Thursday, 30 April 2020

John Mellencamp

The albums covered here are:-

The Best That I Could Do - The Best Of John Mellencamp
Uh-Huh (1983)
and Scarecrow (1985)

Scroll down to read the reviews. 


1. I Need A Lover
2. Ain't Even Done With The Night
3. Hurts So Good
4. Jack And Diane
5. Crumblin' Down
6. Pink Houses
7. Authority Song
8. Lonely Ol' Night
9. Small Town
10. R.O.C.K. In The USA          
11. Paper In Fire
12. Cherry Bomb
13. Check It Out
14. Without Expression                                              

John Mellencamp is normally (and probably correctly) assessed as being a dime store Bruce Springsteen or Bob Seger with some riffy Stones influence in there too. Although those assessments are a bit clichéd they are sort of true. Mellencamp leans heavily on those artists - Springsteen for the honest whole working man blue collar image and Seger for the pounding American driving voice and growling, perfect rock voice. For whatever reason, Mellencamp (initially known as John Cougar) never truly made it properly big. This best of compilation would have you questioning why that was because, as the title suggests, it was the best he could do. However, he released many albums and many of them were patchy as he struggled to fully stamp a personality on many of the tracks. When he did nail them though, he was pretty damn good, as the fine selection on here proves. Proper driving Mid-West rock. Roll down the window and switch that power on.

I Need A Lover has an extended piano, drums and guitar intro that builds up like a Jim Steinman song until the tempo drops acoustic guitar, drums and backing vocals and Mellencamp arrives with his charismatic voice. Ain't Even Done With The Night is sort of Seger meets Southside Johnny vocally, over a convincing mid-pace and melodic backing.

Hurts So Good is a great track, overflowing with Stonesy riffs , handclaps, a throaty Rod Stewart-ish vocal and a singalong roll the window down chorus. It's great - one of his best ever cuts. Now for his absolute best one, Jack And Diane - a Springsteen-esque tale of a regular hometown US couple set against a crashing introductory riff and Mellencamp's finest ever vocal. That riff just gives me goosebumps every time - surely one of rock's greatest and the song merges acoustic and electric guitars perfectly. The lyrics are great too - "suckin' on chilli dog outside the Tastee Freez...".  If you only have two John Mellencamp songs, make them these latter two.


Crumblin' Down is a very Bob Seger-ish rocker with another killer chorus and some more Stones-derived riffs. Pink Houses is a slower tempo piece of Springsteen-style social observation. Like Bruce, Mellencamp liked a bit of social comment, probably even more so as he went on to become a bit of a spokesman for Mid-Western farmers.

Authority Song starts with a Footloose-style opening riff and is a thoroughly catchy piece of upbeat rock. The old rebel in Mellencamp is there on the lyrics as well. I really love this one. Lonely Ol' Night is a slightly slower tempo but still mid-pace and solid rocker. Once more, the vocal is superb. Small Town is classic Mellencamp - I don't really need to say that it has great riffs, acoustic and electric guitars in tandem, social comment and a killer vocal. This was what he was all about and I'm buying into it, that's for sure - I'd forgotten just how good some of this stuff was.

R.O.C.K. In The USA is as upbeat as the slightly cheesy title suggests that strangely reminds me of some of Neil Diamond's more lively numbers, particularly on the verse and acoustic guitar bits. Paper In Fire is excellent too, in the same riffy way, with some swampy guitar hints and Cajun-ish accordion swirling around. Cherry Bomb has a bit of a rhythmic swing to it and some fetching harmonica that differentiates it just slightly from the material thus far. Check It Out is a slow burner of a rock ballad with a tinge of sadness to it. Without Expression is an infectious, bassy mid-pacer with Mellencamp singing in a softer style. Another great song.

This is a really good, enjoyable compilation from an artist who, if this material is the benchmark, was a bit underrated.

