New Wave music reviews

This is not the Style council's most consistant album,
even by their standards.The first half is dominated by catchy
soulful dance tunes like "Iwasadoledadstoyboy","How She Threw
It All Away" and "Life At A Top People's Health Farm".But that
and the epic nine-mintute tital track feature bitter lyrics and
even a toilet flush-it's clear Weller has lost interest.One star
must be omitted for the deadly dull "classical/doo-wop" medley
on the second half's "piano paintings",a clear piece of self-
indulgent drivel.Too bad-this could have been excecuted better.

I have been a Paul Weller fan from back in the Jam days and have dabbled in other Paul weller material with some enjoyment. I dedcided to add this CD to my collection and I was not disappointed.

Although this material is nothing like the Jam, songs like "confessions 1,2 & 3" and "how she threw it all away" are excellent. The Haunting lyrics of "it's a very deep sea" forced me to play this song over and over. This song touhed me very deeply indeed as it touches on our despair over the past and how the past effects us very deeply as we dive lower in negative emotions.

Why only four stars? Two weaker songs such as the gardener or eden reduced it's rating for me.

Great job Paul!

After the dismal Cost of Loving, this album completely redeemed TSC in my eyes. My personal track-by-track analysis:
1-Probably one of Weller's most personal songs, and the melodies are sublime.
2-Took me a bit to warm to this one, but the mishmash of music and subject matter are brilliant.
3-Honestly my least favorite, because I don't like Dee C. Lee's voice, but the music again saves the day.
4-Mick Talbot is an instrumental genius. Nuff said.
5-And one again, the music saves the day from Dee's voice.
6-Nice commentary about infidelity.
7-Completely awesome song. This is my favorite off the whole album.
8-I still can't help but dance when this one comes on.
9-Beautiful melody, even Dee's voice doesn't bother me so much.
10-Actually should've not been the album closer, ends things on kind of a depressing note, but that was Weller's state of mind at the time.

This is not the Style council's most consistant album,
even by their standards.The first half is dominated by catchy
soulful dance tunes like "Iwasadoledadstoyboy","How She Threw
It All Away" and "Life At A Top People's Health Farm".But that
and the epic nine-mintute tital track feature bitter lyrics and
even a toilet flush-it's clear Weller has lost interest.One star
must be omitted for the deadly dull "classical/doo-wop" medley
on the second half's "piano paintings",a clear piece of self-
indulgent drivel.Too bad-this could have been excecuted better.

I have been a Paul Weller fan from back in the Jam days and have dabbled in other Paul weller material with some enjoyment. I dedcided to add this CD to my collection and I was not disappointed.

Although this material is nothing like the Jam, songs like "confessions 1,2 & 3" and "how she threw it all away" are excellent. The Haunting lyrics of "it's a very deep sea" forced me to play this song over and over. This song touhed me very deeply indeed as it touches on our despair over the past and how the past effects us very deeply as we dive lower in negative emotions.

Why only four stars? Two weaker songs such as the gardener or eden reduced it's rating for me.

Great job Paul!

After the dismal Cost of Loving, this album completely redeemed TSC in my eyes. My personal track-by-track analysis:
1-Probably one of Weller's most personal songs, and the melodies are sublime.
2-Took me a bit to warm to this one, but the mishmash of music and subject matter are brilliant.
3-Honestly my least favorite, because I don't like Dee C. Lee's voice, but the music again saves the day.
4-Mick Talbot is an instrumental genius. Nuff said.
5-And one again, the music saves the day from Dee's voice.
6-Nice commentary about infidelity.
7-Completely awesome song. This is my favorite off the whole album.
8-I still can't help but dance when this one comes on.
9-Beautiful melody, even Dee's voice doesn't bother me so much.
10-Actually should've not been the album closer, ends things on kind of a depressing note, but that was Weller's state of mind at the time.

This is not the Style council's most consistant album,
even by their standards.The first half is dominated by catchy
soulful dance tunes like "Iwasadoledadstoyboy","How She Threw
It All Away" and "Life At A Top People's Health Farm".But that
and the epic nine-mintute tital track feature bitter lyrics and
even a toilet flush-it's clear Weller has lost interest.One star
must be omitted for the deadly dull "classical/doo-wop" medley
on the second half's "piano paintings",a clear piece of self-
indulgent drivel.Too bad-this could have been excecuted better.

