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Seven Types Of Ambiguity banner. Discography

Singles

  • Good Technology ⁄ Hearbeat Go! Love Dub
    SELF DRIVE RECORDS SD006 - 7" - 24th June 1983
  • Fact Dive (Live)
    SELF DRIVE RECORDS SD007 - 7" - November 1983
  • Good Technology Fact Paris France
    SELF DRIVE RECORDS SD008 - 12" - January 1984
  • Good Technology Paris France
    SELF DRIVE RECORDS SD009 - 7" - May 1984
  • Steeltown Within 4 Walls
    SELF DRIVE RECORDS SCAR010 - 7" - 22nd June 1984
  • Steeltown Extended Version Within 4 Walls Extended Version
    SELF DRIVE RECORDS SCAR010T - 12" - 22nd June 1984
  • Marimba Jive ⁄ Heartbeat Go!
    SELF DRIVE RECORDS SCAR014 - 7" - September 1984
  • Marimba Jive Extended Survival Mix
    Heartbeat Go! Extended ‘Pinky-Work’ Mix
    SELF DRIVE RECORDS SCAR014T - 12" - September 1984

Albums

  • Slow To Fade
    SELF DRIVE RECORDS SCAR LP1 - October 1984

    Side 1: Remote Control ⁄ DiveAstronomy ⁄ Cloak and Dagger ⁄ Crocodile Tears.
    Side 2: Shaken Not Stirred ⁄ Sting In The TaleMarimba JiveSlow To Fade.

  • Seven Types Of Ambiguity (The BBC Sessions)
    RPM RECORDS RPM 109 - 1993

    Paris FranceFactDiveMarimba JiveSting In The Tale ⁄ Slow To Fade ⁄ Steeltown ⁄ Heartbeat Go! ⁄ Within Four WallsCrocodile Tears ⁄ Remote Control ⁄ Shaken Not Stirred ⁄ Astronomy ⁄ Seven Types Of Ambiguity ⁄ Jamaican Homecoming ⁄ Good Technology Be With Me ⁄ Clean Up ⁄ Age Of Swing ⁄ Train's On Time


  • Slow To Fade plus six bonus tracks
    CHERRY RED RECORDS CDMRED 219 - 2002

    Remote Control ⁄ DiveAstronomy ⁄ Cloak and Dagger ⁄ Crocodile Tears
    Shaken Not Stirred ⁄ Sting In The TaleMarimba JiveSlow To FadeGood TechnologyFactParis FranceSteeltownWithin Four Walls ⁄ Heartbeat Go!
 
 
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In Crocodile Tears lead guitarist Hallam Lewis plays the fleet-fingered sabateur behind Jeremy Kidd's dry lyric...
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Adam Sweeting in the Melody Maker on 24/11/84.
Start quote.
 Via one delicious melody and an ominously building beat, Red Guitars itemise the sundry achievements of modern science, from underarm personal hygiene to the hardware of instant Armageddon. In so doing, the song constructs an unforgettable vision of a world that's grown too clever by one-and-a-half at least.
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Paul Du Noyer reviewing Good Technology in the NME on 27/08/83.