UH-HUH (1983)

1. Crumblin' Down
2. Pink Houses
3. Authority Song
4. Warmer Place To Sleep
5. Jackie O
6. Play Guitar
7. Serious Business
8. Lovin' Mother Fo Ya                
9. Golden Gates

1983's rocking Uh-Huh was one of John Mellencamp's best albums. I will cover the songs not dealt with in the above "best of" review, which exclude the album's first three excellent songs that provided such a fine introduction to the album. It is a solidly Mid-Western album with an undercurrent of downtrodden broken dream Springsteen-style emotion running through it. It is Mellencamp's Darkness On The Edge Of Town, comparatively. Not quite as bleak or lyrically astute, but it certainly has its cynical moments.

The rocking, riffy quality is continued on Warmer Place To Sleep with rocks a hard as the previous three numbers had. Jackie O was a song that Mellencamp later credited to John Prine and it has a laid-back country rock vibe to it, totally different to Mellencamp's usual fare. Play Guitar sees Mellencamp returning to business as usual on a thumper of a rock number - chunky riffs and kick-ass vocals. The guitar sounds like Them's Gloria at one point.

Serious Business is an excellent bassy rocker full of Stonesy riffage while Lovin' Mother Fo Ya has a punky edge to it and a Jagger-like vocal. You know, this stuff is really good. Golden Gates ends this strangely short album (less than thirty minutes) with a fine muscular ballad. Good album.



1. Rain On The Scarecrow
2. Grandma's Theme
3. Small Town
4. Minutes To Memories
5. Lonely Ol' Night
6. The Face Of The Nation
7. Justice And Independence '85
8. Between A Laugh And A Tear
9. Rumbletear
10. You've Got To Stand For Something     11. R.O.C.K. In The USA
12. The Kind Of Fella I Am

From 1985, this was John Mellencamp's powerful blue collar statement. I have concentrated on the tracks not included on the Best Of compilation reviewed above. It was arguably his finest album although there is a paper-thin difference between it and Uh-Huh. This one probably just edges it due to slightly more variety, musically, in the compositions. It plays as a pretty cohesive album.

Rain On The Scarecrow is a brooding and blistering protest song in support of Mid-Western farmers. The crackly old Grandma's Theme is pretty superfluous but I guess it sort of leads into the power of Small Town. Minutes To Memories is blue-collar rock by numbers, but it is still a fine track, with a strong vocal and hook. Mellencamp spits out his invective against the system convincingly. Protest rock at its best.


The Face Of The Nation has a quirky, staccato bass-driven beat before the song breaks out into another powerful rocker. The lower-key verses give it a different appeal to some of the earlier material. Justice And Independence '85 also has a catchiness to its verses and a big hooky chorus. It also has a captivating "drum solo" part in the middle.

Between A Laugh And A Tear is one of those acoustic and electric guitar fusion songs that Mellencamp did so well around this time. Once again, he nails down a great chorus. Rumbletear has echoes of Bruce Springsteen in places on the deep vocal verses. It almost seems to go without saying now that the chorus is great. You've Got To Stand For Something sees Mellencamp looking back on his past and nailing his colours to the mast on a grinding, brooding rocker. The Kind Of Fella I Am is a melodic rocker to finish up with. As I said earlier, there is more musical variety on this album and it stands as a fine eighties rock album. Thankfully there was still some proper rock around in the mid-eighties.

© Lynn Goldsmith


Wednesday, 22 April 2020

Generation X

The albums covered here are:-

Generation X (1978) 
and Valley Of The Dolls (1979)

Scroll down to read the reviews.


