Album Details

Digitally Remastered and Updated Collection of the Best of the New Wave Duo's Hits Released in Conjunction with their 2002 Reunion. Includes a New Remix of 'tainted Love' and an Almighty Mix of 'say Hello Wave Goodbye'. ... Read more

Reviews (5)

An almost perfect compilation!
Great to hear all these tracks again now that they've been fully remastered. The sound is much improved but, I only wish they had included the tracks from their very first single "Mutant Moments".

I'm not a big fan of remixes of old records.
But, an exception must be made for the (Electronic Drum & Bass-styled) 2XS remix of "Tainted Love". Which somehow manages to update but, not spoil the original magic. Whereas Marilyn Manson's take on the song is slow. This version is faster than the original! I read in a Dave Ball interview that they personally asked them to remix this and loved the results. Always nice to know whether the artist approves i think. Buy without doubt.

DECADENT ELECTRONIC CABARET
The early 1980s saw the emergence of the synth duo in the form of Yazoo, OMD, Eurythmics and Soft Cell amongst others, following in the footsteps of the 1970s synth pioneers like Kraftwerk, Suicide, Gary Numan and Daniel Miller's The Normal. Yazoo had soulful vocals, OMD made spacey, almost classical music, Eurythmics changed their approach with every album and Soft Cell had a certain air of dramatic decadence. (It's not hard to picture Marc Almond as a latterday Joel Grey in a 1980s synth cabaret). This superb collection of melodic songs includes two versions of their stunning hits Tainted Love and Say Hello Wave Goodbye. My other favourites are the catchy What?, Memorabilia and their lovely interpretation of Where Did Our Love Go? Marc Almond's voice doesn't have the widest range but the interplay between the vocals and the synths are always innovative. This hits collection is consistently enjoyable while some of their individual albums had lots of filler material, so this is truly the best and a fantastic listening experience.

Someone Had A Great Idea
The new mix of Tainted Love has the electronic drum sound of modern deejay mixes. It then seamlessly becomes Where Did Our Love Go which has the same key and tempo as Tainted Love.

It couldn't get any better
Soft Cell is easily the best band of the 80s, and Marc Almond is quite possibly the best performer of the 90s. And hey, with the recent reuniting of the band, Soft Cell may go on to be the best band of the 21st century.

Ranging from synth-pop to dark jazz, every song touches a deep mark of sadness, and each song, along with the entire compilation....
...is fabulous.

THE BEST SOFT CELL COMPILATION
At least a decent CD compilation for Soft Cell. The first to come was in the mid-eighties and was only eleven tracks that hasn't anything special apart from having the single version of 'TORCH'.

The second compilation 'Memorabilia' presented very decent updated versions of the same song with some other tracks of Marc Almond's solo career. A nice album but almost no original version included here.

This CD is released at the same time as the new 2002 Soft Cell Tour and a few months before the new expected album due later in September. It comes with two new tracks with the same charm as 'Tainted Love' or 'Bedsitter' (I particularly enjoy 'Divided Soul') and two forgettable remixes that doesn't dismiss the quality of this CD.

HIGHLY RECOMMENDED. ... Read more

Reviews (4)

One of Music's Finest Hours.
Not often, but once in a great while, a truly fabulous work of art is created. It is not a feat that is only achieved by artists who are known to be great; as evidenced by The The's "Mind Bomb", it is sometimes done by artists who are little known at all.

Ranking very near, if not at the top, of the greatest albums of the Modern Rock era, 1989's "Mind Bomb" is not merely a collection of eight songs, but a seamless, flowing journey through the darkness and light of the human condition. Matt Johnson, an emotive vocalist and lyricist at his worst, shows here that he can reach deep into his own soul to retrieve and give voice to sentiments and suspicions that are rarely touched upon in polite company, but are commonly held by many. The objective of the album, achieved completely, is the taboo act of tearing away the shrouds that guard religeon, race, sex, society, and love. The whole world is laid bare at your feet in "Mind Bomb", a testimony to the desperation and cynicism that people enforce upon themselves in order to rise above nature. It is at first not an easy listen, but one which will eventually become a part of the listener's being; that is, if he or she is sympathetic to the cause of finding some shred of meaning in life.

While the star of this show might not be a household name among those who were fortunate enough to grow up in the amazing alternative rock culture of the late eighties and early nineties, one of the supporting actors certainly is. Johnny Marr, former guitarist of The Smiths, is far more in the background here than in the places we know him best, even appropriately adding background vocals to his repertoire of enormous musical talent. Only in the one song co-written by Johnson and himself, "Gravitate to Me", is any sign of Marr's signature guitar style obvious and near the forefront. That is not to take anything away from his contributions to the work as a whole - quite to the contrary; they are ever present, only very different from what we have come to expect. Moreover, the music of "Mind Bomb" is symphonic in nature, and not centered on the guitar-as-primary-instrument. Far more prominent are sounds which do not typify the everyday music of that time, or in truth, anytime.

Point in fact, Mark Feltham's harmonica and Wix's piano and organ contributions create the ambience that defines this album's feel. There are also horns and strings, shadowy vocals both evil and ethereal, odd percussions... all special and necessary, lent by almost innumerable guest artists. David Palmer's drums are as polished and perfect as could be, not generally dictating the meter of the music - but instead adding punctuation to the poetry of the arrangements. James Eller's bass brings elements of warmth and simplicity which balance well against the occasional harshness of both the music and the message. Together, they all speak as one.

Of course, it cannot go without mention that Sinead O'Connor performs a haunting duet with Mr. Johnson in "Kingdom of Rain", which is the last scene in the first act of a two act play; meaning it is the song that would in another time have been called "the last song on side one". A gentle comedown from the fear and anger of the first three tracks, it is our resigned introduction to sadness through the broken dream of dying love. The song though, excellent as it is, is not the standout. All tracks are standouts here; all are equal to the album, and form together the essence of a story.

After over a decade of consideration, I am still grappling to understand exactly what that story is; that is, in my opinion, the true genius of "Mind Bomb", beyond the music itself. After listening to it in it's entirety what I would estimate to be about 3500 times, I am still fascinated by it. It is aptly named. Perhaps there is nothing more than essence, maybe no story to tell at all. But few albums make the listener perceive one in the way this one does. I won't make any suggestions regarding what I believe that story to be - every person should be entitled to their own. But do listen, and find it. It is life changing and profound, while still sounding new after fourteen years.

In summary, The The's "Mind Bomb" to me represents one of music's finest hours. Standing shoulder to shoulder with the towering Modern Rock works of that period, like U2's "The Joshua Tree", The Cure's "Disintegration", The Red Hot Chili Peppers' "Blood Sugar Sex Magick" or Nine Inch Nails' "Pretty Hate Machine", it is one of those albums you simply MUST own. When ultimately I die, it will be one of the CD's(?) that play in perpetuity in my mausoleum; I could never find peace without this music.

Thanks for reading - Love to All.

K

Mind Bomb
Still, in my opinion, Matt Johnson's finest album without doubt. The opening track "good morning beautiful" is one of the best rock tracks ever made by any band.
The hard driving bass and drums, and soaring guitar of Johnny Marr are a perfect foil for Matt's "only too true" lyrics, that are now more relevant than when it was written back in 1989. The album goes on to discuss the social condition of humanity, religion and love with a clarity and eye for our weaknesses and hypocracy that is truely "mind blowing".
The mood of "shining a light" on the human condition is consistant throughout and delivers some of the most amazingly prophetic - "Armageddon Days", and genuinely beautiful - "Kingdom of Rain" (a duet with Sinead O'Connor) tracks you will ever hear.

After the events of 9/11 it seems a more relevant record now than when it was released, and the finest of production values used in the recoding ensure its quality hasn't dated at all.

One of the most lyrically insightfull albums ever, and a "must have" for any lover good solid rock music.

Aptly-titled album!
This truly is a Mind Bomb. Matt Johnson's powerful lyrics and Johnny Marr's ambient guitar are an unbelievable combination. Johnson has much to say about about politics, religion, love, and lust - and the music perfectly complements the messages.

One of my favorite all-time albums.

Still waters run deep
When Matt Johnson penned these songs in 1988 did he have an inkling how relevant they would be 13 years later? This album starts out with a Muezzin calling Muslims out to prayer and has repeated themes of the conflicts between the world's religions.

The music itself is still brilliant. With heavy bass grooves, saxes, piano, harmonica and a wailing Johnny Marr on guitar, this doesn't sound dated at all. Sinead O'Connor sings the lovely duet "Kingdom of Rain" also. Of course the only track that got radioplay in the US was "Beaten Generation". As brilliant a song as this is, this album has much more to offer.
A must have! ... Read more

Album Details

Original UK Album plus 13 Bonus Tracks. Remastered with Expanded Artwork. ... Read more

Reviews (5)

Birth of a Legend
Nobody could have imagined how important Gary Webb from West London would be to the music business, more so than Gary himself.Shy with a personality hard to break down, changing his name to Gary Numan in time for the pressing of this recording back in 1978 would be the first masterstroke from Gary. Also known as The Blue album, the content shows early signs of an electronic influence, building from subtle background keyboard on Life Machine to a really raw solo, inplace of the guitar solo, on Are You Real. Even putting his future aside, this album stands among the best of the era, Punks Final Bow, Gary's song writing techniques showing through with a fresh new ????? you know..that special something all artists aim for.During the recording of this album, Gary first came across the tool that would catapult him to the head of the fame race and enable him, with two fingers, to create a song that would attack the charts with venom, and hold on to top prize for a few good weeks..Are Friends Electric..and it was all just around the corner from this recording. A must for all Numan fans

Essential to any post punk fan's collection
Numan wrote these songs he said, because punk was fashionable. Normally when an artist is motivated by the trend of the day the work is limp. Not so with this debut from Gary Numan's band Tubeway Army. "Friends" and "somethings in the house" continue to blast me in the pants twelve years since I picked up a copy of this on vinyl. "Steel and you" is a bonified rocker, hard to believe coming from the man who put out "Dance" years later. "Every day I die" and "jo the Waiter" were probably big faves of Kurt Cobain, or would have been if he ever heard this undervalued classic. As time goes on I find that more and more people have this album. One day Rolling Stone and Spin may catch on to its importance. Thank god this and the other two Tubeway Army records were finally released on their own, on CD. Before they were released as two album cd packages, and the pairings of the albums were horrible. ***The other one to get is "The Plan" which is a collection of demos for this album, plus some other amazing punk rock songs.

Classic Pre-Synth Numan
I'm listening to this remastered CD as I write this, for what is probably the first time since I bought the LP back in about 1980. It sounds even more awesome now than it did back then. This was Numan before he became preoccupied with synths. In fact, the guitars are so much in the forefront that most of the songs don't even need keyboards. If you're only going to ever purchase one Gary Numan album, you certainly can't go wrong with this one - solid from start to finish.

