The Only Truth
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| “The Only Truth” | |||||
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| Single by Paul Haig from the album The Warp Of Pure Fun |
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| Released | 1984 | ||||
| Format | 7"/12" | ||||
| Recorded | 1984 | ||||
| Genre | Synth Pop | ||||
| Label | Les Disques Du Crepuscule | ||||
| Writer(s) | Paul Haig, Martin Rev & Alan Vega (Ghost Rider) | ||||
| Producer | Paul Haig, Bernard Sumner, Donald Johnson | ||||
| Paul Haig singles chronology | |||||
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The Only Truth was Paul Haig's seventh solo single. It was released in the UK on Island Records licenced through Les Disques Du Crepuscule.
The track was co-produced by New Order's Bernard Sumner (BMusic) and Donald Johnson (DoJo) from A Certain Ratio. The b-side features a cover of Suicide's Ghost Rider. This was also used as a b-side to his previous single, Big Blue World.
In mainland Europe the single was released on Les Disques Du Crepuscule.
The Only Truth was included on Haig's 1985 album, The Warp Of Pure Fun.
In 2006, indie artist Gnac used the Belgian sleeve for their album, Twelve Sidelong Glances. As with many sleeves on Les Disques Du Crepuscule the artwork was designed by Beniot Hennebert.
[edit] Track Listing
- The Only Truth
- The Only Truth (Instrumental)
- Ghost Rider
[edit] Reviews
The Only Truth, Melody Maker, 6 October 1984
What on earth has happened to the great man? This displays none of his distinctly quirky trademarks, none of the spice we've been promised. Sporting a newly effete vocal style, Paul warbles a tune that's a second-rate synthesis of Heaven 17 and Fiat Lux. Not even his most ardent Maker champions could pretend to salvage any weight from his asinine drivel. For kill-or-cure remedy I'd prescribe two hours of Jimi Hendrix and a pint of Guinness to be taken twice daily, before meals.
The Only Truth, NME, 13 October 1984
Haig's record, contrarily, is the only British single this week that deserves it's 12 inches. Instead of sketching shapes of impossible grandeur, he seems to loop the sounds around his fists and drive the music around a continuous one-two punch. As it surges on past the vocal into a coda of thrilling complexity, sensations of urgency and compulsion sweep out of the record with out any discomfort. The 'only truth' seems to be whatever it is that's sung, so there's no empty blab to get in the way either. Not many have used these exhausted dance accents with such purpose. Check the flip for a version of Suicide's Ghost Rider and try and find his equally propulsive import of Big Blue World.