1. From The Heart
2. One Hundred Punks
3. Listen
4. Ready Steady Go
5. Kleenex
6. Promises Promises
7. Day By Day
8. The Invisible Man
9. Kiss Me Deadly
10. Too Personal
11. Youth Youth Youth                     

There were punks from the top drawer (we know who those were), there were those slightly from the next drawer down like Stiff Little Fingers then there were those from the third drawer like Generation X. I was never into them at the time and I still keep that stance, to an extent, although as you will see I am warming to this album. I viewed them as uninspiring “plastic” punks whose Buzzcocks riffs, standard punk drumming and contrived sneering vocals from bleached blond Billy Idol were nothing more than ordinary. Guitarist Bob Andrews could play though and his soloing gives the album something extra, I have to say. This album, their first, from March 1978, certainly makes no “punk best of” lists, for me, but revisiting it has been surprisingly enjoyable. It is loud, riffy, tinny and exciting. It is no The Clash, The Ramones, In The City or even Inflammable Material, but it is ok. Of its time, of course.

From The Heart is a rousing, punk-by-numbers opener with a couple of good guitar bits and One Hundred Punks has an in-your-face anthemic, fist-pumping vibe to it. Bob Andrews contributes another searing guitar solo. Musically, it is pretty straightforward, however, although there is a lively inventiveness to Listen on occasions. It is quite Buzzcocks influenced.


Ready Steady Go was a minor hit single and it brings back memories for me of 1978. It is a catchy tribute to the iconic sixties music show but it always irritated me a bit - where Billy Idol sings “Cathy McGow-ow-ow-ow-an...”. Kleenex is a bit of a silly typical punker. Promises Promises is not the Buzzcocks song, it is an extended attempt at a punk anthem, sort of Still Little Fingers and The Ruts meeting The Boomtown Rats. Actually, it’s quite good. Probably the best track on the album.

Day By Day is a frantic thrash that tells of going round and round on the Circle Line. The Invisible Man, all stabbing riffs and rolling punk drums is a bit like those songs Bruce Foxton wrote for The Jam, lyrically. Kiss Me Deadly tries to be a punk ballad with its pre-Billy Bragg guitar and Who-esque dramatic drum breaks. It features possibly Idol’s best vocal.

Too Personal is a solid slice of punk while the final number, Youth Youth Youth is another attempt at a lengthy classic. It lumbers on a bit too long but it certainly has enough attack in it too retain one’s interest and the guitar solo is positively incendiary. Nice feedback drenched ending too.

I may have been a bit unfair on this one. I didn’t go for it in 1978 but feel more positively about it now. It is a surprisingly good album and a worthy debut.

** The bonus track single Your Generation is a pounding, thumping killer of a track with a coal mine deep bass line throbbing along throughout. Its b side was the equally bumptious, stomping, glammy Wild Youth. Both are good ones. Wild Dub is great too, with some excellent bass and drums. A bit Clash-like in places.

No No No is a frenetic Ramones meets early Stiff Little Fingers thrash. Trying For Kicks is a Buzzcocks-fashion grinder. This Heat is very early Boomtown Rats in its feel. All these tracks would have been fine on the album.


1. Running With The Boss Sound
2. Night Of The Cadillacs
3. Paradise West
4. Friday's Angels
5. King Rocker
6. Valley Of The Dolls
7. English Dream
8. Love Like Fire
9. The Prime Of Kenny Silvers, Pt.1             10. The Prime Of Kenny Silvers, Pt. 2
11. Gimme Some Truth
12. Shakin' All Over                                                    

In January 1979, Generation X tried to shake off their punk beginnings and show that they were proper, credible rockers. They employed ex-Mott the Hoople legend Ian Hunter to produce this, their second. While punks like them were using an old rocker like Hunter to produce their album, Hunter used Mick Jones of The Clash to help produce his latest album a few years later. Punks wanted to be rockers, rockers wanted to be punks. A strange time was 1979-80.

The album didn't really work or attract sales and Generation X split in November 1979. To be honest it is a very strange creation, not fitting in with any genre, difficult to categorise.

Running With The Boss Sound starts with a Mott The Hoople-sounding glammy anthemic guitar blast before it settles into a mid-pace new wave rock grind, similar to The Boomtown Rats or some of Ian Hunter's solo material. Billy Idol sounds quite Geldof-like on this. There are vague influences of Bruce Springsteen's 1977-78 output too. Funnily enough it would have fitted quite well on The River or the Tracks box set. Maybe "the boss sound" was not a coincidence.

