A Walk Across The Rooftops

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Complicating matters further still – on top of visits, Malcolm reveals, by The Krankies’ “magnificent and inspiring” producer, Peter Kerr, who would drop in “encouraging us and offering sage advice on ‘the business’ of the record business!” – samplers were still a luxury, so every unfamiliar sound on the record had to be played and recorded, then painstakingly edited on tape, while “each drum part,” Malcolm stresses, “had to be manually sync’d by hitting a button on Paul’s box in time.” Roberts, David, ed. (2006). Guinness Book of British Hit Singles & Albums (19thed.). London, England: Guinness World Records Ltd. p.66. ISBN 978-1-904994-10-7.

a b White, Timothy (20 April 1996). "The Blue Nile: A Separate 'Peace' ". Billboard. Vol.108, no.16. New York City, USA: Nielsen Company. p.5. Roberts, Chris (21 November 2012). "Review: The Blue Nile – A Walk Across the Rooftops Collector's Edition". BBC Music . Retrieved 12 April 2013.Evans, Paul (1992). "The Blue Nile". In DeCurtis, Anthony; Henke, James; George-Warren, Holly (eds.). The Rolling Stone Album Guide (3rded.). Random House. p.70. ISBN 0-679-73729-4. Boyhood friends Paul Buchanan and Robert Bell grew up in Glasgow, Scotland and started The Blue Nile in 1981. The two had both attended the University of Glasgow where Buchanan earned a degree in Literature and Medieval History and Bell a degree in Mathematics. Buchanan’s father was a semi professional musician and Paul grew up surrounded by music but only thought of creating a band after finishing college. It was in college that Buchanan and Bell met and befriended the third member of their band, Paul Joseph Moore. Moore had a degree in electronics from The University of Glasgow and had been playing around with synthesizers throughout his college career. The trio formed McIntyre the first incarnation of their band shortly after graduation and had planned to recruit more members. It’s like a miracle that has been turned into a marketing factor. I’m absolutely dumbfounded by it. Every record should be compared to silence – silence is perfect, what are you going to put on it?”

Brown, Allan (15 November 2012). "Easy does it for The Blue Nile". The Scotsman. Edinburgh, Scotland: Johnston Press . Retrieved 4 April 2013. That A Walk Across The Rooftops began its commercial life in humble fashion is fitting, because it’s obsessed with minutiae.

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Selling Out": A Premiere and Interview with Duncan Sheik, Plus Introducing Darlingside, and Exclusives by Jaye Bartell and Hugh Cornwell". HuffPost. 18 September 2015 . Retrieved 1 January 2022. a b Mason, Stewart. " A Walk Across the Rooftops – The Blue Nile". AllMusic . Retrieved 16 December 2016. Wallace, Wyndham (December 2019). "The Blue Nile: A Walk Across the Rooftops / Hats / Peace at Last". Classic Pop. No.59. p.87. Dolan, Karen J. (October 1985). "The Blue Nile: A Walk Across the Rooftops". Spin. Vol.1, no.6. p.31 . Retrieved 7 January 2022.

Harrison, Ian (January 2013). "The Blue Nile: A Walk Across the Rooftops / Hats". Q. No.318. p.117. Everyone knew instinctively what the shape and atmosphere of the album should be, but without really knowing how to do it. So we worked hard at that, what colour sounds should be, and we knew when it was right. I don’t think they were slow at all; plenty of artists take far longer to make records.” We wanted to take it slowly and have a result worth listening to,” Bell nevertheless told Melody Maker, while Buchanan advised NME’s Richard Cook around the same time that, “Our way is just to persevere, working 16 hoursa b c d e f g Thomson, Graeme (January 2013). "River of No Return". Uncut. London, England: IPC Media: 56–60.