New Wave music reviews

China Crisis was an interesting group, largely ignored in the U.S., who had a brief but richly creative run from the early to late 80s.

This album, produced by Walter Becker of Steely Dan, is to me their high point. While earlier albums had their moments and are very enjoyable, this one maintains a high level of excellence throughout, and its tone and sound is remarkably consistent. Every song flows beautifully into the next, with a rich polyglot of world rhythms, sound, horns, melodic bass, background vocals, and memorable melodies.

Personal favorites include "Bigger the Punch I'm Feeling," a peerless pop tune, which flows smoothly into "The World Spins, I'm Part of It," a perfect sound environment that can't help but make you feel good. This is one worth searching for, listening to it will make you happy. Isn't that enough?

There's no comparison to China Crisis. I first heard their mellowish rock-pop when they opened for Simple Minds in San Francisco in the 80's. Many of the crowd booed them because they were too different from the New Wave they were expecting. My friend and I ignored them and danced in CC's swirl of sound.

Flaunt the Imperfection has three songs that take me into another emotional world: Here Comes a Raincloud, Wishful Thinking, and Soul Awakening. Ultimately, it's a spiritual world that China Crisis takes me to. The words even fade from conscious "word"ness, becoming simply vocal sounds; the music opens, and I fall in and swim, swim, swim, in warm, blue water.

as a DJ inthe 80's I was lucky enough to get 12" promos of most of there hits. if you like the album lane the 12" mix will blow u away

Yes, This brings back memories from Dublin when I first saw and heard this great band on the BBC's Old Grey Whistle Test program that aired in the late evening.

I bought two of their records and both were good listening but sadly got damaged since.

My friend has kindly bought me a couble of their CDs for a Christmas present. I am delightd and can't wait to hear them again.

Best wishes, Fischer Z fans.

Now here's a quintessential classic that has withstood the test of time. "Red skies over paradise" was Fischer Z's third outing and is still their best by a city mile. Having made a name for themselves with "Word salad" and "Going deaf for a living", spawning minor hit singles like "The worker", "Remember Russia" and "So long", the internationally acclaimed "Red skies over paradise" definitively established them as one of Britain's foremost bands and allowed them to outgrow their cult status.

The front cover depicts lead vocalist/lyricist John Watts standing on the Brighton pier under a menacing bloodred sky. Watts is at the top of his game on this 1981 album, not merely as a singer whose urgent, high-pitched voice stamped an indelible seal on the band's atypical sound, but as an extremely talented songwriter, whose lyrics were starkly colored by the spirit of the age. In referring to England circa this period as a modernday paradise he is laying on the irony three inches thick. The ramifications of rampant unemployment and a genuine anxiety about the future of the world in the heyday of the Cold War were reflected prominently in his work, venting social criticism in the face of imminent nuclear genocide.

In haunting songs like "Cruise missiles" he warns of this danger, while the magnificent title track "Red skies over paradise", which the makers of the "Going red for a salad" anthology shamefully neglected to include, already sees the missiles flying. "In England" comments cheekily on the country's shortcomings as a tourist attraction. The wickedly titled "Wristcutter's lullaby" describes the ill-fated adventures of a fugitive from justice. From a musical standpoint as well "Red skies over paradise" is loaded with semi-legendary rock songs. The vinyl album's A-side was made up exclusively of killer tracks, including the commanding opener "Berlin" (cool theme, brilliant keys) and the marvellous hit single "Marliese". I'm not quite sure whether the inspired "You'll never find Brian here" was a single release as well. The B-side could not pride itself on quite as many highlights, but still contained some outstanding songs. The enthralling "Batallions of strangers" (again, great lyric) is perhaps my favorite track on the entire album, driving its point home on a tapestry of raunchy guitar and synths.

"Red skies over paradise" is one of the finest albums of the eighties. I would recommend it to anyone who values great pop/rock music, regardless of personal preference. If you have never heard it, you are seriously missing out !

Great lyrics from the cold war by John Watts. After having my vinyl version stolen some years ago, I was happy to finally have this CD completing my record collection. Can anyone help me collecting John Watts "The iceberg album" ? (also stolen)

If you are a fan of Costello's talented and quirky songwriting and lyrics, you will certainly enjoy this fresh collection of Costello covers. You will not be dissatisfied.