Night Of The Cadillacs was like a typical Mott The Hoople mish-mash, like Violence or Crash Street Kids, just not as good. It was a bit like the stuff ex-Mott The Hoople bassist Overend Watts wrote when Hunter left and the band became Mott. Paradise West is an attempt to be a Springsteen meets The Boomtown Rats street anthem but it never really gets there, despite some grandiose guitar parts. Its five minutes plus don't realise any potential it may have had. Yes, it has a few good points (a great guitar solo, for one) but probably more unconvincing ones. A few listens, though, and it does sound better, so there you go. Friday's Angels sounds like an Ian Hunter bonus unreleased track that didn't make it on to an album.


Next up were two singles, the moderately successful but annoying (to me, anyway) rock 'n' roll pastiche of King Rocker and the chugging sub-Clash meets Rebel Rebel rock of Valley Of The Dolls. I didn't really go for either of these at the time and they still sound decidedly ordinary. English Dream is ok, but once again in a very Ian Hunter/Boomtown Rats sort of way. It is probably one of the album's better cuts, however.

Love Like Fire is clunky, uninspiring sub-heavy rock. While one-time punk bands like The Clash and The Jam moved on successfully with albums like Give 'Em Enough Rope, London Calling, All Mod Cons and Setting Sons and even lesser punks like Stiff Little Fingers released Nobody's Heroes and Go For It! material like this ensured that Generation X would not do the same thing.

The Prime Of Kenny Silvers, Pt. 1 finds the band trying to be The Who or The Jam in a character-driven song mixed with the street-drama of Bruce Springsteen or Bob Geldof. Pt. 1 merges seamlessly into Pt. 2 and the tempo drops a little. Look, it is ok, but as with most of the album it just sound right, whereas Rat Trap did. This was no Jungleland or anything off Quadrophenia or Down In The Tube Station At Midnight. It was a bit of a shame, because its intentions are fine,  but some songs make it and some don't.

John Lennon's Gimme Some Truth is given a speeded-up punk makeover in which, ironically, Idol condemns punk rockers. Again, you could see what was trying to be achieved here and once more, it didn't quite work. It ends up like Sham 69 with chanted "truth" shouts. Another cover ends the album - Johnny Kidd & The Pirates' Shakin' All Over, something Ian Hunter regularly covered live, much more convincingly. So it was farewell, then to Generation X, probably rightly. Billy Idol went on to have a few solo hits, notably White Wedding and Rebel Yell in the mid-eighties.


Tuesday, 21 April 2020

Ry Cooder

The albums covered here are:-

Chicken Skin Music (1976)
Bop Till You Drop (1979)
Borderline (1980)
and The Prodigal Son (2018)

Scroll down to read the reviews.


1. The Bourgeois Blues
2. I Got Mine
3. Always Lift Him Up/Kanaka Wai Wai
4. He'll Have To Go
5. Smack Dab In The Middle
6. Stand By Me
7. Yellow Roses
8. Chloe
9. Goodnight Irene                                                  

This delightful, comparatively underrated album from Ry Cooder dates from 1976. There is blues, country, folk, soul, r 'n' b, gospel and understated rock in here. It all mixes perfectly to back Cooder's pleasantly unassuming voice.

The Bourgeois Blues is a cover of a Leadbelly blues full of scratchy, pickin' guitar, harmonica and lyrics concerning racial segregation. I Got Mine sees the instrumentation and overall improved somewhat from the earthy previous track. It is a slow-paced but solid number enhanced by some New Orleans funereal-sounding brass. It has a fetching old-style guitar solo before the song lifts up to a brassy, gospel ascension. Similarly uplifting is Blind Alfred Reed's Always Lift Him Up, which features a gentle Cooder vocal over subtle gospel backing vocals, some beautiful instrumentation and a Hawaiian gospel tune merged into the mid-song instrumental part. When this kicks in the result is simply lovely. Oh how quiet pieces of music can sometimes be so moving. Incidentally, the album was recorded in Hawaii.


