Were the perfect lesson of why a great band should never turn to sh.t: it makes everyone forget they once meant a great deal. On CD one, it comes back, just like in 1980 when their first, self-titled LP arrived amid a storm of London raves (and smart singles), with such grinding, subversive-sounding, catchy rockers as 'India,' 'Pulse,' and 'We Love You.' They helped lead the burgeoning post-punk vanguard that had retained punk's primal urgency, but utilized unique, creative sounds and styles instead of punk's insistence on basic rock'n'blues chords. And there was kicking the stage under his kimono on that first, 1980 U.S. Tour - a blend, both aurally and visually, of master cynic (his voice was also as raspy and guttural) and the super-interesting (then of, and ). Second LP killers such as 'Into You Like a Train' and 'Pretty in Pink' failed to diminish that fearsome rep, and even the prettier -produced third LP still sounded fresh, as heard here with 'Merry Go Round' and the lovely hit that broke them, 'Love My Way.'
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But with this taste of the top, lost their fire. They wanted to be pop stars, so they neutered their sound. The seduction of movie mediocrity that simultaneously infected and ruined (likewise obliterating five great LPs) led them to a flavorless, danceable, weeny-pop wimp out. The first half of disc two, like those unforgivable if popular LPs they unleashed in the mid-'80s, falls so far, one feels the sting of betrayal. Unlike, became properly embarrassed over their loss of respect, leading them to two final, surprisingly good LPs that reclaimed a tougher sound, if not quite recapturing their older, caustic edge - see the last half of disc two. But by then, no one but the teenyboppers they'd callously courted cared, the hits dried up, and the band capitulated.
This double-dip CD further tosses up B-sides, rare tracks, and unreleased cuts to entice. But what still matters is the 1980-1982 stuff. Feel your skin freeze over: 'India'! You're my love song!' Buy the first two LPs, but is also a thorough reminder of fertility realized.
Having gotten a much needed recharge with the excellent 'All That Money Wants' single and further helped by the reappearance of on drums, the back-to-a-quartet came up with an album that erased the misfire of almost completely. Also benefited from a great producer -, whose work with is partially echoed at many points on this textured, strong collection of songs. 's voice isn't remarkably different than before but he sounds better all the same, letting his voice through the mix while 's rich and ringing guitars fill out the mix instead of keyboards. The / rhythm section, if not always as frenetic as in early days, shows a partnership well reestablished, and the end result can often rival the early at their best. Perhaps the slight difference - and the reason why it's not a perfect success - is that there aren't as many instantly grab-your-attention songs as there could be, something the band never really had a problem with before.
Often the best moments aren't the individual songs but their differing approaches - the heavily distorted bass rumble of 'Entertain Me,' the stripped-down blend of acoustic guitar and cello of 'Torch.' If anything, 's work with both and gets useful and understandable echoes here, heard on finer songs like the slow, queasily unsettled title track - 's guitar is some of his finest - and 'I Don't Mine.' There is one truly killer moment, however - 'House,' which far from being a nod to the U.K.' S acid house explosion is prime through and through, with a wonderful introduction, one of 's least cryptic lyrics on the whole album, and a soaring, strong chorus.