A few standouts include For Real's rendition of "Unwanted Number", Tasmin Archer's rendition of "All Grown Up" and Til Tuesday's version of "The Other End (of the Telescope)".

Included are a good collection of ballads as well as pop, country, and folk songs. I don't believe that any of these songs are marred by a cover artist's narcissism either, which is nice. A fitting tribute.

A great collection, but did you know the song "The Commedians" is somewhat of a copy of the Charles Aznavor song Le Commedians??

This album is like a secret garden, where old themes and new ideas jump out from behind each other to surprise you. Some songs I understand better now, some less so. Few songs stir me as much as the EC versions, but some are simply fascinating. If you have not yet discovered the great man you will find this collection tempts you further, for the enlightened it is simply gripping. I bought it thinking it was a cynical financial release, and played it to death. I have followed EC through from Pump It Up! in my teens through countless recordings and live performances (most recently a memorable set in Liverpool at the Royal Court -where he sounds best)and this album still surprised me - I should not be so quick to jump to conclusions! Buy it.

I first saw the video for "Heart and Soul" when I had insomnia as a 17-year old -- and ran out and bought this cassette the same day. Little did I know that, good a song as it was, that it was the worst song on the album.

I recently rebought it in CD form and it's as amazing now as it was then. How T'Pau was so successful in the UK and yet a one-hit wonder in the US, I have no idea. China in Your Hand is such a well-done song, lyrically, musically, and emotionally, and the rest aren't far behind.

Now if only they'll rerelease The Promise, and actually come up with a US version of Rage, I'll be happy.

This is one of the very best albums you will ever buy.
There is not one track that is not an excellent production.
Shame it's out of stock at the moment.

Clearly, Carol Decker and company are Star Trek fans, as they took their name from the priestess in the Star Trek episode "Amok Time." Me, I heard their single "Heart And Soul" and was entranced by the dreamy new-wave/alternative pop hybrid they came up with. The smooth melodic keyboards and wall of sound makes me imagine of floating down a river. Carol's voice varies between the sultry monologue: "Something in the moonlight catches my eye/the shadow of a lover goes dancing by/looking for a little bit of love to go, so/give me love give me heart and soul" to lilting singing, of which the two are mixed together, and finally the shrill emotion in the chorus. One of my favourite songs of all time.

"I Will Be With You" is one of those wishful dreams of going back to times past. However, it's the third single (in the U.S., anyway) that rivals "Heart And Soul" in sheer silkiness. "China In Your Hand," which did better in T'Pau's native UK, opens with pizzicato strings, and this leisurely paced song coated with their usual wall of synthesizer. The chorus goes "Don't push too far/Your dreams are china in your hand/Don't wish too hard/Because they may come true." Or, as another proverb goes, "Be careful what you wish for-you may get it." The sax solo at the end is a nice touch, and the fact that there is a brief reprise of this song as the last track hints at its status as the keynote track here.

"Friends Like These" takes a critical look at tunnel-visioned friends who fall down once their dream and vision prove fallible: "But oh how the mighty all fall down/Heavy in a sea of principles." The chorus goes: "Only one dream/only one way/only one vision and thought for the day." Carol wonders if they are aware that there's more than one way to the answer.

"Sex Talk" sounds like a flashy upbeat Elton John pop song. She says of the title theme, done by the phone as "love without a face." The narrator has been alone too long and can't go on this way.

"Bridge Of Spies," the second single, is a mid-paced ballad with its slow U2-like guitars, equates the meeting of lovers akin to standing on opposite sides of a bridge the way Cold War spies were exchanged-remember Francis Gary Powers and Rudolf Abel? "I am walking/over the bridge of spies today/Freedom is only one more step away/You only have to hold me/Take me to you." Another nice line: "where I lived in my fantasy on the continent of dreams." Funny, I thought that's where I lived.

That song segues into the down-and-dirty "Monkey House" with its watered down AC-DC rock guitar. It's an analogy of Puritanical censorship being the wealthy state of Mental Hygiene. "We can make or break your mind/With Mental Hygiene/And you will see things in the way we think you should" definitely has totalitarian overtones.