The Jim Reeves country standard He'll Have To Go is given a Tex-Mex/Mariachi makeover, with Mexican brass breaks and an almost reggae-style beat. Cooder's liking for a bluesy r 'n' b tune is satisfied by the syncopated, staccato strains of Smack Dab In The Middle. He liked to cover a classic too, and he does so here with a slow and soulful rendition of Ben E. King's Stand By Me made even more attractive with a Tex-Mex accordion.

Yellow Roses is a cover of an old Hank Snow country hit, given a bit of a Hawaiian makeover on the guitar parts. Chloe is a relaxing guitar-driven instrumental with jazzy hints. The album ends with another Leadbelly cover in Goodnight Irene that also has a New Orleans sound to it. Overall, this is a very enjoyable, low-key album that simply brings quiet pleasure.


1. Little Sister
2. Go Home Girl
3. The Very Thing That Makes You Rich (Makes Me Poor)
4. I Think It’s Going To Work Out Fine
5. Down In Hollywood
6. Look At Granny Run Run
7. Trouble, You Can’t Fool Me
8. Don’t Mess Up A Good Thing            
9. I Can’t Win

This was, on the surface, a thoroughly incongruous album from 1979, released as it was at the height of punk/new wave/disco. It is a laid-back serving of soul-influenced country/Americana rock that would have gone down well in 1972, but maybe not in 1979. Cooder didn't particularly look the part for 1979, either, being a throwback to the late fifties/early sixties in many ways. That said, it has always been critically-acclaimed. It is immaculately played by Cooder and his band, but its sound is a little low and lacking in punch, despite the album’s claim to game as the very first fully digital recording. In 1979 I was too bothered about The  Clash and The Jam to pay this any attention, but by 1984 I had got into it, as my tastes matured. It is actually a great album. I certainly love it now. The more I listen to it, the more I like it.

I have always liked the gentle country rock sway of Cooder’s cover of Elvis’s Little Sister. Although this is a good cover, I actually prefer the rock 'n' roll guitar-driven Presley version. Go Home Girl is a cousin of The Rolling Stones/Arthur Alexander’s You Better Move On. Indeed, it is an Arthur Alexander song. No wonder I thought that. It is a fine track, full of close to the border Tex-Mex melodies and romanticism. The Very Thing That Makes You Rich (Makes Me Poor) is a delicious piece of intuitive, melodic blues with a warm, bassy but subtle backing. Dire Straits will have loved this, no doubt. Check out the buzzy slide guitar half way through. A similar feel is found on the quality instrumental I Think It’s Going To Work Out Fine. Top notch musicianship.


Down In Hollywood is an infectiously funky number with a sort of Dr. John/New Orleans groove to it. It slowly swings along most attractively with a gritty edge to it. It features a Stevie Wonder Living For The City spoken bit too and backing vocals that remind me of something else that I can’t put my finger on. It was the album’s only Cooder original composition. Look At Granny Run Run is a catchy slice of upbeat country blues, once again featuring some fine backing vocals. These vocals are provided by none other than Chaka Khan, by the way.

Trouble, You Can’t Fool Me is soulful country blues at its best, full of Band-influenced vibes. Great guitar picking solo in there too. Don’t Mess Up A Good Thing has Chaka Khan duetting with Cooder on a Fontella Bass number enhanced by some more killer slide guitar. I Can’t Win is a heartfelt piece of slow gospel soul to end this short, but eminently appealing album. Ry Cooder, similar to Boz Scaggs and Robbie Robertson, is someone I feel I should give more time to. One of those respected artists that has people nodding their heads and saying “good call” if you mention them.


