Tracklist
1 | TrueFaith-94 (Radio Edit) | 4:30 | |
2 | TrueFaith-94 (Perfecto Radio Edit) | 4:06 | |
3 | TrueFaith-94 (Perfecto Mix) | 6:26 | |
4 | TrueFaith-94 | 5:35 | |
5 | TrueFaith-94 (The TWA Grim Up North Mix) | 6:11 |
Companies, etc.
- Phonographic Copyright ℗ – London Records 90 Ltd.
- Copyright © – London Records 90 Ltd.
- Marketed By – Barclay
- Marketed By – Metronome Musik GmbH
- Designed At – Thomas Manss & Company
- Made By – PDO, UK – 10325341
Credits
- Art Direction – Peter Saville (2)
- CGI Artist [Digital Imaging By] – Martin Orpen
- Design [Designed By] – Howard Wakefield
- Photography By – Trevor Key
- Producer [Produced By] – Stephen Hague
- Written-By, Producer [Originally Produced By] – Stephen Hague
Notes
Inlay:
Mix5 additional production and remix by TWA - P. Fryer, P. Dillon & N. Raphael.
TrueFaith-94, taken from the forthcoming album, 'The best of NewOrder' CD 8285802, MC 8285804, LP 8285801.
Designed at Thomas Manss & Company.
℗ 1994 London Records 90 Ltd. © 1994 London Records 90 Ltd. The copyright in this sound recording is owned by London Records 90 Ltd. Marketed in by Barclay & in by Metronome Musik GmbH.
Disc:
℗ 1994 London Records 90 Ltd © 1994 London Records 90 Ltd
_
Packaging:
J-card case.
Insert: 4- J-card, color print exterior, no print interior.
CD: black print.
Some copies have a "Made in Great Britain" sticker affixed to the case.
Track durations are not printed on the release.
Mix5 additional production and remix by TWA - P. Fryer, P. Dillon & N. Raphael.
TrueFaith-94, taken from the forthcoming album, 'The best of NewOrder' CD 8285802, MC 8285804, LP 8285801.
Designed at Thomas Manss & Company.
℗ 1994 London Records 90 Ltd. © 1994 London Records 90 Ltd. The copyright in this sound recording is owned by London Records 90 Ltd. Marketed in by Barclay & in by Metronome Musik GmbH.
Disc:
℗ 1994 London Records 90 Ltd © 1994 London Records 90 Ltd
_
Packaging:
J-card case.
Insert: 4- J-card, color print exterior, no print interior.
CD: black print.
Some copies have a "Made in Great Britain" sticker affixed to the case.
Track durations are not printed on the release.
Barcode and Other Identifiers
- Barcode (Printed): 0 42285 78652 1
- Barcode (Scanned): 042285786521
- Rights Society: BIEM STEMRA
- Label Code: LC 7654
- Price Code: BA 940
- Matrix / Runout: NUOCD5 10325341 01 & MADE IN U.K. BY PDO
- Mould SID Code (Variant 1): IFPI 0408
- Mould SID Code (Variant 2): IFPI 0451
- Mould SID Code (Variant 3): IFPI 0453
- Mould SID Code (Variant 4): IFPI 0454
- Mould SID Code (Variant 5): none
- Mould SID Code (Variant 6): IFPI 0452
- Mould SID Code (Variant 7): IFPI 0404
Other Versions (5 of 107)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
---|---|---|---|---|---|---|---|
True Faith / 1963 (7", 45 RPM, Single) | Factory | Fac 183/7, Fac 183 | UK | 1987 | |||
True Faith / 1963 (12", 45 RPM, Single) | Factory | Fac 183 | UK | 1987 | |||
True Faith Remix (12", 45 RPM, Single) | Factory | Fac 183R | UK | 1987 | |||
True Faith / 1963 (12", 33 ⅓ RPM, Maxi-Single, ARC Pressing) | Qwest Records | 0 - 20733, 9 20733-0 | US | 1987 | |||
True Faith (CD, Single, Promo) | Qwest Records | PRO-CD-2899 | US | 1987 |
Recommendations
Reviews
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As a 57 year old, there are some remixers who get it right. Most get it badly wrong. Paul Oakenfold remixes seem to have aged very well. Arthur Baker stands out too
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As a working DJ these mixes all stand up to the test of time and on a good club system still rock a crowd. Can fully understand why some dislike the re-rub asa concept but for serious club play its job done. Quite like the TWA mixes time has gone by]
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Edited 19 years agoMuch like when George Lucas 'cleaned up' Star Wars, this single demonstrates exactly why a producer should never be allowed to go back and 'fix' something that wasn't broken. The original mix of 'True Faith', while being New Order's most radio-friendly pop song to date, was a thick and somewhat sinister (beneath the surface) 5-and-half minute symphony for getting lost in. As released on Substance, it did sport some tape hiss, a few dropouts, one noticeable mastering glitch in the intro, and relatively flat, vinyl-targeted mastering as was common in the early days of CDs. However, years later, it still held up as an exquisitely dressed pop song, almost shoegaze-like with its churning, drum machine-underpinned wall of fuzzy, yet tonal sound. For the 1994 re-release of the single in advance of a 'Best Of' album, original co-producer Stephen Hague brought in Mike 'Spike' Drake to help re-engineer the song. The results were stunning. Not content merely remaster the track, the pair worked hard on all kinds of things: the stereo separation in the chorus effects was reduced, all the other reverb was cut by half or more, the vocals were mixed a little louder and much clearer, sibilants were no longer allowed to leave sustained echo trails, the drums were made slightly more dynamic, and all of the instruments are more distinct -- in other words, the unique dreamy, moody trappings of the original were stripped and tossed in the rubbish bin, leaving behind a naked, unremarkable pop song that would rise to #9 on the (evermore easily-climbed) UK pop chart, nearly eclipsing the original's #4 showing some seven years earlier.
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