Non-Numanlike Early Numan
For my money, this is a rock 'n' roll classic. A guitar-heavy sound eschewed in later Numan recordings, and lyrics that epitomize the alienation of young men who feel a greater affinity for their machines than for humanity. This is a rich artistic effort that stands up to repeated listenings far better than any of Numan's later work--which I say not to diminish that later work, but to pique your interest in this obscure gem.

Searching
Mr. Numan was still looking for a style to call his own on this album, which helps rather than hinders. He's obviously playing the post-punk here, with those oblique sci-fi-ish lyrics you either love or hate, but his dabbles in keyboards and acoustics make for a good collection. ... Read more

Reviews (24)

amazing, one of the best albums of the 80's
i simply cannot discribe how brilliant this is. at first, big black doesn't seem like that much of a spectacular band with their bleak and vicious sound, but when you get to into the sound you'll realize how great this is. this album is truely terrifying and bileous, but also it is very intelligent. lyrically disturbing, it ranges around themes like murder, child molestation, drug addiction and various other perversions, but big black tells these stories in such a bleak, minimalistic way that they never seem advocating such themes. even though they never do so they seem to have a natural understanding of such atrocities which makes it more believeable... and threatening. musically big black is cold and furious, like i mentioned before, but also it's very complex at parts and showing a great sense of innovation. it's mainly guitar driven, with steve albini's guitar sounding very metallic and screeching while durango fills in with a rather downtuned punk-guitar. they occasionally use samples, like on the disturbing opener "jordan, minnesota". sometimes the guitars are warped beyond recognition sounding like a keyboard on "passing complexion" or like scraping metal on time defying masterpiece "kerosene". also, big black had an huge impact on industrial (most notacely on godflesh and ministry) and other very important bands like helmet or faith no more. simply put, this is the best post-punk-art-noise rock band ever. also, try rapeman and shellac, other bands by big black mastermind steve albini.

Influential but dated
When I first heard Big Black on vinyl in my dorm room in Indiana back in the '80s, their music both fascinated and scared the hell out of me. Back in those pre-internet days, it was rare to hear music like this anywhere. The Roland drum machine was a bit kitschy even then, but I recall my music loving friends at the time praising the album for its "industrial" sound. We loved anything industrial in the Rust Belt back then.

Now, "Rich Man's Eight Track" sounds dated and slightly melodramatic to me. It is not unusual these days to hear harder-edged music on radio stations.

Having said that, this CD is still worth hearing, particularly if you're interested in something that had a great deal of influence on music in the '90s and beyond. It is obvious that Big Black attracted some notable fans with its assembly line clatter. Frontman Steve Albini clearly applied many skills learned in Big Black to his later work as a producer for bands like the Pixies, Nirvana and PJ Harvey.

Recommended tracks: "Kerosene," "Bad Houses," "Cables" and "Pete, King of Detectives."

Sanctimonious crap
Steve Albini has got to be the most sanctimonious, self-possessed, pompous [person] in the entire music industry. He emerges in one hysterically pretentious band after another. He's hailed as some sort of guru by "alternative" people, when he's actually nothing but an uninformed, homophobic piece of ****. In the song "Jordan, Minnesota" he slanders innocent parents for molesting their children even though the true story is all over the net. Ever heard of research, Steve? Guess not, you've probably been too busy sleeping with prostitutes and pissing on other bands equipment (yeah, I read the tour diary). As for the "music", this is a record by and for people who hate music.

I was born in this town.....lived here my whole life
Perhaps the most unnerving aspect of "The Hammer Party" (or early period Big Black) is that the disc is merely the first three EPs from the band. Already, they sounded pretty menacing and punishing. If a beginnner has only listened to "The Hammer Party," they may be tempted to call the "Bulldozer" EP the band's peak. Yet there was still more to come. Next, Albini finally broke from his favorite format at the time (the EP) and dared to release Big Black's first full-length assault LP-"Atomizer"-which is in my opinion, their finest moment. If you thought an EP of Big Black was intense enough to swallow, wait until you throw on "The Rich Man's Eight Track Tape," which includes "Atomizer" as its first nine tracks. The first impressions of the album have quite an impact, from the opening howls of "Jordan, Minnesota," a perfect shredding of American values that deals with a child molestation ring in that city, to "Passing Complexion," a driving, cold, mechanical riff with themes of racism (as seen in the deep south). Another highlight is "Kerosene," which is arguably the best song Big Black ever wrote, as it is a perfect summary of eveything the band was ever about. Dark, punishing, distorted riffs are combined with deranged lyrics about using self-immolation to cure boredom in small-town America. The song builds energy and releases it beautifully; it is Big Black reaching their full creative potential. However, Big Black's slower, more melancholy tracks at this time were also great and quite underrated-as the grower "Bad Houses" illustrates. Slightly less intense tracks like these often are memorable for the great atmosphere they create. Just listen to the beautiful guitar layering between the lyrics on this song. The second side is no slouch either, featuring the evil distorted vocals of "Fists of Love," which may or may not be a dark song about an unusual form of love-making. It probably is, and therefore might have been more perfect for Big Black's next LP. You also get a rousing live version of "Cables," which although might have been previously released on "Bulldozer," still fits great on here as a Big Black classic. Next up on the disc from Big Black's middle period is the Heartbeat single, which proves for the first time that Big Black were great at translating covers into their unmistakable sound and yet still making them as enjoyable as the original. "Things to do Today" is the darkly humorous to-do list of one very evil man and "I Can't Believe" is a great if short instrumental. The disc finishes with the main EP from Big Black's mid-to-late period, "Headache." Although the band themselves admitted that it cannot compete with "Atomizer" and this is true, it still has its moments. "Grinder" is probably the best example of Big Black's pummeling effect you can get and "Pete, King of all Detectives" is one of their great character songs. If you survived "The Hammer Party" and are ready to test your nerve further, pick up "The Rich Man's Eight Track Tape" in the near future.

The Greatest Album Ever
This is without a doubt the best album ever made. The sound that Albini & Co. make is so inhuman, so different, so exciting, so powerful... the metaphors go on and on and they just can't describe this album.
I picked this up in 1995 and haven't stopped listening to it since. At least once a month I put it in my headphones at maximum volume and just marvel at it. The way Albini's guitar alternates between the sound of sheet metal being ripped apart and the worst headache you ever had, Durango's blowtorch intense guitar, Riley's amazing, wounded animal bass, Roland's machine beats... it's just the most intense, powerful thing I've ever have and probably will hear in my life.
The lyrics are interesting but are really there to just add to the atmosphere. As Albini says, Kerosene was originially about frog-gigging, not a girl friend cook out. The delivery, though, is what makes them worthwhile. Buried so deep in the mix as to be almost indicipherable and spit out with almost palpable venom, they are just another instrument.
Do yourself a favor, though, and pick up the vinyl version of any Big Black record if you can find it. When you hear the scratches and pops mixed in with the far superior, warmer sound quality that vinyl gives you, it's aural heaven. Big Black records (and especially Atomizer) are meant to be listened to on vinyl.
Big Black is easily the best band I've ever heard, hands down. I still use it as an acid test for people who tell me they are serious about music. It's one of those bands that changes your life. It sure did with me. ... Read more

Reviews (7)

wow.what a shock this cd is bad
this cd is really bad for a greatist hits cd.i bought this album for heaven,pretty in pink and the ghost in you.these songs are real masterpieces .when buying this album i thought the rest of the songs would be good also,man was i wrong.besides the three songs i just mentioned the only other good tracks are president gas and imitation of christ.i spend over 20 dollars for an album of 14 tracks with just 5 good tracks on it.what a waste of money.don't make the same mistake i did.

Good Collection for the Casual Fan
"All of This and Nothing" is an excellent single disc anthology from a band that was always better at producing singles than albums. It covers most of the band's history--they faded into obscurity not long after its 1988 release. The highlights include some of the better hit songs of 1980s new wave, the absolutely gorgeous "The Ghost in You," the soundtrack title song "Pretty in Pink," "Love My Way" and the more bombastic "Heartbreak Beat." With a total of 14 selections, the album is just substantial enough to be filling without overstaying its welcome. As a bonus, the CD booklet contains a lyrics sheets and some good liner notes.

Overall, an intelligently selected anthology from one of new wave music's better bands.

A Must Have!!!
I remember watching "120 Minutes" a few years back (when it was still good!) and the video for "Dumb Waiter" was on as a 'Cult Classic'. Afterwards, I thought to myself, "I wish I could find a CD of all of my favorite Psych Furs songs. Unexpectedly, I stumbled upon "All of This and Nothing"! I fell in love with record immediately. "Dumb Waiters" has got to be one of their best songs. I just love the slightly out-of-tune sax playing on that track. I'm also quite fond of "Highwire Days" and the obvious favorites like "Pretty in Pink", "Love My Way", and "Heartbreak Beat". This is a great compilation to purchase if you're just becoming familiar with the Furs. You won't be sorry!

PEOPLE FADE AND I FORGET YOU
The Psychedelic Furs were undoubtedly one of the best and most overlooked bands of the 1980s, apart from their misused, misinterpreted and overplayed "Pretty in Pink" which lent its name to a film of the same name. The Furs' real brilliance shone elsewhere. This is a collection of some of that brilliance. My favourite here being "All that Money Wants" with its cynical lyrics and gorgeous music, "Painted lies on painted lips, that promise heaven tastes like this... I don't believe that I believed in you...". Butler's unique vocals coupled with the sharp, intelligent, and caustic lyrics make for extremely satisfying music... I can listen to it over and over and the music still sounds fresh and undated. Another gem here is the pleasantly monotone drone of "Sister Europe", "Lonely in a crowded room, the radio plays out of tune so silently... radio upon the floor, oh stupid it plays Aznavour so out of key..." This album can also serve as a good introduction to their work, although they recently released a U.S.-oriented best of which consists of good material but not their best by any stretch of the imagination. Like many 80s bands, the Furs have recently reunited and toured. Not sure what to think of that all-too-common phenomenon. Capitalise while you can?

Richard Butler...you rock!
This is a great way to introduce yourself to The Furs if you are a novice. "Love My Way" and "The Ghost In You" are worth the price of the CD all by themselves. It's like getting the extra tracks for free! Enjoy! ... Read more

Album Description

Definitive 18 track hits collection of their Korova singles,1981-1987. Includes 'Lips Like Sugar', 'The Cutter', 'Bring On The Dancing Horses', 'Bedbugs And Ballyhoo', 'The KillingMoon', 'Silver', 'Seven Seas', 'Never Stop' and 'Rescue'. 1997 Korova/ Warner Music release. ... Read more

Reviews (4)

Don't buy this....Buy everything else!
This is an okay intro into Echo & The Bunnymen but you should save up and buy every album they ever released. If you like ONE song that they ever recorded you'll come to realise that their whole back-catalogue is indespensible! These worthy Liverpulians are well worth the investment of your time and money. Go the whole hog then learn and sing!