1. 634-5789
2. Speedo
3. Why Don't You Try Me
4. Down In The Boondocks
5. Johnny Porter
6. The Way We Make A Broken Heart
7. Crazy 'Bout An Automobile (Every Woman I Know)            
8. The Girls From Texas
9. Borderline

10. Never Make Your Move Too Soon

This album, from 1980, was also released while new wave was the main sound around, but it remained oblivious to that in its country-influenced Latin vibes and slow rock 'n' roll/ soulful r 'n' b debts. It is fine little album that has slipped underneath many people's radars.

634-5789 is a lively, jaunty cover of the Wilson Pickett song, driven along by some groovy organ and a soulful vocal from Cooder. It has some quirky, appealing instrumental breaks in the middle, too. Speedo is a reggae-infused bluesy workout with a gruff Cooder vocal and call-and-response backing vocals. It features a nice, Latin-ish guitar solo too.

Why Don't You Try Me is a delightful track - an uplifting gospelly soulful ballad with a killer, vibrant chorus. I love it, and did so way back then too. It is overflowing with great instrumentation and top notch vocals, with Cooder giving it the big, deep voice soul growler at one point. When Cooder raises his voice skywards in the final verse/chorus the effect is spine-tingling. Down In The Boondocks is a cover of a Billy Joe Royal Joe South-penned song and Cooder gives his it his trademark laid-back Americana/soul veneer.


Johnny Porter is a brooding, deep, bassy piece of swampy blues with a Polk Salad Annie Tony Joe White/Elvis feel to it. The guitar picking solo near the end is superb. Cooder has always liked a Delbert McClinton-style Latin Border country song and we get a great one here in the romantic The Way We Make A Broken Heart. It is actually a John Hiatt song. Crazy 'Bout An Automobile (Every Woman I Know) is a Stax-style r 'n' b number with one of those spoken intros before it breaks into its shuffling, addictive blues groove. Southside Johnny no doubt loved this.

The Girls From Texas is a pure singalong country stomper, Borderline is another John Hiatt number, this time a catchy instrumental and Never Make Your Move Too Soon is a Dr. John-influenced piece of New Orleans-style blues rock. As I said at the start, this is a pleasurable album, up there with (and possibly ahead of) Bop Till You Drop.


1. Straight Street
2. Shrinking Man
3. Gentrification
4. Everybody Ought To Treat A Stranger Right
5. The Prodigal Son
6. Nobody’s Fault But Mine
7. You Must Unload
8. I’ll Be Rested When The Roll Is Called
9. Harbor Of Love
10. Jesus And Woody
11. In His Care 

Veteran Ry Cooder joined forces with his son Joachim on this impressive 2018 journey back into his blues, r 'n' b, gospel and soul roots. Most instruments are played by Cooder himself. It tails off a bit towards the end, but there is still some quality stuff on here.
Straight Street starts slowly, with just a bluesy sounding strummed guitar before Cooder’s gruff, soulful, sleepy voice arrives and then the drums and a lovely warm, deep bass too and we are into a perfect piece of Americana. The song has an uplifting, gently gospelly chorus that is full of melodic soul. Indeed, the song was a 1950s gospel hit for The Pilgrim Travelers. Cooder gives it an effortless dignity. Great stuff. It is a great introduction to the album and is probably its best track.

Shrinking Man is a solid bluesy jug band-ish stomper that features some Chris Rea-style slide guitar runs. Gentrification is a staccato, rhythmic blurs with big hints of world music, particularly West African griot-style, all over it. Everybody Ought To Treat A Stranger Right is a Blind Willie Johnson blues that is given a solid, slide-driven rocky makeover here. The Prodigal Son is a traditional blues that rocks with huge, bassy muscle and is powered along by searing guitar and tub-thumping drums. So much of this album reminds me of some of Chris Rea’s Blue Guitars work, especially the first few CDs of that set.


