tracks come from gigs dating back to 1997 and up to 2009 with the aim of getting the best recording of each track. Highlights on this bootleg are the “Official” version of (We Are The Same) Susanne, Summer and their version of Kylie’s Confide In Me from London in 1997, which was one of the weirdest live covers since Gimme, Gimme, Gimme back in ’84! I digress, but with good reason, because Good Things shows that there are still new songs in the practice room that T’Sisters roll out live for a couple of tours knowing that their live repertoire was being traded across the world and the new songs were being heard by their fans. 

The Sisters Of Mercy - Vision Thing [Expanded]

I have a feeling this one is going to get me into trouble, but hear me out, OK?

The debut Sisters album First And Last And Always is put simply the greatest goth album in existence. That said I still prefer Floodland as a complete work, even though FALAA is clearly the better and more influential album.

So let’s briefly talk about Floodland, the first album Andrew Eldritch put out after the departure of Wayne Hussey and Craig Adams to form The Mission. It's just a spellbinding piece of work that succeeds not only as a dance single generator with "Dominion/Mother Russia, "Lucretia, My Reflection," and of course and forever "This Corrosion," but also a driving narrative opus that moves along magically throughout its length.

That's what Floodland was in 1987. Then Eldritch, ever the monomaniac, fired a bunch of people and hired a new bunch of people to birth Vision Thing in 1990. Of the three Sisters albums it remains the worst, at least until Uncle Andy finally stops pouting at the recording industry and gives us the album for which we've been waiting for nearly 40 years and can in no way live up to expectations.

On the surface, Vision Thing is great. It's certainly listenable. As a singles generator, it's better than Floodland. However, once you peel back the surface you realize that the album is completely empty. The lyrics are just a random collection of political buzzwords meant to invoke emotions without having any real substance behind them at all. Andrew Eldritch invented the obnoxious political meme before the internet even happened. "Detonation Boulevard," "Dr. Jeep," try to capture the turmoil that was really going on in the world at the time, with driving guitar lines and a more industrial sound, but the feeling just isn't there. Every time I hear Vision Thing all I can do is shake my head and wonder why a man so possessed of such singular dark brilliance would stop here.

In the end, Vision Thing has none of the majesty that marked the beginning of The Sisters. It's almost petulant, and a poor note to go out on.

Two x CD Singles by The Sisters Of Mercy

Hello my trusted followers, friends, lurkers and anonymous readers. It's me, AJ, the sexy one with the great boobs on your left, and I'd like to introduce you to the best part of the day that I'm randomly continuing through 2026. Singles. While I'm concentrating my efforts to re-up as much of "Themes" as possible, I'm also now posting new stuff as well. These two singles by T'Sisters haven't been on here before, but because they compliment the Vision Thing post, then why not. Hopefully in the future you won't notice the difference between old and new posts.

The Sisters Of Mercy - This Corrosion 12''

Something incredible appeared on the internet just a little over eight years ago: Andrew Liles of Nurse With Wound marked the 30th anniversary of The Sisters Of Mercy classic 'This Corrosion' by creating a 30 minute extended edit of the track, which you can listen to via Mixcloud below.

https://www.mixcloud.com/andrewowenliles/30-minutes-of-this-corrosion-corroding-for-30-years/

Writing about the track, Liles said: "Hey Now, Hey Now Now... My lifelong obsession with The Sisters of Mercy continues, often to the point of exasperation for those around me. I've got nothing to say I ain't said before… but I will probably say it all again. 'This Corrosion' was 30 years old on 18th (or the 20th according to certain sources) September 2017. Thus, I continue my adhoc series of massive extensions of classic tracks. Make of it what you will."

The Sisters Of Mercy - Floodland

Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this Silver Label LP improves the record’s splendid dynamic contrasts, low-end thrust, expansive dimensionality, and moody atmospherics. Steinman’s unforgettable sonic contributions finally receive proper due in the form of towering choruses and operatic heft. The group’s signature epic “This Corrosion,” described by Eldritch as a narrative about “power in the face of misery,” sounds downright staggering, with an awe-inspiring performance by the New York Chorale Society and blooming classicism.

Mobile Fidelity's all-analogue remastering of Floodland is a must hear thanks to their audiophile technique. Listen out for mix variations unique to this pressing!

The Sisters Of Mercy emerged from a brief hiatus and lineup overhaul in spectacularly grand fashion on Floodland, an epic album that stands as the group’s commercial breakthrough as well as one of the period’s monumental productions. Having witnessed his bandmates leave, singer Andrew Eldritch recruited bassist Patricia Morrison, utilized a ground breaking drum machine, and hooked up with Meat Loaf collaborator Jim Steinman to attain a glorious, bombastic, and irrepressible marriage of gothic rock and sumptuous balladry.