Simon (XUK)

That was cool
Don't know too much about that band but I used to listen a lot when I was a teenager.

His crooner voice is so awsome and music is cool (kind of gothic rock mixed with punk). Check out my favorites "Over the wall", "Killing moon" for the awsome voice or "Lips like Sugar".

Great intro to some great music...
I first heard "killing moon" in the movie "Donnie Darko" and I investigated a bit and found it and many other great tracks, by a precursor to bands like the flaming lips... Some songs remind me of coldplay. (I mean no insult, i'm a Canadian teenager who knows no better.) Anyway... good compilation to get you hooked before digging deeper. Get it and enjoy...

I've only heard three of their songs...
but i liked them all. i went to schoool in san diego in the 1980s, and the local alternative radio station 91X used to play their biggest hit "lips like sugar" all the time. they played "don't stop" and "bedbugs and ballyhoo" as well, which were just as enjoyable in their own way. how great to find all three in one place. ... Read more

Reviews (14)

One of the most exciting albums ever recorded
As a recent convert to the world of Killing Joke, I must point out the album that gave me the impetus to check out more of this energetic, "a singular musical category does not give their music justice" band's music. This was simply one of the most exciting, lively, raucous albums I've ever heard in my entire life and is What Rock Should Be.

First, let me point out the title track -- "Night Time" has quickly become one of my five favorite songs of all time, which is impressive considering how much music I love. It is also indicative of the music that this album contains. The guitars are absolutely on fire without being overpowering, the drums are thumpa-thumpa tribal without being cliched, the keyboards give the track a swirling atmosphere, and Jaz Coleman's vocals give the song an urgency and pure ENERGY that wakes you up faster than a triple shot of espresso followed by big bottles of Red Bull, Jolt Cola, and Mountain Dew. This could very easily be said about the rest of the songs on this album.

BUT WAIT! There's more to highlight. "Darkness Before Dawn" is a catchy, slower track with a unique beginning (all of those "oh oh oh"s). "Kings and Queens" is another song that has a unique beginning (to describe it would just be ruining it, really) that quickly segues into a danceable rock & roll song that The Cult must've really struggled to attempt to replicate. "Tabazan", with YET ANOTHER unique beginning, is a lovely track with a barrel full of catchy rock hooks. "Multitudes" is another slower track that shows off not only Jaz Coleman's prowess as a singer but also shows how, despite Chris Kimsey's uberpolished production style, Killing Joke can still rock. "Europe" is a multilayered track -- slightly uptempo, slightly melancholic, slightly dancey, and slightly punk all at the same time, all layered together to create yet another masterpiece. You should be aware of the big hits, so I won't go into great detail about "Love Like Blood" (probably the most romantic song Killing Joke ever recorded) or "Eighties" (all fire and dance and power punk/pop) except to say that if you do indeed love the music of the '80s, you already know you love those two songs.

I adore this album. Overall it's a bit more polished and "pop" than anything else Killing Joke ever did, but if you love this album you will love everything else they've done in due course. I would highly recommend picking _Night Time_ up for anyone with even a passing interest in this fantastic group. What you choose to do with the fire afterward is up to you. ;)

Hidden Jewel
Geordie Walker is one of my favorite truly heavy guitar players. This was the first Killing Joke record I ever heard so I kinda missed out on the timeline when people associated them w/ the punk/ new wave thing. I heard this amazingly heavy atmospheric record that was also perfectly arranged. Perhaps I am projecting here a bit, but for me, Killing Joke has alway ruled the heavy, quasi-occult, intelligent realm of rock. Jaz Coleman's voice is one of the few I find believable singing about such themes. Like the characters in Lovecraft books who, through some tinkering w/ nature and old manuscripts, have glimpsed the other side of reality and left barely sane enough to talk, Coleman's voice delivers convincing tales from the darkside. I am completely confused by the common classification of this record as some "accessible" offering that was intended for the charts and succeeded w/ "Eighties" which you can now find on your favorite "Hit's of the EIGHTIES" compilation. This is easily the hidden jewel in my top ten RECORDS of the decade. Night Time is a perfectly composed masterpiece that was a decade ahead of it's time at least. Fans of current "thinking/heavy/industrial" stuff and who haven't heard of Killing Joke would be well served by listening to the album.

This album changed my life...
Set the wayback machine to 20 years ago (yikes!), I was babysitting and my girlfriend and I were watching MTV (well, sort of). On comes this video, there's this incredible guitar, twangy, dark and sinister backed by this primal beat. On the screen it goes back and forth between this guy in a suit behind a podium singing, nay, preaching the lyrics of this incredible song. Behind him were the flags of the then Soviet Union and US. Then stock footage, then this guitarist playing a huge goldtop hollowbody. He wasn't playing it, he was caressing it, squeezing out this beautiful, angry and ominous sound.

I sat there transfixed, then ran around the house like a madman looking for a pen and paper to write down the name of the band and the album.

I searched all over and finally located an import pressing and paid dearly for it, but it was all I'd hoped for. This was Killing Joke, the voice of Jaz Coleman's muse. There were lyrics like none other I'd seen before. Songs about man as animal, sex, life in Europe waiting for the apocalypse (remember, this was '84), the emptiness of life in the 80's, and looking at the aforementioned apocalypse not as a bad thing, but the inevitable way to set things right and return man to his proper place as a tribal creature, not one of cities and civilizations.

I immediately set about getting Killing Joke's previous works. This band SPOKE to me. While I don't think this is their best, I do think it's probably one of the more accessible and definitely the title to buy for those that enjoy the music of the 80's.

Such a Fitting Album Title
If you were a child of the 80's, how on earth do you find out about this band? I had gotten a random email from someone only 3 years ago recommending I check them out cuz they thought I would like the bassline to "Love Like Blood".... how thoughtful of them, huh? And how right they were!! I was hooked, & had to get this cd... & that song is still my favorite on here. I have, of course, checked out some of their other stuff, & what an interesting history they have! If you like diverse histories of bands (ahem, Ministry for one), then KJ would be right up your alley. Yah, you might either just like the "new-wave" albums or the later heavier ones, that's up to you... I personally like both, depending on my mood of course. If you've only vaguely heard of them before, this would be a great starting point... unless you want something harder, but then you'd prolly be looking at one of their later albums anyway, huh? The only complaint I have about this cd is it feels too short!! It's only 8 songs... but they're so freaking good! "Eighties" is definitely one of the catchier ones, & you've MOSTLY LIKELY heard it at an '80's club. It also seems to be my theme song for my musical listening habits :-D

If you want another album of theirs like this, then definitely check out 'Brighter Than a Thousand Suns' (you'll instantly love "Sanity").... &/but if you want something heavier, their new one is a must hear also!! I just saw them live this weekend, & though they only played "Kings & Queens" from this album (might I add a bit heavier version), they put on a helluva show. I must also add this interesting note... since Dave Grohl played drums on the new album, it does make sense the striking similarities to the riff of "Eighties" & to that of Nirvana's "Come as You Are"...yaaaaah, if you didn't notice that before, you notice it now, huh? :-D

KILLING JOKE
THIS CD NEVER GETS OLD, ITS GREAT TO HEAR SOME REAL MUSIC, ... Read more

Reviews (7)

A very good album from a fun band!
These guys have a way of making very basic songs (often just standard blues runs at their core) sound very cool. They do exactly that on much of this self-titled album, which is an unfortunate title in my view. Unless a band is truly capturing its esssence, a self-titled album usually indicates a classic sell-out bid for mainstream popularity and $ (ECHO AND THE BUNNYMEN, METALLICA). While that doesn't seem to be the case with LOVE AND ROCKETS, it's certainly not their strongest or most creative album. Still, it's a good listen, despite the fact that certain words have been edited (I abhor all forms of censorship).

The breakdown:

"**** (Jungle Law)" - The sound this song has is actually cooler than the song itself. It's a neo-psychedelic sounding riff souped-up by sampled percussion and a stomping, almost plodding drone. The title stands for the "F" word which is also the name of the main character in the song, apparently a real loser. ***1/2

"No Big Deal" - another basic blues run cranked out with background guitar antics and more fuzz bass. ***1/2

"The Purest Blue" - an art piece featuring multitasker Daniel Ash on sax. Ash takes the lead vocals on the songs he writes, about half of them. Equally versetile partner David J writes and sings on the other half including this one. ***1/2

"Motorcycle" - great rocker propelled by 2 basses, loaded with guitar and bass feedback and a thudding beat full of riding cymbals from drummer Kevin Haskins. Towards the end, guitars evoke a motorcycle from hell accelerating into the stratosphere. ****1/2

"I Feel Speed" - a sort of coda or continuation of "Motocycle" (and the last song on the 1rst side of the original LP), this song is gorgeous and soothing save for the reemergence of the demonic motorcycle. ****1/2

"Bound for Hell" - Probably the most fundamentally blues-based tune on LOVE AND ROCKETS, with David J blowing harp and cool lyrics about, well, going to hell. David J starts out confessing his lack of faith and desire for something to believe in. He then relates a harrowing, darkly comical dream that wakes him with a start and sends him to his knees to pray. ****

"The Teardrop Collector" - a 50s style finger-snapper with a subdued, dreamy quality. Ash lays down those trademark L&R acoustic guitars and overdubs electric guitar and "ghost" keyboards that perfectly portay the rather downer "that's life" sentiment. ****1/2

"So Alive" - A fun classic that deserves the wide airplay it got. Ash sings the words, "I'm alive, so alive" like a 300 year old vampire in need of a blood fix. In contrast, the background singers are angelic. "I wish I could stop/ Switch off the clock/ Make it all happen for you." *****

"Rock N Roll Babylon" - a real switch after "So Alive," this tune is dominated by an acoustic guitar sound that heakens back to SEVENTH DREAM OF TEENAGE HEAVEN. Makes adventurous use of a miniature string section and more great sax from Ash, but seems to end rather abruptly. ****

"No Words No More" - Once again Daniel Ash confesses to being lazy as he did on "Lazy" from EARTH SUN & MOON. It seems to be a personal issue with him. Here he longs for, "No words, no reasons why." The song also illustrates another common L&R theme: a desire for paradise as a blissful, burdenless state. "No Words No More" is a fabulously dreamy song, largely aided by heavily processed vibes played by Kevin Haskins. It's a cool way to close the album. *****

rock and roll masters
a classic worth re-visiting time and time again. Haunting lyrics, swirling guitars and that unmistakable voice. You must see Daniel Ash live!