"Valentine" is a sad forlorn look at a lost love who's now married and has a child: "I know mine are the arms you'll never hold/I know mine is a love remains untold." She sings in her lilting ballad voice here. That is followed by the bittersweet "Thank You For Goodbye" with a sax permeating the song. Notable lyric: "So I really don't matter/I'm just a rung on your ladder/To climb over on your way to town."

The raucous "You Give Up" is a scolding tone of people who aim for extremes and don't go for closer dreams. Not a good song for idealists or romantics.

Even sixteen years after its release, I still can't find myself just shuffling it off into any category except as a hybrid combination. So give a little bit of heart and soul...

Good old Nik Kershaw. Those over 30 will remember him in the 80s ripping up the singles chart with family-friendly teen anthems like �~Wouldn’t It be Good?’, �~I Won’t Let the Sun Go Down on Me', etc, etc., his small but cuddly frame the object of many youn g girls' dreams. By the sound of this record he threw away his �~How To Pen a Super Pop Hit’ manual and retreated to a dark place with only a batch of Beatles and Crowded House albums for company. A good move, for To Be Frank is one eyebrow-raiser of an al bum, absolutely brimming with catchy, heartwrenching and - be warned - addictive songs. Two things are clear here: he can write a tune as good as any Neil Finn composition, and he’s also a fabulous guitarist, lyricist and arranger. He is not one of nature’s vocalists, however; his nasal, reedy voice can irritate at times, especially when he tries so darned hard. And quite what the record company were thinking when they came up with the cover - a sort of 70s Hipgnosis reject heavy metal album - and the stupid title, lord only knows. Still, this is a marvellous little record for lovers of good FM pop. �~Jane Doe’, �~Already There’, �~Die Laughing’ and �~Show Them What You’re Made Of’ receive regular rotation on my home stereo and always have the same uplifting effect. I wonder what Howard Jones or the Thomson Twins are up to nowadays...�-�ú

I can't think of another artist who has successfully transformed from an 80s synth pop star to performing compelling acoustic-based music. The music, the voice are terrific. I can't get enough of Nik's new style - between this and Fifteen Minutes, I can't wait for the next CD.

I was a fan back in the 80's, even had a poster on my wall. I just sort of stopped paying attention to my favorite performers until this Nik CD was listed on a page as a recommendation. After reading the glowing reviews I bought it... and haven't taken it out of my CD player yet.

Unbelievably good. He's got an accoustic sound now that just fits him like a glove. I was dismayed to see "Wouldn't It Be Good" on yet ANOTHER of his CDs, but this accoustic version doesn't even sound like the same song. Trust me, I was cynical too.

music fan said it perfectly: "This is the perfect pop record." Discard notions of BARRY MANILOW being pop. This is pop. Power pop, a cousin to punk that was raging at the time. Not hardcore. VIBRATORS, CLASH, 999. Those guys were in the general class of this band. But there was the Irish thing, not that I'm an expert. And what's particularly amazing about the UNDERTONES is their pure focus on typical teenage pop subjects that you might expect from the BAY CITY ROLLERS. Because they lived during 'the troubles' with Northern Ireland being occupied by English military and bombings and rotteness like that. I guess STIFF LITTLE FINGERS lived in the same region and one was Prostant and the other band Catholic and SLF were political in their lyrics. The UNDERTONES' music was far more tough than the very silly BAY CITY ROLLERS without being harsh.

What makes this stuff shine is dual guitars, strong guitar presence and strong song writing. The odd vocals, well, ya get used to it.

The UNDERTONES went through a musical change to something softer and, I guess, in an effort to get more played on the radio and to be more actual pop stars.

RED ROCKERS sorta did the same thing, not that many people know of them except maybe if they remember that one off radio hit they had in the early 80's 'China girl' or something. They were from Lousiana. The similarity to the UNDERTONES is both bands made incredible first albums then shifted in later albums to, it seems to me, to try to be more radio friendly and to make themselves a career in music.

Basically, most punk bands don't make a career in music. Several punk bands did get signed to major labels in England and I assume several did make a living at it. Who? The DAMNED?, the CLASH if they'd not sacrificed themselves financially, I dunno who else, ENGLISH BEAT?, the SPECIALS?, STIFF LITTLE FINGERS?, SHAM 69?. I don't know.