Throughout, The Sisters Of Mercy traverse myriad styles in breaking down goth-rock conventions. As on the band’s noisier debut First And Last And Always, brooding emotions, nocturnal episodes, and dim sentiments gloss over the song writing. Yet there’s a colossal amplification of evocative spirituality, delicate accents and anthemic riffs that combine with funky drum-machine beats and visceral tension to yield music that dares listeners not to dance and/or lift their hands skyward.
Rhythms play as large a role as the leader’s trademark stentorian vocals, with thundering grooves and crashing percussion illuminating incisive lyrics and industrial-tinted scenery. Whether felt via the dramatic waves of “Lucretia My Reflection,” balladic sweep of “1959,” or charging protest of “Dominion/Mother Russia,” Floodland is a touchstone, topped off by iconic cover art that fits in with today’s vampire-obsessed society as well as it did upon release in 1987.

The Sisters Of Mercy - No Time To Cry 12''

Released in March 1985, The Sisters of Mercy's "No Time to Cry" 12-inch single is a standout, high-energy track from the First and Last and Always era, featuring a distinctive, furious snare pattern and layered vocals. It was hailed as a potential mainstream breakthrough with a "slime-rock" edge, characterized by Andrew Eldritch's deep vocals and intense, dark atmosphere, despite only reaching #63 on the UK charts. 

'No Time To Cry' was The Sisters of Mercy's single No. 9, released in advance of their first studio album First And Last And Always and was released on 8 March 1985, 40 years ago! While the previous advanced First Last And Always single ‘Walk Away’ managed to penetrate the UK single charts to the 45th position, ‘No Time To Cry’ got stuck at the 63rd place. The appearance of Craig Adams on this release is questioned, especially on Blood Money and Bury Me Deep. Rumor has it that the bass lines were programmed on the Doktor, as Adams supposedly was reluctant to participate in their recording.

The Sisters Of Mercy - First And Last And Always

The template for all goth-rock records that followed, The Sisters of Mercy’s First And Last And Always stands as one of the (if not the most) influential albums of its kind ever released. Distinguished by Andrew Eldritch’s ghostly singing, which gives the impression of hearing a forlorn ghoul croon from a foggy English graveyard, the 1985 set is drenched in gloom, claustrophobia, black humour, and dance-ready beats that provide exhilarating contrasts. Fans of the Cure, Depeche Mode, Love and Rockets, Peter Murphy, mid-period Nick Cave, and Joy Division will find it to be a new favourite record if they haven’t already got a copy.
Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents First And Last And Always with a fuller, richer sound that positively obliterates the thin, feeble sonic perspectives that have limited the music until now. Every aspect from Eldritch’s haunting singing to the group’s jangling guitars and prancing bass lines finally gain genuine definition. Yet what’s most improved is the sense of atmosphere: The Sisters of Mercy revel in painting tone poems, where the feel and effect are as essential as the notes that are played. This is now an atmospheric tour de force.

Ever since its release, First And Last And Always has been aptly shrouded in mythology. Eldritch pushed the envelope during the recording sessions, literally walking into walls and repeatedly unable to maintain his focus. Strung out on amphetamines, dazed by days of no sleep, upset by a recent breakup, and eating little, the vocalist channelled his discord into sombre lyrics and brooding singing. He’s framed by pulsing albeit lean, spare rhythms, patient tempos, and the clatter of a programmed drum machine that, in spite of its mechanical operation, sounds strangely organic. The songs evoke wet dungeons, walls-closing-in paranoia, and late-night strolls amidst the U.K.’s mysterious underground.
Despite its overall dark character, the records arrangements value spaciousness, putting a premium on room and minimalism that makes each note count. As a result, twinkling pianos and keyboards parallel steel-cutting guitars and low-tuned bass lines that, in combination with Eldrtich’s baritone, suggest glimmers of hope among the decay. Songs such as the shaking “Possession,” dramatic “Some Kind of Stranger,” and desperate “Marian” remain models of the gothic and post-punk disciplines more than 25 years after their debut. It’s no surprise that, given all of the tension and personality that infuse the album, The Sisters of Mercy disbanded just months after its release.
"The lead track, “Black Planet,” showcases the new remastering to full effect. The song features an all-encompassing bass rhythm that, with every strike, infects the tune like mustard gas unleashed in a trench. On a poor master, the bass would threaten to suffocate the rest of the arrangement. But Mobile Fidelity keeps it in check with a distinct, sparkling, upper-mid sensitive guitar; the bass merrily sits on the edge of the soundstage."
--Paul Rigby, TONE Audio, Issue 38, June 2011

It’s unlikely that any goth-rock album has ever sounded this good. This MoFi Silver Label LP will turn your room into rainy, dreary England, circa 1985, and expose you to one of the most harrowing vocal performances on record.