LOVE AND ROCKETS
THIS MIGHT BE LOVE AND ROCKETS MOST COMMERCIALYY SUCCESFULL ALBUM EVER, BUT PERHAPS NOT THEIR BEST.DESPITE HAVING PRODUCED A TOP TEN HIT (SO ALIVE)THIS IS ALBUM LACKS THE SOLIDNESS AND LYRICAL STRENGTH OF PREVIOUS EFFORTS (EARTH ,SUN AND MOON MOST NOTABLY).ALSO IN PRODUCTION TERMS THERE IS MUCH LEFT TO BE DESIRED.THE SOUND IS OFTEN SLUDGIE AND THE DRUMING NOT VERY RE-SONANT. THERE ARE A FEW NUMBERS THOUGH,THAT SAVE THIS ALBUM FROM BEING A TOTAL CREATIVE-LESS FIASCO MOST NOTICEABLY "MOTORCYCLE" WITH ITS THUNDERING BASS, INFECTOUS RYTHYM, AND BALLS TO THE WALL HEAVY METAL-LIKE ATTITUDE AND THE CLOSING PIECE "NO WORDS" A NICE DISPLAY OF LUSH ATHMOSPHERES AND DANIEL ASH'S SMOOTH VOCAL ARRANGEMENTS.THIS ALBUM IS PERHAPS SERVES AS THE BEST PIECE OF EVIDENCE AS OF WHY DANIEL ASH AND PETER MURPHY DECIDED TO PART WAYS AND BRING BAUHAUS(THEIR PREVIOUS BAND) TO A HALT.THERE IS ABSOLUTLELY NOTHIG REMINESCENT OF ANY BAUHAUS ALBUMS HERE.THIS IS MATERIAL STRICTLY RECOMENDED FOR FANS MORE FOND OF THE BANDS'LIGHTER AND MOST ACCESECIBLE SIDE OR THOSE MORE NOSTALGIC FOR 80'S TOP 40 RADIO.GOTHS PLEASE KEEP YOUR DISTANCE!

Love and Rocks!
Although _Express_ is also a decent entry into the goth canon, this is the only L&R album I own on disc. It's much more well-produced, well-arranged, and doesn't contain nearly as much of the tuneless amateurish nonsense that earmarked Bauhaus and earlier L&R. One moment it rocks with reckless power-chord abandon - "Motorcycle", "Jungle Law" and "Bound For Hell" are almost heavy metal, if they weren't so cold and mechanical - the next moment it's pure soundscapes and bliss. "The Purest Blue" is a beautiful atmospheric cut, more successfully capturing the psychadelic side of this band than anything I have heard from them before or after. There is also the big hit (tm), "So Alive", a fine late-80's entry into the one-hit-wonder canon. The remaining songs the listener may be tempted to overlook because of the intensity of the first half of the album. "Teardrop Collector", "No Words No More" and "Rock n' Roll Babylon" are surprisingly gentle, wistful and sentimental, sometimes they remind me of perhaps The Church or MCA-era Damned, sometimes they approach smoky lounge-jazz.

no flow..no go
This was the one that really let the boys down. After the heights of 7th dream and Express, the previous album Earth,Sun,Moon had hinted that the quality control was beginning to slip. It sounds like a selection of J + ash solo album tracks and they appeared to have little input on each others efforts. This is a shame really since the dual harmonies and interwined songwriting is what made it happen in the first place

So if your looking for a place to start with Love and Rockets avoid this opt for either Express or 7th dream ... Read more

Reviews (5)

Best of the series
How wrong are some reviewers. This is one of the cds of the series I enjoyed the most. There are some real gems in this cd that now are unfortunately really living in oblivion. Take for instance Sister of Mercy by Thompson Twins or the wonderful (tough some how cheesy) You don't know by Scarlett and Black and the sophisticated new romantic sound of Digging your scene by The Blow Monkeys.
If you like the sophisticated and mannered sound that were common in some big name groups of the 80s give a try to these lesser known but excellent groups: The Blow Monkeys or Thompson Twins. You wont be dissapointed.
Anyway, this compilation really surprised me. I didn't expect to hear that many really goods songs but I did. I didn't care for two or three songs all the other ones are really great.

Enjoyable Pop Songs
Beyond the obvious hits there are some quite catchy numbers that most people (like some reviewers) will completely ignore. Go! by Tones on Tail is a radio classic, and You Don't Know by Scarlett & Black is a delight. A must-have for those open to hearing things they haven't heard a million times before.

If you valued the 80's, don't buy this product
You'd think that an 80's anthology of music would understand that it caters to an audience which is nostalgic toward that decade.

I give this two stars only because you can't take away from the 80's music, but I figure that the inane commentary on the CD booklet should be calculated in this rating too. It was highly unnecessary and insulting to 80's fans to include disparaging remarks about the decade and banal political commentary by obvious leftist sympathizers.

The Worst in the Series
Living In Oblivion, Vol. 4, contains three notably great selections: "Mexican Radio", "Under the Milky Way", and "Belly of the Whale". The rest of the songs are either monster hits that can be found anywhere (i.e. Spandau Ballet's "True", "Come On Eileen" by Dexy's Midnight Runners) or unknown songs that are obscure for a reason. The compliation team seems to have gotten lazy here and the disc is unsatisfying as a result. Avoid unless you just want to get the whole set.

Awesome 80's Hits...
Man this album takes me back to those crazy Southern California drinkin', bar hoppin' nights...If you like the 80's, this album and series is for YOU! I liked the mix of really popular and less known songs. Great Album/Series. ... Read more

Album Description

Gang Of Four were a British new wave band formed in 1980 by lead singer Jon King and guitarist Andy Gill. They had four albums hit the Billboard charts between 1981 & 1983. Two of those albums comprise this 2-on-1 CD. Hard is making itsworldwide CD debut and Solid Gold has been out of print for years. Wounded Bird. 2003. ... Read more

Reviews (13)

solid gold!!!
i have yet to understand why solid gold has been over looked as gang of fours best. yes the critics go on about entertainment, and yes its a great debut. but this the one were it all comes together. the two records are in the same style-disjointed rhythms, great bass work, atonal guitar. the first one is little poppier and on this one they got weirder(the sign of a great band)and the songs are just stronger. the filler songs work. unlike on the first one(entertainment)with bores like 5.45,guns before butter, and glass.the songs here are solid gold! now who knows why somebody put this together with hard(to listen to). i think most people will be buying this for one of the two but not both. so ignore hard and get solid gold if you like unique music,or if you dig entertainment. get this its better!

Two timepieces
Gang of Four's Hard and Solid Gold chronicle a cool little corner of musical history. Solid Gold is a long-forgotten and underappreciated cornerstone of the ground floor of New Wave, while Hard helped set the standard for 808-inspired 80s eurotrash. The music may not be all that great, but you'll be way hipper if you own it.

The Solid Gold half of this compilation is the real gem. The songs are droning, sinister, sparse but driving, and obviously incredibly influencial. "What We All Want" could take credit for the band Clinic's body of work as well as Rage Against the Machine's "Bulls on Parade." The Rapture's "out of the races and onto the tracks" is a thinly veiled cover of "Outside the Trains Don't Run On Time." "A Hole in the Wallet" has some of the Chemical Brothers block rockin' beats, and Fugazi ought to just send a thank you note. But as "important" as this album clearly is, it isn't as listenable as some of its contemporaries, such as Gang of Four's "Entertainment!," early works by the Talking Heads, and the Clash. It still kind of kicks ass, though, so if you like the harder side of the indie movement and you're curious where it all came from, this album is probably worth purchasing just for the Solid Gold half.

Hard, on the other hand, captures Gang of Four riding the New Wave caboose into well-deserved obscurity. Like its better known contemporaries, Gang of Four succumbed to the temptation to add keyboards, drum machines and overproduced nasally vocals. Hard is listenable, but it could easily be a lost album by Erasure or Depeche Mode. The change experienced by Gang of Four is evident even in its song titles ("In The Ditch" from Solid Gold vs. "Silver Lining" from Hard). While Hard is pretty good (Andrew Gill's guitar riffing keeps things fresh, at least), it hardly compares to the raw vitality of Solid Gold. Let's just hope history is not destined to repeat itself...

If you have respect for your elders, you'll go pick this one up. Of course, if you like your medicine with a spoonful of sugar, you might want to try the album Entertainment! instead. Gang of Four sounds a little more like their contemporaries on Entertainment!, which is to say, a little more palatable. Solid Gold has a little more energy and creative fuel, but Entertainment! is probably more fun for the whole family.

Solid Gold is FANTASTIC
while everyone reading this is most likely familiar with how fantastic "Solid Gold" is, the real curiosity here is why "Hard" is part of the package. While "Entertainment" and "Solid Gold" represent one of the best one-two punches in early 80's post-punk, "Hard" jumps forward beyond "Songs Of The Free" and offers a very unbalenced representation of how Gang Of Four transitioned from an band tettering on the edge, to finally comforming to the rest of the drivel that closed out the 80's. "Solid Gold" is certainly worth the price alone as there is still nothing quite like it out there. Dissonent, jagged and ultra-intense, it is by far my favorite album from the band as it represented the best of "Entertainment" tossed into an even deeper frenzy....after such a gem, there was no where to go but "Out" - "Songs Of The Free" still had some very strong tracks but it was evident that the band said what they wanted to say already and seemed to begin viewing their output as an inside joke to exploit the commercial elements they hated so.... Here's to the ultimate musical definition of sarcasm

unusual couple for one of best post punk combo's
at last HARD has been edited on CD's, but oddly coupled with "SOLID GOLD". While this association is a little bit against nature, it is interesting to see how a group can evoluate in a time span of 2 years:let us not be afraid being simple and straight: "SOLID GOLD" is a "hard white funk piece of cake with political "take no prisoners" lyrics and anti commercial music,....and "HARD" is a failed attempt to reach a forced commercial sound (and this is just what made this record interesting and exemplative). GO4 found its essence rare in "entertainment" and "solid gold", let it fructify in " songs of the free" and lost it for "HARD"
Anyway, after this beautifully missed opportunity ,they came back years after with "Mall", this time , the real thing.but that's another story.

Hard? No. Solid Gold? Yes.
I was impressed with the second half of this odd pairing, Solid Gold. More of the same style on Entertainment! that I like. Hard, however sounded like a soundtrack to a Miami Vice episode. Not many bands have been able to take that post-punk sound into the dancy sort of new-wave style except for a few like joy division - new order. ... Read more

Reviews (35)

Love Is A Machine Without A Driver
Here's the anti-climactic ending that most of us predicted they would avoid. The first half of the Heads' career was executed with a breathtaking drive and intelligence -- if they'd been an army, they could have conquered the Taliban over a weekend. But in their final years, the band became very mortal.

