You say you don't love me....
Released September 1979
For me, the two previous Buzzcocks album, Another Music In A Different Kitchen and Love Bites are much better than this one, which is slightly formulaic and repetitive in places, particularly the old "side one", which contained the punkier material. It already sounded somewhat old hat, even by late 1979, unfortunately. For some people, this is their best album, but personally it lacks something in comparison to the others. It sounds a bit tired, to be honest, despite the lively nature of the material. If you think about it, The Buzzcocks had just a couple of great years - 1978 and 1979 - two good albums, and this ok one. Their legacy has been far greater than the sum of their parts, however. Forty years later, they are still remembered with respect for their contribution and subsequent influence.
2. Sitting 'Round At Home
3. You Say You Don't Love Me
4. You Know You Can't Help It
5. Mad, Mad Judy
6. Raison D'Être
7. I Don't Know What To Do With My Life
9. Hollow Inside
10. A Different Kind Of Tension
11. I Believe
12. Radio Nine
Paradise is a typical Buzzcocks punker, with the late Pete Shelley's instantly recognisable bleating vocals and a solid fast punk beat. It actually sounds comparatively dated by now, though, compared to some of the post-punk material they had been dabbling in on previous albums. Sitting Round At Home moves between chugging verses and a breakneck, punky chorus. You Say You Don't Love Me is a classic Buzzcocks punky love song. You Know You Can't Help It is pretty much Buzzcocks punk by numbers. Mad, Mad Judy is full of riffs, bass and growling punk attitude and I can't help but like it. Raison D'être is also an appealing staccato-beat, riffy punky track. In fact, though, listening to this side over and over, it has hidden depths and I have got into it all over again.
I Don't Know What To Do With My Life is a sort of Buzzcocks meets The Sex Pistols to kick off the old "side two" and Money gives us the first taste of post-punk industrial rhythms, such as were explored on the previous two albums. Hollow Inside is in the same vein, with some impressive drum parts and bass lines. It is here that the album becomes a little more interesting and more experimentally progressive. I much prefer this side, despite my liking for punk. I feel that this was far more futuristic material than simply retreading old punk footsteps. A Different Kind Of Tension is sort of post punk meets new wave with some robotic vocals floating around. Again, it has something about it, although it does sound pretty dated now. The tracks are longer though and more in step with the whole post punk thing. Nowhere is this more apparent than in the seven minute I Believe. Seven minutes? From a punk group in 1979? It was certainly unusual. It doesn't get boring though, in its punk meets Joy Division sort of way.
There were no singles on the album - the two that were released around the same time were Everybody's Happy Nowadays and Harmony In My Head, both of which would have improved the album by their presence. The 'b' side Why Can't I Touch It? is a great track, and a real shame that it was not on the album.
Below is a clip of The Buzzcocks performing Everybody's Happy Nowadays.