The Sisters Of Mercy - The Garden Of Delight

What we have here is a fairly recent Australian CD bootleg from 2015. There are some 100 vinyl versions of this around with an unknown number of CD’s. The disc consists of some already known 1984 demos similar to the Australian “Victims Of Circumstance” bootleg versions. The beauty of this bootleg is the demos have allegedly had a "remaster" so they sound sharper than the old tapes. I don’t have any old tapes to confirm this, but the sound quality on this CD is pretty good, considering its source material. So if you want to hear First & Last & Always with Marianne lyrics and Gary Marx singing, or Garden of Delight with Eldritch singing, dive in.

The Sisters Of Mercy - The Last Magician Of Rational Thought

In December 1984, Andrew Eldritch travelled to Germany to attempt to remix The Sisters Of Mercy’s forthcoming album, First And Last And Always, with seasoned producer Reinhold Mack at Giorgio Moroder’s Musicland Studios in Munich. Alas, Eldritch wasn’t pleased with the results so the job was called off but that didn’t stop a number of Mack’s mixes from circulating at WEA on in-house cassettes, one of Mack’s mixes even made it on to the album’s American LP promo. An unmarked copy of the 11 January 1985 in-house cassette  – containing a selection of Mack and Eldritch’s remixes – made its way to the Phantom Twins, who were engaged in releasing “interesting and quality recordings by The Sisters Of Mercy which are unavailable through Merciful Release” on their Palazzograssi label. Four of the tape’s tracks were chosen to comprise their fourth release, The Last Magician Of Rational Thought. It contains three Mack mixes (“No Time To Cry”, “First And Last And Always”, and “A Rock And A Hard Place”) and one Eldritch mix (“Walk Away”), none of which feature on the finished album.

I tracked down a copy of this important Sisters artefact to needledrop as the other transfers I’ve heard have been fairly poor sounding. My copy is in VG+ condition, and the transfer is very listenable, providing a good insight into these alternate mixes. For the sake of completeness, I have included Mack’s mix of “Walk Away” (absent from the Palazzograssi record), which I transferred from the American LP promo (1985, ST-E-60405-1).

The Sisters Of Mercy - Alice 12''

After the release of ‘Alice’ in November 1982, The Sisters of Mercy entered their first golden age. It lasted 12 glorious months.

That year was strewn with brilliant singles, EP's and legendary live shows. By the end of it, they stood as one of Britain’s premier independent bands, with a nationwide hardcore following and were ready to make the transition to rock stardom. The Sisters were already cloaked in a powerful mystique that intersected with some of the mythic nodes of rock: the NYC of The Velvets, Suicide and The Ramones; the Detroit of the MC5 and The Stooges; and the LA of The Doors.

Yet, this unlikely ascent was incubated in a nondescript semi-detached house in an area of north-west Leeds better known for its high concentration of students and takeaways than rock action.

Leeds (one of the least lauded cities with a post-punk scene) was at the time being laid waste by the pyroclastic cloud of Thatcherism. It had places for bands to play, but it didn’t have a decent recording studio. So The Sisters made their records in Bridlington, a Yorkshire resort town, in an 8-track studio near the seafront.

Nor did Leeds even have a record label. So The Sisters started their own and ran it as a cottage industry out of that self-same semi.

Yet, The Sisters remained steadfastly a Leeds band during their golden year, even as they outgrew the city that had birthed and nurtured them. The bond between band and city were unshakeable. For all its shortcomings, Leeds made The Sisters.

And their own shortcomings made The Sisters too. When things did click during 1982 and 1983, they were operating on a shoestring budget and with limited musical ability. Their equipment was primitive (sometimes borrowed, sometimes home-made, often junk) and playing their own repertoire properly was often a stretch for them.

The Sisters Of Mercy - Temple Of Love '92 (Touched By The Hand Of Ofra Haza)

If there was ever a more iconic Sisters track, one you instantly recognise as, Oh that’s the Sisters, this is most probably it. As I briefly alluded to yesterday, there are TWO versions of this track (yes I know you know that, but for those who weren’t born in the early 90’s…) and they are continually argued over by the 80’s trad Goths and everyone else, as to which is the better version. Because I posted the Sisters earliest recordings last night with the original version of Temple Of Love, I thought it only fair to pop a quick single post up today with the 1992 re-recorded version featuring the late Ofra Haza on “additional” vocals. Now I love both, and to all those who I offended back in 1992 because I loved both, fuck you! Music is supposed to evolve and the ’92 version is natural evolution from a wholly different band than the band of ’83. It’s as much a reinterpretation as a cover version as a copy of the original.