I have been a Paul Weller fan from back in the Jam days and have dabbled in other Paul weller material with some enjoyment. I dedcided to add this CD to my collection and I was not disappointed.

Although this material is nothing like the Jam, songs like "confessions 1,2 & 3" and "how she threw it all away" are excellent. The Haunting lyrics of "it's a very deep sea" forced me to play this song over and over. This song touhed me very deeply indeed as it touches on our despair over the past and how the past effects us very deeply as we dive lower in negative emotions.

Why only four stars? Two weaker songs such as the gardener or eden reduced it's rating for me.

Great job Paul!

After the dismal Cost of Loving, this album completely redeemed TSC in my eyes. My personal track-by-track analysis:
1-Probably one of Weller's most personal songs, and the melodies are sublime.
2-Took me a bit to warm to this one, but the mishmash of music and subject matter are brilliant.
3-Honestly my least favorite, because I don't like Dee C. Lee's voice, but the music again saves the day.
4-Mick Talbot is an instrumental genius. Nuff said.
5-And one again, the music saves the day from Dee's voice.
6-Nice commentary about infidelity.
7-Completely awesome song. This is my favorite off the whole album.
8-I still can't help but dance when this one comes on.
9-Beautiful melody, even Dee's voice doesn't bother me so much.
10-Actually should've not been the album closer, ends things on kind of a depressing note, but that was Weller's state of mind at the time.

I'm afraid so - and it's great fun. However, Elfman becomes slightly overexcited to tear down politics and religion, and it comes out just a little forced when you first listen. But I love it all, so, I don't think I really condone that last statement.

Track 1 "Grey Matter" is a great stepping stone from the first Boingo album "Only a Lad" and decidedly one of the best Boingo songs. And one of the most true to life. In fact, I would say I knew the person Danny Elfman wrote this about if she (or he) hadn't been born five or so years after it was released.

Track 3 "Private Life" is definitely one of the best of Boingo. Musically quite solid, and the style and sound feels very unique. Not to mention the fairly simple universality of the lyrics.

And Track 4 "Wild Sex (in the Working Class)" is possibly my favorite Boingo song. If you really pay attention to Elfman's lyrical style, you will realize that sex is not really the point, although in many of his other songs it is only as basic as that. It resonates with the familiarity of "Private Life" and yet maintains a distance for those who are too shallow to look deeper than the beat and the chorus.

And Track 7 "Nothing to Fear (but Fear Itself)" should be just pure entertainment anyone who likes Boingo. But it is one of Danny Elfman's proselyting songs, so humor him for being opinionated, please. Unless you agree... Then just enjoy it, I guess.

I bought this for the unbelievably low price of $6.98...only to now find it for $5.99. Six measly bucks for one great album. If you don't jump on this, consider yourself brain-dead.

Now, that out of the way, it's not all wonderful. Reptiles and Samurai gets on my nerves. Same with Insects. But, the rest of the CD is quite enjoyable.

One of my fondest memories is relaxing to Whole Day Off when I was a wee-lad of 16. And who could resist the adrenaline rush of the title track? Same with Wild Sex, Private Life, and the rest of the album.

So, spend the six bucks, you cheap-skate. You won't be disappointed (and if you are, it's only six bucks).

For a short time in the early '80s, Oingo Boingo was right up there with the premier bands of the time. Their infectious grooves, incredible soundscapes and Danny Elfman's wacky vocal stylings dripped with their unique blend of genres infused with a bit of something nobody will ever be able to put their finger on much less duplicate. There just aren't that many bands that can inject so many different sounds into their music without it becoming bloated. With Oingo Boingo, though, every sound has its place and none detract from the overall feel of the music.

If you think you've heard Oingo Boingo but you've never heard this album (or Good For Your Soul), you really haven't heard Oingo Boingo. If you know nothing about Oingo Boingo, start here. This is by and far the best album to start with to get the Oingo Boingo firehose pointed in your face. Good For Your Soul (their next release) is also extremely good, though.

Nothing To Fear is quite possibly one of the best releases of any bands in the 1980s. There just isn't a weak song here. Give it a critical listen. Give it several listens, because it'll be a long time before you get to the point where you listen to it and *don't* hear something you never heard before. It's the gift that keeps on giving; an all-time classic!

It's amazing that XTC could make such a great live album, when you recall that they had to stop touring due to Andy Partridge's overwhelming stage fright--and that led, directly, to their Beatles-like transformation from a charming and energetic live act to an ingenious and imaginitive studio group.