On 'Naked' the Heads looked to expansion as the way out of a musical rut -- after all, it had worked for them in the past. But where the Afro-funk injections into 'Remain in Light' and 'Speaking in Tongues' were meaningful to both brain and booty, the world-music of 'Naked' seems mere craft. At the time, the mediocrity of many of these tracks was baffling; in hindsight, we see that it simply foreshadowed the dullness of David Byrne's ensuing solo career.

But the middle of the album is pretty wonderful, including "Ruby Dear" (great guitar solo: Johnny Marr) and "Nothing But Flowers" -- as good a pair of songs as the Heads ever created. And the grande finale "Cool Water" is a gorgeous and terrifying track in which David Byrne dies by drowning.

Still, it's too little, too late. The band came full circle with 'Little Creatures' -- they should have ended it there, rather than carrying on with this false step into new terrain.

Absolutely wonderful
I couldn't agree more with those who use the adjective "under-appreciated" for this superb album. Whenever I pull this baby out from my collection (or type its title out on i-tunes, hehe)I know I'm in for 52:41 of sheer enjoyment. My face goes red reading these reviews that call this richly textured, mature and witty album a fizzle at the end of an otherwise illustrious career. The songs are meticulously written and obviously benefit from David Byrne's forays into the world music scene. One of few albums that I have been able to put on again and again over the years and really enjoy.

The Musical Equivalent of the Byzantine Empire
In so many ways Talking Heads career reflects the history of Rome, and in many ways, Naked is Justinian and the Byzantine empire trying to re-capture the glory of Rome.

For those of you unfamiliar with the story of Justinian, the emperor of the Eastern Roman Empire (or at the time, because the West, or for most the true Roman Empire, had fallen, the Byzantine Empire) well after the fall of Rome and the last 'emperor of Rome'. However Justinian pooled his resources, and sent out his best general, Bellisarius to re-take Rome and Europe, and he damn near suceeds! Taking North Africa, Italy, and a large peice of Spain back from the Barbarians, and while it lasted such a small time, for a minute there, it seemed as though eveything was good like the old days again.

Sounds like this album, huh? Granted none of the real glories of Rome returned to Europe or to the Roman Empire, just as this album never returned Talking Heads to the glorious heights they had reached with Remain in Light. To put it more bluntly, Remain in Light was like the Colliseum, while Naked is like the Hagia Sophia. If you just asked yourself, "Hagia Sophia?" then you just got the metaphor, the Hagia Sophia is the epitome of Byzantine architechture, but most people have no idea what it is/was, and this album is the monolith of the Talking Heads post-Speaking in Tongues career (thats an arguable point, but whatever). Its a return to the World Music excusrsion of the Heads at their glorious height, but not nearly as good, and not nearly as lasting.

O yea, the music! Side A is generally the best here, like Remain in Light, even on CD the differences between the sides are particularly obvious, side A being more up-beat and explosive, and side B being more quiet and ambiant. And side A on this album is a damn good one! It's like a less tense, more organic Remain in Light, Afro-Latin rythms abound, and the addition of a really prominent horn section adds some umph to the songs, but they are not yet the textbook world music that would later drive Byrne to create Rei Momo. Lyrically, they retain some of David Byrne's fondness for small things, but here he is willing to bluntly discuss bigger issues, like on Cool Water, Facts of Life, and the Democratic Circus.

Unfortunatly, you can hear that the bands creative energy has slowed, and while much of the music is wonderful, there IS good reason as to why no-one remebers this record. It is nothing near as earth shattering as Remain in Light, or even Speaking in Tongues, it is however baroque and overlooked, and its not nearly as bad as True Stories. Pick this one up, but don't put it high on your list of priorities.

get over yourself
I picked up the Talking Heads on their last three albums. I am not weighed down by how "great" their initial albums were, only by how good the singles were prior to the final trilogy. If you "purists" had never heard a Talking Heads album and just picked up Naked and listened to on its own terms you would realize what a masterpiece it, True Stories, and Little Creatures are. So, get over yourself, close your eyes, listen to Britney, then listen to this. Your cup of appreciation will runeth over.

Criminally Underappreciated
Yet another direction for the Heads, one many didn't warm up to. But if you give it a chance to sink in, you'll see it's the best T.H. album since REMAIN IN LIGHT. Lots of extra musicians are on board and they often broaden the scope with international flavors. And Johnny Marr of the Smiths contributes his sterling guitar to quite a few tunes here.

Themes such as the shackles of culture, evolution (on many different levels), breaking the bonds of culture and stepping out of one's element permeate NAKED. The lyrics are some of the best of David Byrne's career, especially on the bizarre, mechanical "The Facts of Life" - "People fall in love like in fairy tales/ I'm not sure I like what they can do/ I'm afraid that God has no master plan/ He only takes - what he can use."

Highlights include the jubulant "Totally Nude" about a "nature man" and the equally upbeat (yet tinged with melancholy) "(Nothing But) Flowers" sung by a character who mourns the loss of a civilization "sacrificed for agriculture." The closing song, "Cool Water," is slow-building and intense, wrapping things up with an ominous tone.

"Bill" is my personal favorite here which has that "Doc Tari" jungle sound quality to it. Many other songs have a similar quality, or, more specifically, heavy emphasis on Latin American styles of percussion. Amazingly, aside from "Big Daddy" which just rubs me the wrong way, all of these songs are brilliant.

If you dig the Heads but passed this one by, give it a shot! ... Read more

Reviews (22)

Cause I don't care if you're going nowhere
Merely regarded as one of the pre-Black Celebration albums I'm afraid that this album may go unnoticed to all but the die-hard fans. True enough it's not something as glorious as Black Celebration and Violator but it is intriguing how far they had come from annoying Toytown disco that was Speak & Spell ( and that was only 2 years before )

OK, the reprise of Everything Counts is like listening to Tetris and Pipeline does sound a bit dodgy but it's not the worst. There's Work Hard and Told You So are pretty terrible but it flows so well that all is forgiven.

The best song on here is the closer And Then.... which sounds like one of those possible hands in the air moments....it feels beautiful and serene and possibly almost converts you into being a Communist....but then you read back on history and then you remember that it's not so good at all. But a great song nonetheless.

Also Alan Wilder's lyrical contribution are also good and musically beautiful.

One that should be enjoyed only if you really love Depeche Mode and all it's glory. If you are new to the game it really is probably better off starting with the two Singles collections. That way you kinda know what to expect

I'm being kind with a 4
I was torn whether or not to give this cd a 3 or a 4. i decided for the 4 cos of "2 minute warning". i believe the consensus is among us that it really is a great song. however songs like "work hard" "pipeline" are just plain stupid. don't get me wrong i think depeche mode is great but if i was reading these reviews and i didn't anything about this album i'd rush out and get it cos of the rave reviews and i'd end up disappointed. i'm gonna say this if you are already a DM fan then buy this, if you are starting out don't buy this. The good songs on this album (and there are a few) are real good whereas the bad songs are really bad so it's like a mix of good and bad. This album is definitely not their best effort.

Mind Traveled too far
This is in response to mind traveler...You should check out Recoil, then compare it to Depeche Mode now... You mention you hate this album out of all of them...but then you mention you hated Ultra and Exciter...the albums that Alan wasn't on... For he made their sound more full and interesting... with the piano and strings and deep analog bass... back in the day Alan was the only one that had any musical talent in the band... and the other band members admited it... Violater, and Love, Faith, Devotion was most influenced by Alan... You should check your facts better...

The Thorn Between two Roses...
There's too many songs on this album that Gore didn't write, and those songs are not really good. I think Two Minute Warning is one of the worst DM songs I've ever heard. There are a couple good songs here, though. Of course, Everything Counts is an amazing song, and Pipeline is also very good. Everything else varies from being ok to being just plain boring. This is my least favorite old school DM album besides Speak and Spell. Stick to Some Great Reward or Black Celebration for some awesome DM.

Was great when it was new -- does not hold up today
This was my favorite Depeche Mode album for a long time. But like a lot of earlier Depeche Mode, I just don't think this holds up anymore. It's not the timeless pop classic that Violator is, and doesn't have the sophistication of Songs of Faith and Devotion. Pretty much everything before Music for the Masses is just hard to appreciate now except in a historical sense.

If you're exploring the early years of Depeche Mode, or trying to round out the collection, it's a worthwhile buy. If you are new to DM and are looking for just any DM to buy, first get Violator and SOFAD if you don't already have them. ... Read more

Reviews (26)

punk vs. passion
First time I heard this album, I was ready to toss it out the window or use it as an ashtray. I put it away - then pulled it out again several months later when I took a third shift job... the punchline is I love this thing!

I can imagine dark streets, flying carpets and industrial wretchedness. Perfect! It sounds like third world music being played on conventional rock instruments. Lots of sprawling, tribal-like drums coupled with J. Lydon's screeching, odd voice - all other sounds fill the gap between the two. Lydon's voice seems more at home on this album more than anything else he has done. "Flowers of Romance" is an aggressive antithesis to popular music of that time. Not surprising. I especially love the track entitled PHENAGEN - beautiful, almost religious chanting.

I wonder if PIL will ever get their due? Maybe one those instances, much like the Stooges or VU before them, when twenty years later someone decides this is actually great music? I'm glad I found out sooner than later...

Not like anything you¿ve heard before
I think it is important to know the circumstances that surrounded this album. First, Jah Wobble, their incredible bassist was no longer in the line-up. Second, was that in the UK this "tribal" thing was happening in the underground. It was very short lived, but spawned albums by Killing Joke, Adam and the Ants, Bow Wow Wow, and some others. Think what you want about the commercial dreck that came from the later two, but they were very popular with the influential British music press at the time. PIL stated that 'losing' Jah Wobble was not going to ruin the band. And furthermore, they could outdo everyone else being influence by this "tribal" thing with only one drummer, and without a bass player. With one hand tied behind their back, in a way. They were thumbing their collective noses (especially Lydon, of course) at the musical establishment - much like the Pistols did, but in a totally different manner.

What turned out was 'Flowers of Romance' -- the most un-pop, un-rock album ever to be considered to be placed within these categories. Drums pound, sometimes in tribal 4/4 time, sometimes in their own time signature, sometimes with no time signature that can be discerned. Vocals wail (to say the least), are clearly audible but much of the time lyrically incomprehensible. Instruments that sound like forty-foot sitars or tablas played by insane asylum inmates, and vocals by a man who does not have all his faculties in order. Yet one senses that perhaps he knows more than we do. It is a fantastic album. One must keep an open mind, though. It is not like their first album. It is not like 'Metal Box'(aka 'Second Edition'). It is most likely not like anything you've heard before. They seem to be inventing their own musical vocabulary. Many might think PIL are being influenced by World Music, but for the life of me I can't figure out which 'world' they are talking about.