What I do know is that this UNDERTONES album and the 7" records that came in the same year or so with it along with their basically equally incredible second album, Hypnotized capture a sound that is never found in any other band: real strong pop carried by a strong guitar sound, tight musicianship and catchy song writing with a vocal that eventually captures your ears and ends up, for the next 25 years, sounding great.

If you can use the 'listen' buttons so. For any song. I've loved this band since I first heard them and continue today, maybe just a notch slightly less cuz I'm not into hearing the same songs, same versions, over and over. But I give it some years alone and go back to the stuff and it blasts all over again. Particularly this album and the very tasty 7"s worth of music they've added to this CD. Yow. chrisbct@hotmail.com

This was a great blast of rock sugar from a bunch of teenage dreamers. They armed themselves with guitars, a DIY work ethic, and began bashing out three chord ditties about girls, cars, guys they were jealous of, girls and more girls. (And Mars Bars.) Whatever they may have lacked in experience, they more than made up for in exuberance. Feargel Sharkey had a voice that just boiled over with hormonal confusion and cockiness, and was so unique that no-one's matched him since. The rest of the band just tore into their instruments with all the speed that their systems' race through adolescent upheaval could keep up with. And while many slogged them off as non-political kids in punk's nihilist rage, The Undertones probably had a greater impact than most of the angry messengers of the era. Why, you may ask?

Because The Undertones inherently understood that "Teenage Kicks" and its never distant parallel of teenage pain never fade from the scope of human existence, but momentary anger of and rage at the times usually does. Well, then again, maybe they didn't at the time. But this music still means more today than most of, say, Stiff Little Fingers or Gang of Four's library. And let's face it, there was only one Clash. Seeing as most of The Undertones were under 18 at the time of their first album, "The Undertones" subject matter of "She's a Run Around" probably weighed in heavier on their lives than "Julie's In The Drug Squad."

It's that kind of joyous carousing that keeps "The Undertones" from ever once sounding like less than a rock and roll epiphany. Along with the first three Ramones albums, The Undertones' first two albums are a cheering jolt of electricity from a period when you could still pick up a guitar and feel like you could say whatever was on your mind. Even if the priority topic was "Let's Talk About Girls."

What can you say about a band whose average age wasn't even 19 when they recorded their classic debut release? What can you say about a songwriter who wrote a teenage anthem when he was still a teenager? What can you say about an album that features tracks with titles like "Really Really", "Jimmy Jimmy", and "Mars Bars"?

Well, not much, save giddy praise. "The Undertones" is an all-time classic. Every song is pop-punk bliss: simple, straight, and to the point. Nothing even remotely resembling a pretense. The sweetness and innocence of it all is enough to get you teary-eyed. No other seventies punk band really had that thing going for them. The British punks were generally jaded and the American punks were generally arty; the closest antecedents to the Undertones are the Ramones and the Buzzcocks. But while the Ramones had a cool, subtle artiness to them, and the Buzzcocks lingered on the more jaded and adult side of adolesence ("Orgasm Addict"), the Undertones, on their first release, raise innocence to an art form.

The songs are not sound-a-likes, but they all feature the same classic, essential elements: purely adolescent lyrics, sometimes silly and snide ("Smarter Than U") but mostly sweet and usually about girls, Feargal Sharkey's tremolous tenor, the brotherly guitar bite of John and Damian O'Neill, the Motown-influenced bass of Mickey Bradley (the bassline from "Casbah Rock" is a dead ringer for that of "In the Midnight Hour") and the glam-influenced drums of Billy Doherty (the tom-dominated chorus of "Get Over You" is very Gary Glitter, but in a cool way). A more subtle motif are Kinks-esque background vocals from the brothers O'Neill, which really make many songs on this record truly great.

"Teenage Kicks" is widely regarded as a classic. "Are teenage dreams so hard to beat?" is probably the best opening line to a rock song ever, and to detail every subsequent brilliant aspect of the song would result in a two-volume set. John O'Neill, the Undertones' guitarist and primary lyricist and composer, was a mere 19 when he wrote it. And whilst the subject matter of the song has strong...er...resemblance to "Orgasm Addict", it's approached from an entirely different angle. And it rocks really, really hard, too. John Peel's all-time favorite for a reason.

