The Psychedelic Furs Albums (8)
'Radio One Sessions'
Release Date 1/1/1997
Tracks 16
Label Strange Fruit
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What The Critics Say
Some of the best music in rock history has been performed live for the BBC, and John Peel's show in particular. In fact, without the BBC, you would be without top quality and easily obtainable peak-year recordings by many seminal groups. This disc is no different, as it confirms that the Psychedelic Furs were a formidable live outfit, combining the best elements of the Sex Pistols and Roxy Music into a fresh post-punk statement. The 1979 Peel session is the best of the five sessions presented, containing such classics as "Imitation of Christ," "Sister Europe," and "We Love You." The next three sessions (from Peel and Richard Skinner's programs) from 1980 and 1981 are almost as good, as the songs are just different enough than their album counterparts to make it a fresh listen. The last session is from 1990, and while the band were definitely past their prime by that point, they did play an all-acoustic version of "Pretty in Pink" that is completely winning. This is basically a greatest-hits package of pristinely recorded, expertly performed songs, so you really can't go wrong. ~ Brian Downing, All Music Guide
What The Critics Say
What turned out to be the final Psychedelic Furs album as such in the band's initial existence was in ways an appropriate sort of bookend, in that for one last time the group officially was a sextet (though Vince Ely, having performed well on Book of Days, left once more). That said, World Outside wasn't part two of the debut, and ended up being a bit of an ambiguous conclusion to the group's days. On the one hand, the songs throughout were much more direct and often more memorable than on Book of Days, while the co-production by Stephen Street, who had worked with the band to such excellent effect on "All That Money Wants," was another sharp move. While showing as much in the way of detail and texture as Dave Allen did on Book of Days, generally speaking the album is a bit lighter and less overwhelming, letting the songs stand out more. That said, though it sometimes comes close, there's nothing quite as immediate as "Pretty in Pink" or "Love My Way" -- perhaps the sign of an older band wanting to explore things in its own way, but still there's the nagging sense that something is missing. Lead single "Until She Comes" is a winner, though albeit in a lower-key way, a lovely slow ballad that shimmers like a lake in the afternoon sun. Follow-up single "Don't Be a Girl" could have been another success, but aside from John Ashton's great opening guitar it's a bit here, a bit there -- the album's problem in a nutshell, where there are many good songs but few great ones. Regardless, there are enough moments on World Outside that really connect well, including the charging and inspirational "In My Head," a fine counterpart to Book of Days' "House," the acoustic guitar-led "Get a Room," and the understated anthem "There's a World." ~ Ned Raggett, All Music Guide
'Midnight to Midnight'
Release Date 10/25/1990
Tracks 9
Label Columbia
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What The Critics Say
Midnight to Midnight continues the streamlining of The Psychedelic Furs. Unlike the previous Mirror Moves, Midnight to Midnight loses the essential character of The Furs' sound, as the production relies on a sleek, stylish pop production. Although the results don't have much to do with the group's early records, it's an entertaining record, filled with its share of pop thrills, including the single "Heartbreak Beat." ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Having gotten a much needed recharge with the excellent "All That Money Wants" single and further helped by the reappearance of Vince Ely on drums, the back-to-a-quartet Furs came up with an album that erased the misfire of Midnight to Midnight almost completely. Book of Days also benefited from a great producer -- Dave Allen, whose work with the Cure is partially echoed at many points on this textured, strong collection of songs. Richard Butler's voice isn't remarkably different than before but he sounds better all the same, Allen letting his voice through the mix while John Ashton's rich and ringing guitars fill out the mix instead of keyboards. The Tim Butler/Ely 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 Furs 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, Allen's work with both the Cure and the Chameleons gets useful and understandable echoes here, heard on finer songs like the slow, queasily unsettled title track -- Ashton'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 Furs through and through, with a wonderful Ashton introduction, one of Butler's least cryptic lyrics on the whole album, and a soaring, strong chorus. ~ Ned Raggett, All Music Guide
What The Critics Say
Having made tentative inroads toward a wider American audience with Forever Now, the Psychedelic Furs' profile-raising and partial transformation continued with Mirror Moves. Very much a product of its mid-'80s time -- Keith Forsey produced, his drum machine providing the beats while synths played an even more prominent role than before -- it may not be the classic sound of the band but it is an often rewarding and inspiring listen. It didn't hurt that some of the band's best songs made an appearance here, either. Both "The Ghost in You" and "Heaven" balanced off a warm sound that managed to be radio-friendly on the one hand -- John Ashton's guitar mixed in surprisingly well with the fine if often conventional keyboard arrangements -- and surprisingly barbed on the other. Richard Butler's lyrics were some of his slyest and sharpest, a tone maintained throughout the album, while his one of a kind speak/sing clipped rasp kept things from being too lost even at the album's least inspired. Unlike the following Midnight to Midnight album, however -- where everything the Furs had going for them turned into a screeching halt -- Mirror Moves holds up fairly consistently. "Here Come Cowboys," with its combination guitar/string chug (or so it sounds!) and a brilliant slow descending chorus, and the driving, nervous piano and massed vocals on "Alice's House" are two particular winners. The secret highlight of the album is also its closer -- "Highwire Days," as brilliant a meditation on '80s-era political paranoia and fears as was done at the time. Butler's imagery is to the point without moralizing or dumbing down, while the tense arrangement suggests a more synth-based equivalent to the Chameleons, at once scaled for epic heights and almost uncomfortably close. ~ Ned Raggett, All Music Guide