Don't waste time. Get this LP. American radio ignored XTC, their American label botched their promotion, and the result was that the band, despite it's best efforts, has withered on the vine. This record is one of several highlights from a career that you shouldn't have missed.

Be careful when you order this CD as it is EXACTLY the same concert as the 4th disc of XTC's "Transistor Blast" album. If you have that collection, you don't need this!

While it is indeed a great concert, the other material on "Transistor Blast" is worth owning, so I suggest you buy that one instead.

With XTC's back catalogue now consisting to 99% of compilations and demo versions, it is quite clear that the band is content to pursue its relationship with its small but keen and devoted fanbase. Those of you who have not heard XTC before, would do best to check out their late 70s-early 80s output, a period when the band was a relevant, creative and era-defining musical force alongside more established artists such as Elvis Costello and Joe Jackson. This kind of music is generally described sing words like "poppy", "quirky", "quintessentially English", etc. And it is. But, XTC are not really that far removed from US alternative rock acts like Toad the Wet Sprocket, Sixpence None the.....Weezer, Three O'Clock, Elliot Smith. Music that owes more to Beatles, Beach Boys and Noel Coward than Elvis Presley and Motown.
This BBC live album a essential for lots of reasons: you get the band at its very peak (1980) and the songs are played with incredible energy but there's a still a crystal clear sound, a great atmosphere (it's like you're there) not to mention blistering live versions of Life Begins at the Hop, Making Plans for Nigel and This is Pop. As a seasoned XTC fan I love this record, but I heartily recommend it to lovers of good guitar pop in general.

Tin Drum is indeed a unique album from a very under-rated band. Recorded in the 80's with a heavy oriental influence, this bridges the gap between art and pop. If you don't get it on the first listen, it may take a while, but it will grow on you and you will love it (providing that you have an open mind to music). Unlike their predesessing albums of new romantic electro-pop, this enters new territory. David Sylvians sultry vocal sits perfectly on top of Mick Karn's sublime fretless bass playing and really do give you that Asian feel. Highlights for me are 'Ghosts', 'Visions Of China' and 'Cantonese Boy'...It feels a little dated listening to it today but nevertheless the songs still stand the test of time....Open your mind and enjoy.

As Japan progressed from their early years, their sound evolved into a rich, beautiful and innovative style that was unique to the period.Many have said that David Sylvian was attempting to imitate the more mature vocal stylings of Bryan Ferry. If you listen to their early albums like Adolescent Sex and Obscure Alternatives, the deliberate change in Sylvian's vocals are dramatic.It's pretty obvious he needed to tone things down to accompany the more textural music they were creating. And, does anyone else wonder why a band called Japan was so obsessed with China? Tin Drum is a wonderful collection of songs but the oriental influence is a little overplayed. Gentlemen Take Polaroids is their true masterpiece. Had that been the only album they ever did, Japan would still be one of my favorite bands of all time.

''Tin Drum'' is the most groundbreaking album of Japan's carrer, which is indeed full of highlights (the exception being maybe a little misstep with still good ''Obscure Alternatives''). The last in their string of excellent albums, ''Tin Drum'' is one of the most solid records of its time, which it was undeniably ahead of. The band came to its peak by developing a very own, unmistakable sound that couldn't be seriously compared to anything else done in the same period. Besides, its accomplishments include the succesfull, genuine marriage of asian elements with an european pop-rock soul that justify the band's name and seems to build a meaningfull conclusion of the group's legacy. The tunes here are delightfull. ''Cantonese Boy'' must be one of their best singles ever; ''The Art Of Parties'' incorporates the spirit of the whole record with its amazing drums and surreal tempo; ''Ghosts'' is an excellent ballad, and all the songs would deserve nice remarks in this and any other review. Sylvian's weird voice reached its emotional peak here as well, and comparisions to Bryan Ferry are mostly dull, since the usage both did of their not that differently sounding voices didn't lead to similar results.
If not a must-have, surely a must-try.

This is it! This is the one! Forget the Rhino reissues, this is still the best place for the old school Attractions sound. Reason? El Mocombo (sp?). Simply stated it is one of the most blisteringly honest live albums ever produced! Essentially a bootleg the Mocombo disc gets by on guts and fire alone. Now, I am not suggesting you pay $250 for this box set, especially if you did already fork it over for the Rhino's....BUT! I cannot honestly think of a better way to spend $250.
These old Ryko issues hold their own to the recent Rhino's despite the paucity of bonus material. However, until Mocombo is given its proper due, or you are lucky enough to score one somehow, somewhere, DO WHAT YOU MUST to include this disc in your arsenal of rock'n'roll.
And it cannot be overstated enough: the screaming OWWWWWWW dude does greatly annoy these nerves of mine. Time does diminish his presence though.
Buybuybuy!