But "Teenage Kicks" is not the only highlight. This release features three other Undertones 45's: "Get Over You", "Jimmy Jimmy", and "Here Comes the Summer", all great especially the first, which for some ungodly reason didn't even crack the UK Top 50. It also features great album tracks like "Family Entertainment", "Girls Don't Like It", and the hilarious "Male Model" ("When I was young I never wanted toys/Things like that were for little boys!"), and B-sides such as the one and only pre-Shonen Knife punk rock song about candy, "Mars Bars".

To be fair, it's not a "Singles Going Steady"-esque tour-de-force where every track is as brilliant as the last. The other tracks don't match the highlights in terms of quality. Why spring for this, then, instead of "The Very Best of the Undertones"? Because of the sheer simple pop-punk bliss you get on every single track. I mean, The Undertones on this record were really just trying to have as much fun as possible and make their fans smile. When your intentions are that pure and good, your music can't be any worse. There's not a single bad song on here, and it never gets boring.

This record also lays claim to a unique punk rock honor: not ONE of the songs is three minutes long, and MORE THAN HALF of the songs are under two minutes long! No other record I know of meets that qualification, not even "Pink Flag" or "The Ramones". This definitely contributes to the "breath of fresh air" feeling throughout.

My only reservation is that there is an even better CD release of "The Undertones" available from Sanctuary subsidiary Castle Records. It has everything this Rykodisc version has, plus the absolutely essential non-LP single "You've Got My Number (Why Don't You Use It!)". The track has all the ferocity of everything else on this record, but also shows a remarkable maturity. Unfortunately that maturity would mean a noticeable loss of ferocity on their second album, "Hypontised", and a total loss of it on later releases. The Castle version also includes the single's B-side, a cover of the Chocolate Watchband's "Let's Talk About Girls", and an alternate version of "True Confessions" (in addition to the standard version). It might not be available on Amazon right now, but it's not all that hard to find!

Ace Of Spades (1980.) Motorhead's fourth album.

Motorhead formed in the middle of the seventies, shortly after Lemmy Kilmister was fired from Hawkwind following his being arrested. The new group he formed with "Fast" Eddie Clarke and "Philthy" Phil Taylor was almost instantaneously one of the ultimate hard rock/heavy metal groups around. Although the band's debut was a raw, punky-styled hard rock album, the subsequent follow-ups, Overkill and Bomber, saw the band find their sound practically overnight. What would result following these three albums was Ace Of Spades, the band's fourth album, released in 1980. In this year, the New Wave Of British Heavy Metal (NWOBHM) was in its prime. Would Motorhead's contribution to the genre be one of their better or weaker efforts? Are fans who call this album the best Motorhead album correct? Read on, and you shall see.

People who call this the ultimate Motorhead album aren't kidding. Essentially, everything the band did on the previous two albums comes together nicely here, and depicts the band in a prime they had never reached before and would never reach again. I don't know if I'd call this my personal favorite Motorhead album (with these guys it's so hard to pick a favorite 'cause they're all so good), but if nothing else, this one is tied for being the best with some others. Many Motorhead classic came from this album, the biggest and most obvious of which being the title track. This was the biggest hit of Motorhead's entire career, and is essentially their defining moment. Most people know and recognize the band for this song, and rightfully so. That's not the only big hit the album spawned, either. You've got plenty of other classics present here, including classic cuts like Love Me Like A Reptile, Shoot You In The Back, and The Chase Is Better Than The Catch. There are also a number of non-hits that give even the hits a run for their money in terms of overall musical quality. Lemmy serves up some of his finest vocals and bass riffs, Eddie plays the guitar with the best of 'em, and Phil's drumming is nothing short of excellent. In other words, the whole band is in their prime. If you only get one Motorhead album, Ace Of Spades is the obvious choice.