One of my favorite PIL albums. One of the strangest, most marvelous albums of all time.

I wore out my album version turning friends on to it
The talking heads fear of music could not of happened with out this album!If you love drums and the tribal basics of music, if you have lost a friend , been cheated my your co-workers, felt isolated, left out or in general smart and have breathed some life- this record speaks for you! The words are "rotton" poetry.
Oh and buy the way- the cover here is on it's side- please fix it! Those of us who own the original album, know the girl is(and should be viewed)horizontal. I think they knew it would never fly right and did that on purpose. Please change the picture to reflex the artist intent(which was to cofuse- and make you make the mistake you have made).

over the edge
This is not the polished work of genius that 1979's "Metal Box" was, but the 1981 masterpiece "The Flowers of Romance" was the essence of early PiL ripped open and exposed for the world to see: articulate, poisonously sarcastic loathing of everything that the world had to offer. Drumming predominates on this LP, but so do terrifying electronics and, surprisingly, Middle Eastern touches.

1 Four Enclosed Walls - An ominous ticking and buzzing starts the record, followed by drumming that sounds like Godzilla stomping on Tokyo. Lydon's piercing wail is used more as an instrument than a vocal, and backwards tapes of Keith Levene's piano, Middle-Eastern string music (actually Lydon playing an odd, violin-like instrument), and an odd, electronic meowing noise (actually Lydon playing soprano saxophone) complete the picture.
2 Track 8 - Badly looped sledgehammer drumming, clean guitar fed through electronics and looping, a metallic, clean lead guitar, and buzzing bass hits are the musical backdrop for a monotonous, cruel, quietly sarcastic Lydon vocal spinning a narrative about turkeys and elephant boneyards, but centering on an encounter with a very ugly prostitute.
3 Phenagen - Tribal drumming and percussion set the stage for an off-kilter piano line and fuzzy electronics. Seems to be about religion. The backwards tapes at the end are absolutely terrifying.
4 The Flowers of Romance - This, astonishingly, was a U.K. Top Twenty hit, making it one of the more freakish singles ever released. The single mix, the true classic, is the one to get, but the album version isn't bad. Because of this, though, I would recommend burning this CD instead of buying it (Lydon already has enough money). Cello, avant-garde violin, and tribal rhythms duel it out under Lydon's classic vocal.
5 Under The House - A surefire way to piss off your neighbors, give your pet snail nightmares, and make your baby destroy priceless antiques with an aluminum baseball bat, Under The House is one of the PiL classics. The band bashes out drum rhythms that would have made John Bonham jealous, while random backwards tapes of opera on TV, synth, and guitar feedback play around and around the mulberry bush. Lydon's processed vocal is almost sleepy, telling a story of a zombie moving into the basement.
6 Hymie's Him - A percussion instrumental only broken by occasional string synth chords. It's cool, but Lydon should have given it a vocal.
7 Banging The Door - Horrifying, gurbling and burbling electronics (Trent Reznor, eat your heart out), a dire, droning bass line, and crushing drums hammer away as Lydon rants at everyone who ever knew him and would ever try to contact him, his paranoia at full boil. I like this track possibly the most.
8 Go Back - Spindly, bizarre keyboards and robotic, stiff funk drums stomp out some new territory, and Levene's razor-wire, largely atonal guitar scraping finally makes an appearance. Lydon satirizes extreme right-wing politics beautifully here, declaiming in time to the lurching drum rhythm.
9 Francis Massacre - All hell breaks loose. Heavy machine-gun volleys of drumming resound with atonal piano and Lydon howls about going to prison for life. The album ends with the sound of the studio burning down.

Another track, "Home is Where The Heart Is", is great, but it isn't on the album. That track is dominated, for all you diehard "Metal Box" fans, by bass, but like "Radio 4", the bass was played by Levene (the bass line on this track, though, is actually looped instead of figuratively). Atkins plays some good drums, and Levene is relegated strictly to the background, while Lydon uses the vocal timbre that he used on "Memories" to denounce suburbia, like he did earlier on "No Birds". This song, and this album, are PiL's final statements of importance.

HOG WASH
TOO DISMAL TO Fathom the MOST obvioulsy EVIL LAME BRAIN deaded OF THE punks rotten READS his own fawning PRESS reviews and hatches THIS on the public CONSCIOUSNESS. ... Read more

Reviews (17)

Part One of a Critical Set
It's hard to imagine how Pete Shelley and Howard Devoto managed to get along in one band, so different were their visions.

"Real Life" is probably the first truly successful artpunk record, exhibiting a bit of the familiar thrash ("Shot by Both Sides")albeit much more articulate while luxuriating in the slow granduer of the keyboard-dominated "Motorcade."

For me, the top moment of this album is "The Light Pours Out of Me" with its Motownesque rhythm coupled with a darkly toned minor key and these lyrics:

"Time flies
Time crawls
Like an insect
Up and down the walls
The light pours out of me."

All elements of this song, from the drums to the bass to the lead guitar fills to Devoto's lyrics, are simple and dynamic simultaneously.

This album also inaugurates the tradition of one track that Devoto throws at you that just ain't easy to live with. The circus-like irritation of "Great Beautician in the Sky"--even the title is obnoxious--is the only track for that "skip" button.

This is an essential album--possibly the very best from 1978.

POST PUNK ANGST ROCK
Magazine made dark, intellectual rock by marrying the subversive spirit of punk to philosophical lyrics and brooding musical textures, especially by the innovative use of keyboards. The bleak Shot By Both Sides is a gloomy gem, Recoil is a dense number with heavy drums and weird instrumental flourishes, Motorcade holds the listener's interest with its frequent tempo changes whilst The Great Beautician In The Sky is a complex awesome number with lovely snatches of melody and spacious cascading synth riffs. But my favourite is The Light Pours Out Of Me with its lilting melody line and cinematic textures. Magazine is an acquired taste and this album isn't as accessible as their masterpiece The Correct Use Of Soap, but still a minor classic. Real rating is three and a half stars but Real Life is worth owning for The Great Beautician and The Light Pours Out Of Me alone.

please do justice to this group (25 years after)
Magazine was one of these goups far beyond their time...they invented a kind of music of their own,sophisticated, violent, melodic, litterary, incisive , in one word ,complex which has initiated the so called "new wave" , giving in 1978 the direction to go to a lot of other groups (as important as Simple Minds, and their most definitive album: empire and dance)
Along with "secondand daylight" , the second album of Magazine, this first opus is unforgettable and deserves to be investigated by each and everyone of you, folks.....

Not punk at all
Some reviewers have muddied the waters by mentioning DeVoto's Buzzcocks roots. It seems that all along he wanted to be Bryan Ferry, with a bit of a snear in his voice. The musicians are superb & have a sophistication not generally found in punk. God knows how Magazine put together so many great songs & arrangements in their first two albums, but there was no one else even half way close to them 20 years ago. I just listened to their compilation CD & it could have been made yesterday, it sounds that fresh.

NOTHING LIKE IT BEFORE OR SINCE
REAL LIFE is the LP debut of the New Wave band Magazine, formed by Howard Devoto after ditching the Buzzcocks for greener pastures. They arrived just when Punk was changing to a more complex, challenging sound, and this LP stayed on the turntable at Wax Trax, where I worked, for at least a year. As a matter of fact, it was almost required to be able to do an impersonation of Howard's very idiosyncratic vocal style to BE employed by Wax Trax. Dave Formula's wonderful, swirling keyboards and Barry Adamson's intricate, in-the-pocket bass work were, for me, the other indispensible factors which made Magazine one of the best post-punk bands. The whole album is truly original, from "Shot By Both Bides" to "Burst" to "My Tulpa" to "The Light Pours Out Of Me" to the majestic "Parade". One reviewer has called this album "The post-punk ground zero", and I can agree. One listen to REAL LIFE and you will hear where modern rock begins. They followed this LP with the truly spooky SECONDHAND DAYLIGHT, another masterpiece, and then actually got some airplay with THE CORRECT USE OF SOAP, their third. If you have not heard Magazine, you are missing a very great (and, dare I say, important) band. And if that ain't enough, you can jump into the mosh pit and pogo to 'em, too! Terrific stuff. ... Read more

Album Description

Full title - Q Are We Not Men? A We Are Devo/DEV-O Live.Import reissue of the new wave icon's 1981 live release(out-of-print in the U.S.) combined with their 1978 debut & three bonus tracks, 'Social Fools', 'Penetration In TheCenterfold' & 'Soo Bawlz'. 21 tracks. ... Read more

Reviews (4)

D.E.V.O.
Devo were pioneers in the 'New Wave' movement and the world is just that little bit better off for their existence.
This CD combining 'Q: Are We Not Me? A: We are Devo' and 'Devo Live' is fantastic. As a starting point and introduction to their music I would recommend greatest hits compilation instead, but this CD is most defiantly worth getting. Not only do you get two albums on one CD but you get two of their best albums.
'Q: Are We Not Men...' is fantastic, worth buying alone for just 'Mongoloid', 'Jocko Homo' and the best Rolling Stones cover ever 'Satisfaction' - I shudder when I hear it (the video is awesome but no one ever shows it anymore).
'Devo Live' is a testament to the musicianship and proves just how fantastic they were, and since I never got to see them live (being that I was to young and also living on a different continent) this recording is just enough compensation.

If you like post-punk, new wave, synth pop, college rock with hints of avant-garde then you probably have this already, if you don't why not?

A Breath Of Old Fresh Air
For those who's experience with Devo is limited to their three hit tunes will be in for a great surprise when they discover this 'punk rock' anthem. In addition, we do get extra tracks including as was previously mentioned the best live Devo ever. I agree. Although it is a major contrast from the Q./A. album in terms of attitude and timbre.
Growing up in NE Ohio [the land of futile tradition and complacency] around the time these guys were getting popular adds a little to the magic of this band for me. To think of these guys playing this stuff to those people at that time, well - it's amazing these guys didn't end up permanent residents of a hospital somewhere. At the time we all heard it we thought it was too unusual to be cool because NE Ohio wanted more and more and more derivative and stale metal rock, until one day we realized "we're all Devo!".
This premiere recording by Devo is guitar-driven psychotic angst at its finest. To me, it's the sound of past, present and future rolled into one loud lump: like 50's music played by aliens on 70's musical equipment. This album set the precedent for the yet-to-be-seen punk variety of new wave and in retrospect, it's amazing how prophetic the band was. Go back 25 years and hear the future of rock. I challenge you, spuds.

