Culture Club Albums (6)
What The Critics Say
Culture Club's first album in 13 years doesn't disappoint on any level, and proves why they were one of the biggest bands of the 1980s. In fact, it's easily their most solid, mature, and focused album. They effortlessly blend together all the musical elements that made them a pop phenomenon, ranging from rock, soul, dance, and reggae to come up with a near perfect pop album. Boy George's vocals are as smoky, torchy ,and seductive as ever, and the band sounds tight and completely in tune with one another. Light reggae influences abound on this set, from the first single "I Just Wanna Be Loved," to the catchy, radio-ready "Maybe I'm a Fool" and the European hit "Your Kisses Are Charity" (which, on the single, featured vocals by Dolly Parton). The album also has its share of soulful, melancholy ballads, including the closer, "Less Than Perfect," which harks back to their Colour by Numbers Euro-hit "Victims," and the masterfully dark "Cold Shoulder," which ranks among the band's best. Then there's the retro-rock of "Sign Language," the irresistible, Latin-tinged dance song "Black Comedy," and their inspired take on the David Bowie classic "Starman." Not only is this a great album from start to finish, it is chock-full of songs which could be easily destined for hit single status. It is truly a mystery why this album was not released in the U.S., given the band's lasting popularity and Boy George's continuous media presence. This set would have easily been a hit, especially during the late-'90s/early-2000s craze for '80s music. A solid, satisfying album through and through. ~ Jose Promis, All Music Guide
'From Luxury to Heartache'
Release Date 1/1/1986
Tracks 13
Label Virgin/Epic
See Album Tracklist and Review
What The Critics Say
For their fourth album, From Luxury To Heartache, Culture Club jettisoned producer Steve Levine in favor of pop/R&B veteran Arif Mardin, seeking to reverse the commercial decline they had suffered with their third album. When the danceable lead-off track, "Move Away," rose into the singles chart, that seemed like a good decision, and the rest of the album followed through with a pronounced drum sound and a relentless beat. The group's flamboyance was played down, from the relatively austere album cover to the music, in an attempt to redefine Culture Club as dance floor favorites. But previously the group had enjoyed a broad-based pop appeal, and by focusing on one part of their constituency, they ultimately sacrificed the rest. What's more, to make this kind of music, you didn't need a group; all you needed was a lead singer and some synthesizers. No wonder Boy George went solo before the year was out. ~ William Ruhlmann, All Music Guide
'Waking Up with the House on Fire'
Release Date 1/1/1984
Tracks 10
Label Virgin/Epic
See Album Tracklist and Review
What The Critics Say
The career of Boy George and Culture Club had been on a steady upward climb for two years by the fall of 1984, culminating, as it turned out, with the transatlantic #1 success of "Karma Chameleon" and the Colour By Numbers album, which eventually sold four million copies in the US alone. The group had every reason to expect that their third album, Waking Up With the House on Fire would enjoy similar success, but it was not to be. The lead-off single, "The War Song," with its chorus, "War, war is stupid / And people are stupid / And love means nothing / In some strange quarters," put off many fans, and though it neared the top of the charts in the UK, it was less successful in the US, while the differing follow-up singles, "The Medal Song" in Britain and "Mistake, No. 3" in America, barely made the Top 40. "The War Song" certainly was mistake no. 1 as far as the US was concerned, but the problem may have been less the music on Waking Up, which was typically frothy and propulsive, than the passing of a fad. When Culture Club arrived in the winter of 1982-1983, they were, in essence, a novelty act -- the joke was that they had such an "outrageous" image ("silly" would have been a better word) through the clothes and makeup of their lead singer, yet made such conventionally pretty pop music. But novelty has a limited shelf life, and by late 1984, Boy George, in his new flaming red hair and dollar-sign drop earrings on the album cover, had been sideswiped in the image department by Michael Jackson, Prince, and Madonna, who had upped the ante, especially in terms of sexiness, an area in which he simply couldn't compete, at least among heterosexuals. So, while it's true that Waking Up didn't contain any song as catchy as "Karma Chameleon," the album's real failure was one of timing. ~ William Ruhlmann, All Music Guide
What The Critics Say
Colour by Numbers was Culture Club's most successful album, and, undoubtedly, one of the most popular albums from the 1980s. Scoring no less than four U.S. hit singles (and five overseas), this set dominated the charts for a full year, both in the United States and in Europe. The songs were infectious, the videos were all over MTV, and the band was a media magnet. Boy George sounded as warm and soulful as ever, but one of the real stars on this set was backing vocalist Helen Terry, who really brought the house down on the album's unforgettable first single, "Church of the Poison Mind." This album also featured the band's biggest (and only number one) hit, the irresistibly catchy "Karma Chameleon," its more rock & roll Top Five follow-up "Miss Me Blind," and the fourth single (and big club hit), "It's a Miracle" (which also featured Helen Terry's unmistakable belting). Also here are "Victims," a big, dark, deep, and bombastic power ballad that was a huge hit overseas but never released in the U.S., and other soulful favorites such as "Black Money" and "That's the Way (I'm Only Trying to Help You)," where Boy George truly flexed his vocal muscles. In the 1980s music was, in many cases, flamboyant, fun, sexy, soulful, colorful, androgynous, and carefree, and this album captured that spirit perfectly. A must for any collector of 1980s music, and the artistic and commercial pinnacle of a band that still attracted new fans years later. ~ Jose Promis, All Music Guide
What The Critics Say
Kissing to Be Clever is the album that put Culture Club on the musical map. Incorporating pop, rock, dance, new wave, soul, and Caribbean rhythms (an amalgamation of "cultures"), the result was a soulful, progressive pop outing that scored several landmark international hits and made a star out of the band's outrageous frontman, Boy George. A couple of tracks were European dance hits, but the first "official" single, "Do You Really Want to Hurt Me," was a simple masterpiece, resonating with an ache that harked back to the classic torch songs of yesteryear. Most of the other songs were quite different, with energetic beats and sometimes silly, campy themes ("Boy Boy I'm the Boy," "White Boys Can't Control It," and "White Boy"). The album scored two other major hits, the zippy and bouncy "I'll Tumble 4 Ya" and the gorgeous "Time (Clock of the Heart)." However, beware that "Time" is only on certain pressings of the album. When the album was issued on CD, and once the Epic label dissolved, the formerly colorful album cover had turned to black and white, and "Time" had been omitted, which is pretty ridiculous, considering the song was a huge number two hit, and the album was then left with only nine tracks. Still, this set is a highlight of 1980s music, and set the stage for one of the decade's most loved and oft-remembered bands. ~ Jose F. Promis, All Music Guide