Nobody’s Fault But Mine is the Blind Wille Johnson song previously recorded by Led Zeppelin. Here it is done in a mysterious, grainy, authentic and mournful blues style. You Must Unload is adapted from an old hymn and take to task the greedy, the selfish, immoral, hypocritical and the decadent. Played out against an almost Irish-sounding air it is a marvellous song with a fine message. The fools who currently run a lot of the world would do well to heed this.

I’ll Be Rested When The Roll Is Called is a rousing piece of country blues. Bruce Springsteen in Seeger Sessions mode would love this, I’m sure. Harbor Of Love has a gentle, almost folky feel to it in its acoustic strains. Bob Dylan would love this one too, I feel. It features some lovely guitar. Jesus And Woody is a Cooder original that has Jesus requesting that Woody Guthrie sing to him as they were both “dreamers”. In His Care is a gospelly stomp to end on. This is a genuine, authentic slice of Americana of an album, delving deep into the history of the blues. Yes it is retrospective, but gloriously so.


Saturday, 18 April 2020

The Pet Shop Boys

PLEASE (1986)

1. Two Divided By Zero
2. West End Girls
3. Opportunities (Let's Make Lots Of Money)
4. Love Comes Quickly
5. Suburbia
6. Opportunities
7. Tonight Is Forever
8. Violence
9. I Want A Lover
10. Later Tonight
11. Why Don't We Live Together?                   

I will be totally honest here, I was never really into The Pet Shop Boys, finding that their somewhat contrived, narcissistic image just wasn't my thing. Neither was their electro-dance-pop music, particularly, either. However, from 1986 onwards, for a few years, their music was everywhere, so it sort of has a nostalgic feel for me in a perverse sort of way. There was definitely a character and an atmosphere to their creations and ex-music journalist Neil Tennant had a knack for a killer lyric, that was for sure. There is no way I will dismiss their music.

Incidentally, the tiny images on the cover was, I am sure, a deliberate ploy to say "don't notice us - now make damn sure you notice us...". Clever move.

Two Divided By Zero kicks things off with masses of programmed drums and synthesisers (not a favourite thing of mine) but is has an oomph to it and Tennant's laconic, drawlingly gay-sounding voice gives it something special. He was Marc Almond with bags more deliberate ennui. West End Girls was the group's first big hit and remains the song they are known for best, with its mysterious ambience, semi-rap vocal (the style would be used by Madonna on Vogue several years later), sweeping synthesised strings and throbbing bass. It represented the hedonistic, carefree, city-loving self-obsessed mid eighties culture as much as any other song. This is not a criticism. It is a truly great song. Also latching on to the "loadsamoney" acquisitive zeitgeist is the tongue-in-cheek, cynical Opportunities (Let's Make Lots Of Money). "I've got the brains, you've got the looks - let's make lots of money..." - how very 1986. Clever dance pop was The Pet Shop Boys' bag. It built on the foundations laid by Soft Cell's Non-Stop Erotic Cabaret but in a more world-weary, less sexual fashion.

Love Comes Quickly has another rubbery bass sound and some ethereal vocals/synths. It is full of atmosphere. Madonna would produce a whole album like this eight years later with Bedtime Stories, so there was considerable influence here.


Maybe my favourite Pet Shop Boys number is the extremely evocative Suburbia, with its wonderful chorus hook and Tennant's bored-sounding but deeply cutting voice. A brief reprise of Opportunities leads into the beguiling groove of Tonight Is Forever. It is a rhythmic, attractive number with yet more impressive, convincing semi-spoken quietly-dominant vocals. Violence is similarly brooding with a nice deep bassy sound.

I Want A Lover is a more upbeat piece of electro disco pop. Even on a more throwaway song like this, though, the lyrics are sharp and acerbic. "I don't want another drink or fight, I want a lover...". Indeed. Can't argue with that. Later Tonight is the album's only plaintive, piano-driven ballad and Why Don't We Live Together? returns to Madonna-style dance pop vibes.

As I said, not essentially my thing, but a worthy and credible album all the same, overflowing with the feel of 1986.