Three great bonus songs plus two free albums!
Not only do you get Devo's first real album with them singing "We Are Devo" in the song "Jocko Homo" and the only version of "Satisfaction" that tops the Rolling Stones, you also get three bonus songs tacked on the end. The extra tunes are very high-energy and are 3 of my favorite 5 Devo songs ("Wiggly World" and "I'm a Potato" are elsewhere). These same songs are on the two Hardcore Devo albums. Squeezed between this is the 1980 Freedom of Choice tour recording (which is available in long form from Rhino Handmade). Buy this CD and the other two double-album CD releases.

TWO Of the ultimate DEVO albums on ONE CD
This CD contains the first "hit" album from DEVO. Includes Satisfaction and Jocko Homo. DEVO LIVE is the BEST Concert Recording DEVO has released to date. Includes Whip It and Planet Earth. There are also two "BONUS" tracks on the end that are not availible anywhere else in the US. This is a MUST-HAVE!!! ... Read more

Reviews (2)

Monster 80's Volume 2
I was going to order this, having ordered Volume 1 of the same title, when I noticed that this has a track on it that is ALSO on Volume 1, "Goody Two Shoes" by Adam Ant. Why in the world would anyone publish a 2nd Volume of a CD set and include a duplicate track on it??? RIP OFF.

Totally 80's Style
Great CD! This is a good mixture of tunes from different artists and totally demonstrates a true 80's album! If you were in high school in the 80's, you grew up listening to all of these great songs, it will take you back!! Listening to this CD brought back alot of great memories!! Enjoy! ... Read more

Reviews (22)

A really good Best Of
This is a very good compilation of Bauhaus' songs. Now I had listened to the previous best of which was separated in two discs and found i somewhat lacking in cohesion, this cd also has small problems : ''Bela Lugosi's Dead'' sounds like a remix of the track I know because the guitar melody seems to be missing, but maybe I'm hearing it wrong. There is also a few songs that are missing like Lagartija Nick, Paranoia,Parnoia,God in the Alcove and Killing Mr Moonlight. Most of the other really good tracks are on here, Bauhaus is a classic Goth band and if you have never heard of them you should pick up this album. If you're not into Goth I suggest you listen to : ''Bela Lugosi's Dead'', ''The Passion of Lovers'', ''Silent Hedges'', ''Hollow Hills''and ''She's In Parties'' which are the tracks that really hooked me when a friend first made me listen to bauhaus. All the other tracks are amazing as well so just buy the album if you like any of Bauhaus songs but don't want to get all of the albums!

bauhaus for your house
Bauhaus hardly need an introduction. Crackle is the first true "best of" compilation of the work of the fathers of goth. Released to coincide with the world reunion tour, Crackle goes deeper into Bauhaus, beyond the singles, and explores each of their albums. Do not expect any rarities on this recording-- "best of" collections are meant to introduce new generations of fans to the work of influential artists, and Crackle does that quite well. The album is cohesively arranged by tone and mood, not by the historical order of the sixteen songs. Crackle opens with Daniel Ash's abrasive guitar underscoring Peter Murphy's commanding presence on "Double Dare". Kevin Haskins' incredible drumming leads us down into "In the Flat Field" which rises from the ashes of punk, only to shift gears as David J demonstrates his idiosyncratic and amazing bass guitar skills on the classic "Passion of Lovers" (and that's just the first three songs!). The version of "Bela Lugosi's Dead" is the original Small Wonder Records single (much more spare, minimal, and riveting than the larger-than-life arena rock version which is on the Singles Volume 1 collection). Also included on the disc is "Silent Hedges", "Mask", "Ziggy Stardust", "Spirit", "Hollow Hills", and more. Unlike the tracks on the Singles album, which were the favorite songs of the Beggar's Banquet executives, Crackle is the personal beloved choices of Ash, Haskins, J, and Murphy themselves. If you are new to the work of Bauhaus, this fantastic album will certainly convince you of their deserved legendary status.

A must have for any Bauhaus fan!
This is a great cd.Any Bauhaus fan will be pleased with this cd."Double Dare","Hollow Hills"and of course "Bela Lugosi's Dead".It's just an really great album.

A Great Best Of......
This is an exceptional best of Bauhaus!!! On this cd,it gives you different tastes of the moods and feelings in this wonderful best of cd. Songs from "Burning for the Inside", "Mask","In the Flat Field","The Sky's Gone Out".....and so on.Peter Murphy has a voice that will send chills down your spine.I got interested in Bauhaus after seeing the horror classic "Night of the Demons" and heard the song "Stigmata Martyr" This is my first cd i got by Bauhaus since i think its a good intro if you just heard or am getting into this band. All of these tracks on here are just delightful,some sad,some slow,some up beat,and essential none the less. Next release i hope to get is either "In the Flat Field","Mask",or both:) If you want to get into some real goth music,try Bauhaus,Believe me,you WILL NOT regret it!!!!! "Alone In The Darkened Room....The Count...."

The Best Place to start if you're interested in Bauhaus
This is probably the best collection to start with if you're interested in discovering the joy that is Bauhaus. It starts off with stuff from the first releases In The Flat Field and Mask, and then get's into the last couple releases The Sky's Gone Out and Burning From the Inside, along with a great cover of David Bowie's "Ziggy Stardust" for good measure (to make up for the cover of "Telegram Sam" I assume). This record is a good deciding point on whether you'd like to pursue Bauhaus or not. If you like Crackle you'll probably like the studio albums from Bauhaus, and if you don't like it then at least you've gotten the gist of it without spending over $. ... Read more

Album Description

This album, produced by Steve Albini, has been voted thefavorite album of Wedding Present fans, with 'Dalliance,'the opening track repeatedly voted as the favorite song. 10 tracks. ... Read more

Reviews (14)

One of the ten best of the '90s
Seamonsters took a while for me to appreciate, mainly due to Steve Albini's production style. Production is probably the wrong word as it seems like he puts a couple microphones in the back of the recording studio and that's it. David Gedge's lyrics are a bit drowned-out in the mix. Having a lyric sheet would have aided things greatly.

But once you get past that, Seamonsters is the greatest loud-soft-loud (a style which Nirvana made very popular that same year -- hell, same month -- with Nevermind) album ever. "Dalliance" builds with Gedge's anger to a fury of noise that's just incredible. The whole album's great. Albini's approach to recording the band (which had previously suffered from serious '80s-itis over-reverbing), brings out the bands strengths -- not just Peter Salowka's blurry strumming but the intensity of Simon Smith's drumming. Albini may make any band seem noisier than usual, but he gets the drums right (see PJ Harvey's Dry or Nirvana's In Uetero). Every song is fantastic. A must-own.

Classic Gedge
If The Wedding Present came from Seattle they would probably be held in the same esteem as Nirvana are nowadays. "Seamonsters" was released the same year as "Nevermind" but is relatively obscure compared to that monster album. Still, sales alone does not a great album make and this is right up there with "Nevermind" in quality (some may argue that it's better).
"Seamonsters" moved away from the all out "fast and furious" approach of it's predecessor "Bizzaro". It is a lot more dynamic with delicate passages of music that sound like they're almost going to fall apart giving way to fierce multilayered guitar assaults. Breathtaking stuff and definitely not easy listening. That's not to say that there isn't any sweet pop music on this album "Heather", "Rotterdam" and "Dalliance" are wonderful tunes that point to Gedge's future pop writings with Cinerama and the Hit Parade tracks that immediately followed this album.
Lyrically he's again talking about love that has been lost, but the scenarios are more varied and unconventional this time around ("Octopussy" being an example). If you're fed up with the hundreds of dour "nu-metal" (or whatever they're calling it this week) soundalike [stuff] that clogs up the airwaves at the moment, this album will be a breath of fresh air. Honest music, honest production...awesome.

TheWeddingPresent - Seamonsters
The first time I listened to this CD I knew it would become one of my favorites. The opening riff of Dalliance is merely an overture to the experience in which you are about to partake.

What makes this CD unique is, regardless of your state-of-mind, it wills you into that of the the artists' intended listener. From that point forward, you are guided by TheWeddingPresent through the rest of this work.

This CD is unmistakenly beautiful. I used to hear influences of Joy Division & The Buzzcocks. The time signatures reflected the early Pixies (but I doubt any influence). Now Seamonsters has taken on a life of its' own.

It's been 12 years since I originally purchased this CD. It still yields a different emotional interpretation everytime I listen to it.

The most accessible Wedding Present release...
More than a decade after its release, "Seamonsters" still finds its way into my CD player at least once a month. The Wedding Present are well-known in their native Britain for publishing 12 successive top-ten singles in one year (rivaling only Elvis Presley by achieving the feat), and the releases from that year are perhaps more representative of the "true" Wedding Present sound. However, the Steve Albini-produced "Seamonsters" packages David Gedge's ex-girlfriend-drunk-dial lyrics, painfully honest growl and moan, and beached-whale guitar sounds into a pop landscape that undulates, aches and ultimately leaves you wishing you could fold the lead singer in a comforting embrace - though you sense he might just push you away. Even if this CD does not become a portal to your Wedding Present addiction, as it did for me, it will remain a top-of-the-stack favorite for driving, getting over bad dates, and high volume reality escapes.

Middle of nowhere... Boombox on top of Pickup
This album was very defining. If you think you still have a mean streak... you DO! I listened to this album so many times when it came out. I also saw them twice live. David Gedge is back there selling t-shirts. The antithesis of a rock star.

Just updating earlier comments: you can see from other reviewers that this album really hits the spot. There is a song that sounds just like a chainsaw. The song/album "Brassneck," on a State of the Independent mix from late 80's, got me hooked. I bought about everything put out since. Hit Parade (the black one, not the white) is really damn good too. ... Read more

Reviews (15)

Remastered... Really?
This is a great album. I saw the furs back in '84 and they were an incredible live band and put out some of the most unique music of the 80's. Richard Butler, with an unapologetic cockney accented singing style, combined with his tobacco soaked voice and backed by an awesome band with a... horn section!

The problem I have with this (and the other furs reissues) is the sound quality. These have been remastered by Sony, and unlike their other reissues (The Clash, Cheap Trick), the sound quality is not all that much better than the old CD's and Epic albums I have from the 80's. I have a couple of their LP's on import British pressings, but I'd hoped that these CD's would sound better. I guess that the master tapes just weren't recorded all that well and they did the best that they could with what they had to work with. All in all, five stars for the music, three stars for sound quality.