What The Critics Say
Likely exercising the same controlling approach that he was notorious for, from his work with every act from the New York Dolls to XTC, Todd Rundgren brought in legendary backup vocal duo Flo & Eddie as well as a cellist, two horn players (including NRBQ member Donn Adams), and himself on keyboards. The end result is simply fantastic, fusing the post-punk charge of the first two albums (Ely still sounds great as always, from the first song on, while Tim Butler acquits himself well on bass) with a new synth-based approach that works wonders. Ashton's guitar often settles back in the mix a bit to allow Rundgren's wall of sound to come together fully, often with great success. The title track is a great example of this, an inspirational anthem where Ashton fully and appropriately lets go right at the end. The most well-known song is one that, for the Furs, was their most atypical single to date: "Love My Way." Butler's very Bowie-like vocals and lyrics slyly celebrate and ponder the triumphant synth rock scene of the time, while Rundgren's often quirky keyboards take the lead in place of Ashton's guitar and Flo & Eddie wordlessly vocalize at the end. "Goodbye" has a brisk, horn-driven punch underscoring Butler's wickedly sour au revoir to a past love; "Sleep Comes Down" mixes Tim Butler's lovely bassline and Rundgren's piano; "President Gas" wryly takes a shot at Reagan while avoiding obvious platitudes; and "Yes I Do" ends on an almost sweetly romantic note, even as the cello/drum-driven arrangement surges along. ~ Ned Raggett, All Music Guide
What The Critics Say
This time working solely with Steve Lillywhite, the Furs introduce a brighter, poppier side to their underground rock edge, with smashing results throughout. The group produces some powerful songs, even more rough-edged than before. Especially striking is "Dumb Waiters," with its queasy, slow-paced arrangement that allows both Kilburn's sax and Ashton's guitar to go wild. However, the six still create some undeniable pop classics. Most well-known is the lead track, "Pretty in Pink," inspiration for the iconic John Hughes film years later and re-recorded as a result. The original is still where to go, though, with Butler's catchy description of a romantically unsure woman matched by a killer band performance. Similarly lighter numbers on the record call to mind a rockier version of Roxy Music's output in later years: elegant, romantic angst given a slightly rougher edge in both music and vocals. "She Is Mine" is especially fine as a gently swinging number with some of Butler's best, quietly ruminative lyrics. Straight-up anthems abound as well, the best being the amazing "Into You Like a Train," which mixes the blunt desire of the title with a sparkling Ashton guitar line and a fast rhythm punch. Talk Talk Talk ends on another high with "All of This and Nothing." A soft, acoustic guitar-sax-rhythm combination introduces the song, then fades away for the main section to begin; Butler details bits and pieces from a lost relationship over a sharp full-band performance, and a final drum smash leads into a reprise of the start -- a fine way to end a fine record. ~ Ned Raggett, All Music Guide
'The Psychedelic Furs'
Release Date 1/1/1980
Tracks 10
Label Columbia
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What The Critics Say
Emerging from the incipient post-punk London scene with a healthy fascination for late-'70s Bowie (and in turn, for his own attraction to Krautrock), the then-sextet kicked up a slightly monochromatic but still attractive storm on their debut. Richard Butler's Thin-White-Duke-after-smoking vocal rasp has a surprising appeal, serving up a wry, slightly detached series of lyrics on life. The members of the core band, meanwhile, had clearly honed their chops well on-stage; Ashton's lead guitar work avoids both wankery and simplicity in favor of a balanced, artistic power. Production mainly comes from Steve Lillywhite, who smartly steers away from the soon-to-be-clichéd touches he would bring to U2's early work. "India" is a good example; it has a brooding, quiet beginning with strange telegraphic signals and turns into a brawling rocker without sounding like the Edge or Larry Mullins going off. The record comes off as serious without being self-consciously deep, occasional toe-dipping into humorous aside ("We Love You" has Butler idly listing off things he loves, sometimes with appropriate if sarcastically delivered song quotes: "I'm in love with Frank Sinatra...fly me to the moon..."). "Imitation of Christ" is the most frazzled, with lyrics detailing someone else metaphorically nailing himself up over a light but still strange guitar line. "Wedding Song" is amusingly prescient as one of the first "white rockers go hip-hop" numbers of its kind, along with Blondie's "Rapture," though its inspiration could equally be dub. Ely lays down a pounding funk beat while Butler breaks into a midsong rap no better or worse than most such efforts of the time. ~ Ned Raggett, All Music Guide