Motorhead's albums (most of them, anyway) were reissued and rereleased with remastered sound, expanded liner notes, and even rare bonus tracks! As far as bonus tracks go on the Ace Of Spades reissue, you get the awesome classic hard rock of Dirty Love, which was the B-Side to the Ace Of Spades single. I can't believe this song didn't make it onto the album! The other two bonus tracks are collaborations with Girlschool, an all-female NWOBHM band from the same era. These tracks are tough to come by, and it's great to finally have them readily available on CD in America. THIS is the way you're supposed to do remasters - other record companies could take a hint from this example (I'm looking at YOU, Mercury and Atlantic!)

Ace Of Spades is a classic metal masterpiece. 1980 is the year that saw the release of a number of five-star NWOBHM masterpieces, and truly, Ace Of Spades is among them. Lemmy Kilmister and the boys are all musical geniuses, and no album demonstrates that as well as this one does. If you only get one Motorhead album, this is the one you should buy, no questions asked. Highly recommended. Five stars.

This is without a doubt Motorhead's highest point. Every track is just is just a pure headbanging. Needless to say that the title-track is one of rock'n'roll's loudest, most essential anthems. And what is to be said about the closing track: "THE HAMMER"? YEAH! BELIEVE ME THE HAMMER'S GONNA MAKE YOU DIE... ouch!
FIRE! FIRE! A record for you and your mates to pogo to... It's MAGIC!!!!!!

Possibly the greatest heavy metal album ever recorded. This album set the bar very high for all other bands. This album builds on the first three ( Motorhead, Overkill and Bomber). Lots of great catchy riffs, and some pretty cool lyrics as well. You can't say that Lemmy is the next Tolstoy, but his lyrics are plain and simple. This was my first Motorhead album and they became my band. The extra tracks are great for the compleatists out there who may not have picked them up the first time around on vinyl. It's nice that they kept the original ( from the pounding "Ace of Spades" right thru to "The Hammer") order of songs from the European release instead of the mixed up North American. It's a shame that this would be the next to last studio album for this lineup ( Lemmy, Fast Eddie and Philthy ) which in my opinion was the best, of the many different incarnations with Lemmy always leading the way. If you get any heavy metal album start with this you won't be disappointed!!!

The Dave Edmunds Anthology is an outstanding collection, if you are a Edmunds fan you will have heard (or already own) most of this material, but if like me, I purchased this to "retire" my old and worn Dave Edmunds vinyl collection....Great stuff for any fan of Rock n Roll/Roots rock.....GET IT !!!!!

Rhino does it again. This covers everything with 41 songs from Love Sculpture to Jeff Lynne. Includes a 52 page booklet with great liner notes but even better each song is covered individually and discussed by Edmunds and/or Billy Bremner. Something that surprised me is how little Edmunds wrote, only seven songs and they were co-written. I have never been a big Edmunds fan (I think like the Everly Brothers he's a little too white for my taste) but I do appreciate his talent and I find his music growing on me (like the Beach Boys & The Dead) as I grow older.

This is almost the definitive dave edmunds collection. It contains almost all you need. The almost faultsless Rockpile LP's are well represented and have aged splendidly.

Superb 1993 Motorhead release.I must've missed this one,because I recognised so few of these tunes.One P-O-W-E-R-H-O-U-S-E of of an album.A lesser known British metal classic.Tracks that MORE than make this CD a true keeper are "On Your Feet Or On Your Knees","Death&Glory",their possibly anthem(?)"Born To Raise Hell",the semi-acoustic tear jerker "Don't Let Daddy Kiss Me","We Bring The Shake" and their decent cover of the Stone's "Jumpin' Jack Flash".Long live Lemmy and his metal henchmen!

Enter Motorhead, 1993. When 1992's MARCH OR DIE album didn't hit it off as well as the band hoped it would, Lemmy and the gang went back to doing what they did and still do best: churning out scorching riffs at breakneck speeds.

BASTARDS is arguably Motorhead's best album, bar none, which is saying something, considering that Motorhead's discography puts bands' like Slayer and Maiden to shame. The drumming's top-notch (check out Burner, and then piece your eardrums back together), the lyrics are catchy, thoughtful, and honest, and the guitar work on BASTARDS is downright awesome. Check it:

On Your Feet Or On Your Knees: Starts out with a killer riff and doesn't let up. Catchy as hell.

Burner: Damn. Red Bull in song form; energy.

Death or Glory: A good song with a better chorus.

I Am The Sword: Love it. One of my favorites.