Pretty In Pink, But Lovely In Any Color
After pantherboy's fine review, there's not a whole lot left to say. Only that this release stands as the high-water mark from a band that is arguably the best (to my ears, anyway) of the New Wave.

Insightful songwriting, edgy playing, Butler's acerbic singing, Steve Lillywhite's in-your-face production which, thankfully, left The Furs' rough edges intact--what more can one ask?

Among what I consider life's many treats was to have been in my early-twenties when the New Wave was in full flower. And this unforgettable album, 'painted' like an abstract painting-- angular, with bold colors and shapes--is one of its finest moments.

To anyone young-enough not to remember the Furs, I congratulate you on your curiosity and urge you to purchase this album today (if not sooner).

P.S. Now that we have the remastered "Should God Forget", where are the remastered editions of the single releases?

Into you like a train
"Mrs. London and her son are coming at me with a gun, yeah I mean it honestly..." "have another cigarette and then another cigarette..."
Butler, Ashton, Kilburn, what a gathering of masters.

The first two Furs albums arrived at a time when Steve Lillywhite, Alan Parsons, and Malcolm McLaren were dominating production on the best of the new British bands at the time. Talk Talk Talk expresses the production values established by these greats of the knobs. The Furs pretty much had something of all my favorites of the time, which of course made their first two albums constants on the turntable and in the car cassette player.
We needed the raw scratch vocals, the modulating saxaphone, the masterful guitar.
Smooth was not the key to the sound of the Furs here or on their first album. Talk Talk Talk came at us with the group power of the songs Dumb Waiters and Pretty In Pink and left on the feather duster psychedelic musings of the poet in All Of This And Nothing and She Is Mine all the while never letting up on their mission of taking their place ahead of The Bunneymen, Simple Minds, U2, Aztec Camera, Church, and Bowie. For a while they did surpass Bowie as he ran from the terrors of Diamond Dogs into the cream creased safety of his Thin White Duke phase. Thank goodness for the Furs.

The guitar work on this album is some of Ashton's best.
The Saxaphone is more than an instrument of reed, wind and metal, it is a chorus and a lead. One of my favorite musical arguments was whether the sax was played through an effects pedal or not because Duncan Kliburns movement within notes were pulsing with the vocals.
And the vocals, yes, Bowie nightmare tones, but with a rasp that showed both fear and aggression in the same verse without violent swings from low to high note.
Of course Pretty In Pink is the highlight for the masses and that is fine. The inclusion of the Furs in John Hughs' movies gave the movies more crediblity and did not hurt the Furs at all as far as I am concerned. Really now, 'isn't she pretty in pink?" As if it is sang with cigarettes and bad wine on his lips, and maybe so.
I can live with the first two Psychedelic Furs albums without ever listening to any of the others. But I cannot listen to any of their later work without having to put on Dumb Waiters or All Of This And Nothing, and then India from the first album.

For any clear appreciation of the British movement and importance in post punk music the first two Psychedelic Furs albums are necessary. Listen to them with the first two Bunneymen albums, Simple-Minds New Gold Dream, the Church-Remote Luxury, Chameleons-Script Of The Bridge, U2 Boy and Ocotober and you will get an idea of the greatness that was music in those days.
Talk Talk Talk is more than a good dance album, it is an album where every part of the band is at their peak of realization of their talents. Buy this and just feel the twisting of their passions fear and loathing to lust and emotional longing. It's all there between the tracks waiting for another convert to the ways of British music in the late 1970s into the early 1980s.
Dreamy, hazy, then wide awake and wild with energy, that is this CD.

Richard Butler rocks
a landmark work of rock and roll that sets the standard for everyone.

Filled with the majesty and power of music performed by enduring musicians who proved much more than visionaries. They raised the bar and demonstrated that rock can say something important while transforming us deeply.

Richard Butler is the real deal.

The Furs' Best Effort and One of the Best of the 80's
Time seems to have vindicated the Psychedelic Furs. I have been listening to them a lot lately; in fact, of the bands I have been listening to of late they spend the most time on my CD changer and in the car. I always loved the band but I am even more impressed with them now, some 15-20 years after their heyday. Even though the Furs did achieve a certain amount of commercial success during their time they still seem to be an underrated band, not fully appreciated for their sound, which on this album is fully realized. Like the best bands, they were also ahead of their time. The Furs' sound is both at once nostalgic and current and most of their songs are holding up well, proving to be enduring. On this album all the songs hold up exceedingly well - there's not a bad one in the bunch.

This is the best album of the early Furs' lineup, when they had the saxophones up front as an integral part of their sound. Even today no band sounds like the Furs (check out the beginning of "All of This and Nothing" which starts off with a 12-string guitar and saxophone, and why this song wasn't included on the 2-disc retrospective "Should God Forget" I'll never know). But the best adjective to describe this album is relentless. Is this punk or is this pop played with punk intensity? Probably the latter though by the time you're listening to "Into You Like a Train" it hardly matters. Where their first album was dark and moody, "Talk Talk Talk" bristles with intense energy. But throughout this album they display a pop sensibility that most punk bands didn't have and hinted at things to come on later albums. Check out "Pretty In Pink" for example and the inexplicably pretty "She Is Mine" that closed the original album. "Talk Talk Talk" is beautiful chaos - to borrow the title of their latest effort. It is great rock and roll that is always on the edge of being out-of-control but maintains its tightness and energy without ever crossing over into sloppiness. It is chaotic and frenetic music in the best sense of the word; it is music that makes you feel alive because it has life to it. For all their success, the more commercial U2 never recorded anything near as vital and intense as "Talk Talk Talk", even "War".

At the center of all of this is Richard Butler's distinctive voice almost clawing its way out of the dense mix and swirl of sound to be heard. It's great heady stuff and if you're a fan of the 80's this album is an essential one to have. Along with the Pretenders' first two albums, the Furs defined the sound of post-punk in the early 80's before they became progressively slicker on their next three albums. Their final two albums - "Book of Days", where they returned to a basic stripped-down sound reminiscent of their earlier efforts, and "World Outside" are also excellent and their best albums after this one. The Furs should rightfully be regarded as one of the 80's most important and influential bands. "Talk Talk Talk" was THE sound of 1981 and it still roars and sounds every bit as good 22 years later. ... Read more

Reviews (9)

Buy this for the remastering effort!!!
The earlier tracks here have never sounded this good. Remember 1986, when you ran out and bought Low-life and Brotherhood on CD? And you raved about how this new medium was INVENTED for THIS band? Then you shoved your old vinyl copies in a closet?

Well, here we are in 2004 (actual release 10/2002) and it appears they are finally getting around to remastering some of the tracks, probably due to Rhino's involvement. The sound on "Substance" just doesn't cut it anymore. I can't say this is worth full price, even with the bonus DVD. And the inclusion of three tracks from the recent "Get Ready" is unjustified. But the sound quality is SPECTACULAR. The clarity of Hook's bass lines has never been captured so well. The new transfers demonstrate very clean low- and sub-bass which can't be found elsewhere.

Hunt for this one in the bargain bins until the full catalog gets the remastering it deserves.

Bonus DVD!!!
Ok...this cd was ok, but nothing new. The main reason I bought it was for the dvd which is worth it 100%. I love the music videos for"true faith" and "perfect kiss". Blue monday is live from 5/11. I am not sure what year that is supposed to be, but I assume it was pretty recent since they look much older. "Blue monday-live from 5/11" is not my favorite on the 3 song dvd, but it is still really good. I would have prefered the music video for blue monday, but oh well...perhaps they will release some kind of video colection and I will buy it. If you are a new fan, I highly recommend "substance 1987" instead of this. That has most of these songs on it except for the last 4 or so. I would recommend this however for someone who is buying a new order release for the first time because it is all there hits, and you get a pretty good visual with the dvd. Substance is somewhat pricy especially for someone who is not even sure about this band. However stay away from the cd entitled "best of" until you have heard either this or substance. It is really good, but the track list is almost entirely different, and it isn't a great starter album. It is great for a secondary purchase though after you have bought "substance" or this one "international". But overall it is good as far as track selection goes, and as far as the dvd goes, it is a great companion to go with it. I can't complain.

A great compilation
I have been a fan for a very long time and I own ALMOST every album New Order has released. This was an excelent compilation and while I agree with many of the other reviews as far as the pros and cons(especialy about The Perfect Kiss) I should explain to everyone THE REASON the shorter Low-Life version of Perfect Kiss was used. CDs have a maximum time limit of 1:20:00. A track list using the Full Length version of Perfect Kiss sets the total time to roughly 1:20:48. It is impossible to fit this list onto CD so they instead used the Low-Life version which set the total time to roughly 1:17:35. Now that that is cleared up, I DEFINATELY recomend this album to fans and newcomers alike. I also recomend that you buy all of thier albums so you can get the full experience because this compilation while very good, just doesnt cover enough of New Order's great work.

An excellent compilation, but how many do we need?
New Order is, without question, one of the finest bands to emerge from the eighties new wave movement. Unfortunately, with the music industry taking a massive change in the nineties, the band has since been forgotten by many. Though at least one hits compilation has been released by the band already, the band decided to release another one, for some reason. Read on to see how it measures up.

PROS:
If you're a casual fan of New Order, and you want their big hits, you'll find them here! True Faith and the new wave classic, Blue Monday, are both here for your listening pleasure. Likewise, who could forget about Bizzare Love Triange (represented here in an extended version?) Although these three tracks are what the band is most often remembered for, the other ones are excellent too. The bonus DVD is a nice touch, too.

CONS:
I only have one big complaint about this compilation - There was already a best of New Order compilation available before this one, which contained more tracks. And the bonus DVD included with this one jacks up the price! And sadly, THIS is the more readily available one of the two.

OVERALL:
If you can find the older best of New Order, get that one instead. Otherwise, settle for this one. It's not as good as the older one, but is still excellent.

Stingy track selection
Umm, it's a disgrace to try to narrow down the best of New Order into 14 tracks on one CD. You just can't do it. That is why I feel very essential tracks are unfortunately missing. I won't get into them all, but two that immediately come to mind are "Vanishing Point" and "World", two of my favorite New Order songs. These songs did happen to be on the '95 best of. Why not now? They haven't decreased in value. I could go into a bunch of way older songs that should be on too, but I won't. The bottom line is, just buy all their albums. And get this album only for the improved sound (digitally remastered). It is amazing how much more powerful tracks like True Faith and Shellshock and Bizarre Love Triangle sound on my car system as compared to the tracks off of Substance. I hope all of New Order's albums are re-released digitally remastered. They already did it with the earlier albums for Tears For Fears, Duran Duran, and Pet Shop Boys. Depeche Mode should follow too hopefully. NEW ORDER GETS 5 STARS, THE TRACK STINGINESS GETS 3. ... Read more