Brilliant as everyone says. The live album included is killer except for one thing....this dude keeps yelling OWWWWWWWWWW really loudly throughout EVERY song!!!!! In fact, half way through the live set you start listening for the OWWWWW if you haven't heard it in the last 15 to 20 seconds (the way you listen for a snore when a snorer stops breathing for a really long time). And so one of the best live albums ever is ruined by some drunken idiot. An OWWWWWW or two between songs is acceptable if annoying. OWWWWWW's every 10 seconds throughout a concert is worthy of the crowd going Who-concert-in-Cincinatti on you ___. It's like those idiots who blow horns throughout an entire 90 minute soccer game or the people with really bassy sound systems in their cars. We hear you, we acknowledge that you exist, now please shut up!

For any fan of Costello and almost any fan of rock 'n roll, this set is indispensable. Costello's first 3 albums are included, along with one live disk. All the included albums here have added tracks - many interesting songs not previously released along with alternate versions of standards. One of my favorite new songs is 'Stranger in the House', an early demonstration of Costello's country interests which was left off 'My Aim Is True' because the record company couldn't tolerate the idea of a country-styled song on a rock album.

Just when I thought I had Eurythmics all figured out, that they were the new Yazoo (incredibly gifted vocalist and an experimental, imaginative synth player ) along came BE YOURSELF TONIGHT, which threw me for a loop. My favourite tracks from this cd are the mostly synth based tracks like "it's alright baby's coming back' and " i love you like a ball and chain" because they remind me of the early years of Eurytmics ( synths and Annie's voice, which i adore)
This cd has a sort of organic feel to it, in that it has lots of acoustic instruments ( gritty guitars, strings, sax, etc) and sounds nothing like their first few albums. The songwriting is still strong, of course - top notch - but it's the excecution that I have a slight problem with. It sometimes sounds a little more mainstream than some of their earlier work, kind of a blue eyed soul approach, with all the horns and stuff. Otherwise, it's a pretty decent cd.

In 1985, Eurythmics released their fourth album entitled, BE YOURSELF TONIGHT, an album that combined the mixture of 80s Synthesized Pop, and Rock. This album is another amazing release for Eurythmics. Five singles had been released from this amazing album but only four of them were hits had been, and they are hits that everybody should recognize today. This whole album should not only be recognized, but owned by every fan around the world.

WOULD I LIE TO YOU?
The first single from the album. At first, I was not too pleased with this song. But I decided to give it another chance, and now, I cannot get enough of hearing this song. A great hard rock sound, with added sound of...horns. Awesome.

THERE MUST BE AN ANGEL (PLAYING WITH MY HEART)
The second single from the album. This is an amazing song, where Annie's voice is soothing and beautiful. Make sure you listen to this song before taking off the album.

I LOVE YOU LIKE A BALL AND CHAIN
The fifth & final single from the album. This song should have been released as a single. I feel that if it was, it could have been a major hit.

SISTERS ARE DOIN' IT FOR THEMSELVES (Duet with Aretha Franklin)
The third single from the album. As a solo artists, I find Aretha Franklin to be rather weak. But I do enjoy hearing two of her songs and they are: "Respect" & "Chain Of Fools". But when she pairs up with another band or solo artist for a duet, I seem to find her at her strongest, especially here. Aretha teamed up with Eurythmics for this kick a** duet. A year after this duet, Aretha would go on to record a duet with George Michael entitled, "I Knew You Were Waiting (For Me)".

CONDITIONED SOUL
This is another great song, where in the beginning a very influential Japanese sound is heard. Great song.

ADRIAN (Duet with Elvis Costello)
Great song.

IT'S ALRIGHT (BABY'S COMING BACK)
The fourth single from the album. Definitely an amazing song, with one hell of a music video.

HERE COMES THAT SINKING FEELING
Awesome.

BETTER TO HAVE LOST IN LOVE (THAN NEVER TO HAVE LOVED AT ALL)
This is another favorite song of mine. The sound is incredibly outstanding in every way.