Born to Raise Hell: In spite of its popularity, this is one of my least favorite songs on the album. It's still very good, however.

Don't Let Daddy Kiss Me: This song is a bit of a deviation from the traditional Motorhead formula. It's acoustic, and the lyrics are haunting, to say the least.

Bad Woman: Groove to it, baby.

Liar: An adrenaline-rush of anger. Another one of the album's best.

Lost in the Ozone: A nice song for when you're just relaxing. Some parts are acoustic and some are electric, which Lemmy and Co. mix very nicely.

I'm the Man: Possibly my favorite song on the album. Man, I love these riffs. This song gave me goosebumps the first time I heard it, which is definitely a good thing.

We Bring the Shake: Less intense that most Motorhead material, but there's nothing wrong with that.

Devils: The opening riff of this song is great. It's creepy, it's groovy. A great closer.

Jumpin' Jack Flash: This song's only available on the remastered version of the album, so I don't have it. I imagine it's good too, though. :)

BASTARDS is a damn good album, and very under-rated. It's a shame that this album is lost in Motorhead's vast discography.

Motorhead helped create speed metal, so of course all metalheads (like me) bow down to Lemmy and The Gang. But this is also one of the few bands whom punks can appreciate and jam to, as well. And, influentialness aside, Motorhead are a notch above the rest. Most punk bands eat Motorhead's dust, and Motorhead are also a lot less one-dimensional and more hook-oriented than most speed/thrash metal bands. "Bastards," Motorhead's umpteenth album, which was released in 1993, continues carrying on the band's iconic legacy. "On Your Feet Or On Your Knees," a very exciting (albeit short) song, starts the album off on the right foot, and the remainder of the songs don't disappoint. Like the rest of the great albums in this band's discography, some of the stuff on this disc (like the very catchy and famous fifth track, "Born to Raise Hell") will stick in your head for days. Tracks two and three, "Burner" and "Death or Glory," probably best illustrate "Bastard's'" great speed-punk beats, with super fast, buzzing guitars and thumping drums. And, just when the listener starts to marvel at the album's uncompromising speed and force, Lemmy breaks out the acoustic guitars for a strummed, melancholy ballad ("Don't Let Daddy Kiss Me"), with heart-wrenching lyrics about "the worst crime in the world" (incest). Other standouts are the groovey, lurching riffs on "Liar," "We Bring The Shake," which you can almost tap your toe to, and the bonus track (which is only available on the remastered edition), a catchy cover of "Jumpin' Jack Flash." Like most Motorhead albums, "Bastards" is a classic. Not only is it a very enjoyable listen, but it showcases the band doing what they do best: cranking out tunes that are mighty loud, fast, and catchy. And nobody does this type of music better than Motorhead. Period.

Some great experimental electronic music here. But don't expect anything like whip it, cause it's a different Devo from what your use to.

If your expecting songs like "Whip It" you aren't reading the title. This is a compilation of awesome stripped down songs that contain truly great melodies and socially cutting, humorous lyrics. Songs like "Automodown", "I'm A Potato", "Midget", "Ono", "Stop, Look, And Listen", "Soo Bawlz", "Social Fools", etc... contain the most adventerous, funny music ever produced. I love this album, and would love to hear in a different context if Eno produced it. It would be my favorite album of all time. As it is it is just a lot of fun and a great hidden treasure in an awesome career.

And that's just not hyperbole. Pardon my ignorance, but I was just not aware of the full extent of Devo's power. These seminal recordings (this and Volume 2) truly blew my mind, and actually made me ashamed that I had not heard them previously. I was only familiar with Devo post-77, which is some of the finest post-punk, new wave ever. If you have not heard these two albums, do yourself a favor and seek them out. Kill if you must. These tracks are much rawer and more deranged than later Devo. From crude vocoder paired with detuned synth duets, to fuzzy guitar rock, this is some truly Devolutionary music for Devolutionary spuds. Some of these songs have a leering, almost sinister edge which was later smoothed out for mass consumption. It is absolutely criminal that these two albums are out-of-print. I sure hope Mark Mothersbaugh and Company hold the rights to these gems, because they deserve exposure. You need this, you just don't know how much yet. I feel that these two albums made me a better and smarter person (than you).