Billy Idol Albums (7)
'Devil's Playground'
Release Date 3/21/2005
Tracks 14
Label Sanctuary
See Album Tracklist and Review
What The Critics Say
The most remarkable thing about the 12-year wait between Billy Idol's fifth album, Cyberpunk, and his sixth, Devil's Playground, isn't the enormity of the gap between records, it's that almost nobody noticed that he was gone. The odd thing about Devil's Playground isn't that Billy pretends Cyberpunk doesn't exist, it's that he now pretends that he's always been a metalhead, as if his posturing in the '80s was more than an affectation. With his trusty sidekick guitarist Steve Stevens in tow, Idol cranks up the volume and never lets it slide, even on the infrequent ballads. Occasionally, they lighten things up a touch and wind up with some killer tunes -- in particular, "Sherri" is a terrific pop song, while the lively, acoustic-driven "Cherie" is a deft delight (is it a coincidence that the titles are nearly identical?). On this pair of hooky, catchy tunes named after girls, Devil's Playground points toward an interesting, fruitful direction for Idol -- one that acknowledges his veteran status without sounding aged -- that he hopefully may wind up taking next time out. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Billy Idol was still a rock & roll bad boy despite being over the hill by the start of the new millennium. Billy Idol: VH1 Storytellers captures that typical snarl without the bombast and returns to basics. The real rawness behind such classics as "Flesh for Fantasy," "Cradle of Love," and "To Be a Lover" is stripped, and the acoustic mix found on this album showcases Idol's appeal on a different level. The sexiness is still there, and Idol and guitarist Steve Stevens compose a magic as well. Fans should be pleased, for the tantalizing swagger of "Rebel Yell" is ageless. Renditions of Generation X's "Kiss Me Deadly" and "Dancing With Myself" are just as exciting, however it's the intensity of the punk anthem "Ready Steady Go" that brings everything together. While Billy Idol was issuing smash singles during a decade criticized for being unoriginal, Billy Idol: VH1 Storytellers suggests otherwise. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
Cyberpunk, Idol's attempt to restyle himself as a futuristic cyber-rocker, only works when he falls back on his effortlessly catchy guitar hooks and melodies of his past hits (the first single, "Shock to the System," for instance). Unfortunately, most of the album is padded with pretentious speeches, sampled dialog, and underdeveloped songs. Especially noteworthy is his techno-dance interpretation of the Velvet Underground's "Heroin" (featuring a repeated Patti Smith quote), which is one of the worst covers ever recorded. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Like any Billy Idol album, Charmed Life is wildly inconsistent, but it has enough strong songs -- like the gloriously tongue-in-cheek hard rock of "Cradle of Love" -- to make most of the filler on the record forgivable. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
While Whiplash Smile is Idol's most ambitious album, it only comes to life on hard-rocking pseudo-rockabilly like To Be a Lover." Unfortunately, there aren't many songs that are as good as that single on this album. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
A slick, carefully crafted follow-up to his debut, Rebel Yell was Billy Idol's catchiest, most consistent fusion of synth-driven new wave pop and hard rock guitar pyrotechnics (courtesy of Steve Stevens). The eerie ballad "Eyes Without a Face" gave Idol his first U.S. Top Ten hit, while "Flesh for Fantasy" and the title track became MTV staples. Like much of Idol's solo output, it's all calculated for maximum appeal, but Rebel Yell also works too well not to be an infectiously guilty pleasure. ~ Steve Huey, All Music Guide
What The Critics Say
Billy Idol's self-titled debut album eventually broke the singer in America, but not without a struggle. In 1981, he left Generation X and launched his solo career, borrowing the group's final single, the dance-rock standard "Dancing with Myself," for his first solo release, a four-song EP called Don't Stop. Billy Idol was prefaced in June 1982 with the ballad single "Eyes Without a Face," which made the Top 40, but the album was given a second breath of life (and a higher chart peak) a year after its release when its second single, "White Wedding," finally caught on after an eye-catching video played on MTV and made the Top 40 in July 1983. An attempt was then made to resurrect "Dancing With Myself," which was added to the album (the track "Congo Man" being deleted). Those three songs remain the album's strongest, if only because they are the best realized as songs; elsewhere, Idol and guitarist Steve Stevens have constructed a series of dance-rock tracks along the lines of "Dancing With Myself," mixing quick tempos with slashing guitar chords and occasional hook elements (a backup choral chant here, a saxophone part there), but seemingly have forgotten to write real songs to go on top of the tracks. The result is an uneven collection. Oddly, when Chrysalis came to reissue a 24-bit digitally remastered version of the album in 2002, the new producers did not take the opportunity to add on the other Don't Stop tracks and "Congo Man," the sort of bonus material you'd expect. Instead, the reissue presents only the ten tracks from the second version of the album, albeit with great sound. Scott Schindler's liner notes begin with a factual error (the album was not a "platinum success," it only went gold), but are otherwise adequate. ~ William Ruhlmann, All Music Guide