This is an album that should definitely be found in the possession of every fan around the world. It is an amazing album all the way. If you look at the album's front cover, you'll see that Annie changed her appearance a bit. Her hair is still boyishly short, but not a crew-cut. She went from the spray-on orange color to her original natuarlly blonde look.

From the first few notes of "Would I Lie to You?," it was obvious that the Eurythmics had shed their cool, European sound for something totally new. I remember hearing the song for the first time on the radio and thinking, "What is this?"

On the Eurythmics' fifth studio album "Be Yourself Tonight," the duo tackle the sounds of North America. Drawing from R&B, the Annie and Dave create a brilliant synthesis of Euro Pop Rock and Motown, and with Annie's soulful vocals, how could they go wrong? In fact, Annie Lennox may be one of the few white women on the planet who would dare share a song alongside the legendary Queen of Soul Aretha Franklin (as witnessed on the feminist anthem "Sisters Are Doing It For Themselves").

The rest of the album is quite a gem as the band takes the listener on a journey through some well-crafted pop songs. From the gorgeous "There Must Be An Angel (Playing With My Heart)" to the bitter "Better To Have Lost in Love," there's not a mistep on the entire album. "Adrian," a duet with Elvis Costello, is an instant classic; "Conditioned Soul" and "I Love You (Like A Ball And Chain)" show that Annie's lyrics still carry the irony and bitterness of their early work; but most precious of all is the powerful fourth single "It's Alright (Baby's Coming Back)." This masterpiece is one of the centerpieces of the album. It showcases Annie's vocal abilities like no other song on the album (and arguably any other song from the band, period). Lennox delivers such a punch on this song, we almost forget the Eurythmics are a duo (sorry Dave!).

After twenty years, this is still a powerful album. In just a couple of listens, one can hear the hard work and creative energy that permeates this recording. Indeed, it's one of the band's finest works and holds some of the greatest hits of the mid-80s.

I had this compilation to update my Translator cassettes which are slowly deterirating. Wow. Oddly enough , those seem to be the source tapes from some CD reissues. If you have the original tapes like I do it can be done at home.
Two of my favorite Translator songs don't appear here but deserve honorable mention to be sought after. One is - Is There A Heaven Above , and the other - Winter Crying. A third song - Breathless Agony is on CD on another compilation.
IRS 007

In this day and age we are constantly bombarded with product that just doesn't last. Bands that make one decent song on a CD with the rest junk. And once in a while, a major label will put out a best of from a band back in 70s or 80s that will enough have good music to enable us to be interested in that band to seek out their albums, to alas, only availble on vinyl.

Translator is one of those bands whose albums are only on vinyl and not CDs. Everywhere That We're Not is one of these retrospectives, that has a lot of songs that could have made it on the Top 40 charts or videos that MTV could have play to promote them. In a perfect world, Translator could have stand shoulder to shoulder with the Cars or Stray Cats or Billy Idols with should have been major hit Everywhere That I'm Not, or should have been hits such as Un Alone or Standing In Line, real rock and roll and not the pop cheez that was running amok in mid 1980s suburbia.

In a perfect world, Translator would have all their stuff out on CD for the world to discover. Rhino would never reissue their stuff, so you're better off to email the folks at Wounded Bird Records (they have known to reissue albums from the likes of Romeo Void or Nantucket and I bet you that they do have access to the Sony/Columbia catalog) or Sundazed (although that's probaly asking too much since Sundazed is more into 60s-70s stuff) or One Way (if they are still releasing albums) and ask them to please reissue the four Translator albums. My faves remain the Self-titled album and Evening Of The Harvest, and they do a cool remake of Jefferson Airplane's Today on the OOP Oglio Translation album. Translator albums are a little harder to find, but you may find them at your local vinyl or antique store, in the dark corner where they sell records. Where did ya think I found mine?

But for a good overview, you can't go wrong with Everywhere That We're Not. Or Translation. But then again I'm biased. I have them both.

I have not purchased any of the existing compilations of TRANSLATOR's music, as I have the four original LPs and much prefer the sound on vinyl. However, I cannot stress just how strongly I recommend any compilation that will give you an idea of what this band was all about. I'm actually writing to express my thanks to Robert Darlington and TRANSLATOR for those few years in the Eighties when they were making some of the best music and more importantly, putting it out on display with such regularity, in SF. They produced emotionally exciting, politically charged, socially aware music that proved the old adage "it's not my revolution if I can't dance to it". In an era that gave us some wonderful bands in SF like THE MUTANTS, FLIPPER, ROMEO VOID, THE DEAD KENNEDYS (the list goes on and on), TRANLATOR was always the best the City had to offer, and just too damn good to ever make it. How does that happen? It calls to mind the fate suffered by bands like BIG STAR, THE dB'S and THE DEL FUEGOS to name a few. All beautiful failures, but still, as Lucinda Williams would says, "too cool to be forgotten". So thank you for the four albums (I was listening to one this morning) and all those nights at the I Beam, The Mab and even one memorable night at The Stud. Thanks Robert, have a Merry Christmas and you are...TOO COOL TO BE FORGOTTEN.

Talk Talk Talk is the Furs at the height of their game, exhilarating and dense, with one riveting piece of candy-coated trash after another floating out of the speakers. In my own punk heydey, this was killer choice stuff -- even though it's not really punk at all -- and came at a time when doctrinal rigidity to crud like hardcore or straightcore or whatever didn't mean diddly. Talk Talk Talk came out at a time before radio had completed its terrible march to niche segregation, and exciting music was coming at kids from all corners. Punk and new wave stuff led the blast. The Furs were among the best and most disposable at the same time. One quibble with the Amazon reviewer: He takes a crack at what followed this from the Furs, but Forever Now is a very good record that, with the devastating Brechtian nightmare of "Easy Street" and sweet metalic joy of "Yes I Do" and when they went all mushy on us ("Heaven," "The Ghost In You") it was still irresistable. Last great one for me: "Until She Comes."

Back in the day, I flat wore this record out. Played it more than Iron Maiden and The Sex Pistols put together.

It has what a lot of great records have. Layers. The 80's jangle guitar, the hard riff guitar, horns, a really disaffected vocal style throughout, solid basswork, drums that never bore. The lyrics create a great sense of space, are concrete enough to relate to, but ambigious enough to withstand heavy repeat listening.

It's a Steve Lillywhite produced record, and he was to the early 80's what Rick Rubin would be to the 90's.

After this record, the band got smaller (ie the texture went away), and while Forever Now is a really good follow-up, the writing was on the wall and they would kind of fade-out like acts do.

Skip the compilations and soundtracks. Get the first three Psychedelic Furs albums. Quintessential 80's. I can still listen to all three, almost 30 years later and that makes them classic.

This is the best Furs album, despite what later happened with the song Pretty in Pink.

This music blew me away when it came out. At eighteen, I really thought I'd heard it all. I'd gone through my rebellious phase and snuck out to see Rocky Horror a gazillion times, I'd become a loyal listener to both of the cool weekly punk shows: Mike Halloran's "Radios in Motion" on the Wayne State U. public radio station and "W-4 Play" on Detroit's WWWW (which, unbeknownst to the DJ's, was soon to be sold and turned overnight into a country station). Mike's show was especially great for catching the new and imported acts. But the P-furs didn't sound like anything else, despite the Steve Lilywhite production. Metallic, yet melodic. That gravelly voice of Richard Butler set against a velvet saxaphone. Can such pretty pop come out of such hard-edged punk?

This particular disc, thanks to its role in introucing us to the "Pretty in Pink" single, was accompanied by a pair of pink panties, initially. Or, it may be that Mike and other DJ's just got one as a promotional gag (artists had to get creative after payola was outlawed, after all, although what Mike Halloran would do with a pair of pink panties, I will not speculate here).

I especially love the version of Pretty in Pink on this disk. It is quite different than that on the soundtrack of the film, Pretty in Pink, which was made some seven or eight years after this recording and has nothing to do with it. The song has a different meaning entirely, empathizing with a girl--perhaps a prostitute-- who keeps hoping the men whom she lets use her will turn out to love her, when obviously that's not likely. And it was re-recorded for the film in a much more "refined" way, even as a "solo" for Richard Butler. A lot of the edge is taken out, some of the saxaphone solo isn't there, and it loses some of the darkness of the earlier version.

"It Goes On," "Dumb Waiters", and "Into You Like a Train" have riffs boppy enough to dance to. "I Just Want To Sleep With You" pretty much says it just like it is. My very favorite, bringing together a wistful melody with a dreamlike lyric is "All of This and Nothing". Girl leaves boy, and girl leaves behind stuff, but nothing makes sense to him.

P. Furs told the world in name, style and lyric that rebellion and fashion could co-habitate freely. Yes, we knew that already from the Stones and David Bowie, but it doesn't hurt to be reminded by the pros.