| | Cult CD Cult Discography of CDs
 (4 Customer Reviews)
In the three years since the last Cult album, their absence has been filled by grunge, the latest version of the big guitar sound. Thankfully, the Cult have returned to place their flambouyant stamp on guitar rock.
The newest album, simply titled THE CULT, returns them to the throne of power chordia, but this time around they aren't stuck in their '70s rut. THE CULT is proof the the '90s have left their mark on the band.
The album is littered with bitter references to drug casualties and the ensuing emotional aftermaths. Scott Garrett's drums are boosted up hip-hop heavy, Billy Duffy's guitar sounds eerier and Ian Astbury's lyrics are just plain vicious. "You dirty hippie girl/Your lips make me swirl" he snarls, and it's obvious that the fun-lovin', free-lovin' '70s nostalgia that originally inspired The Cult is over. The Cult's newest album finds their feet planted firmly in the '90s.
Recorded at Warehouse Studios, Vancouver, Canada.
The Cult: Ian Astbury (vocals, guitar, tambourine); Billy Duffy (guitar); Craig Adams (bass); Scott Garrett (drums).
Additional personnel: Bob Rock (acoustic & electric guitars, keyboards, bass); Scott Humphrey (programming, synthesizers, keyboards); Jim McGilleray (percussion).
Digitally
Rolling Stone (12/29/94-1/12/95, p.173) - "...Superlunged Ian Astbury and co. pounce back hot. Their cosmic thirsts bubble up...[and] offer rare, nifty uplift..."
Q (11/94, p.110) - 3 Stars - Good - "...a great sounding, full-bodied record, characterised by original and intriguing musical arrangements..."
Alternative Press (11/94, pp.84-85) - "...the Cult are the biggest geniuses in heavy-metal history...the Cult have just released the first successfully `70s record of the `90s..."
NME (Magazine) (10/8/94, p.44) - 7 - Very Good - "...The Cult exist in their own warped world, where kaleidescope-eyed hippy girls smoulder in the corner of the Sunset Strip cellar clubs and political comment consists of a peace sign..." Cult Music Review Average Rating: (4.8 out of 5 stars)  Fantastic, terrific, depressive
If your are looking for good depressive lyrics through a better musical work, this is it. This album has fantastic instrumental arrangements on the percussion and strings sound. Added to the extraordinary vocal performance of Ian Astbury, makes an excellent album you will feel deep in your emotions. Personally, I never get tired of hearing it.
Submitted by Jorge Bugueno Z. (Chile, South America) 
Was This Review Helpful? Yes No raw and superb
this is by far the best cult album.Highty underrated.Full of heart wrenching lyrics and dynamic, hammering music.Definitly one of the best 5 rock albums of the 90's. I am buying my second cd because I wore out the first.Saw them on this tour and they were TOTALLY tight! the band leaned off the edge of the stage and pumped the music into the audience. Ian dove backwards into the drum set. This is pure rock at its best. BUY THIS CD!
Submitted by Mike (Orcutt, Ca.)
Was This Review Helpful? Yes No  A return to it's roots!!
This 1994 release is a drastic change from the Ceremony and Sonic Temple era. In the era of grunge and hardrock leaving the mainstream, The Cult went back to their days of lyrical genius. They were a phenominal band but their inablity to maintain a consistant line-up at bass and drums was their demise during the 90's.
Submitted by Eric Nesbitt (Rock Island, IL, USA)
Was This Review Helpful? Yes No
Underrated
Un disco infravalorado que destaca en la fabulosa discografia de esta banda. Es una pena que no tuviera el crédito que merece, demostraron otra vez que tras la imagen de banda hard rock siempre han sido unos excelentes compositores. Las canciones mandan, y en este disco lo hacen por todo lo alto, una colección de temas llenos de emoción y mucho mejor que la mayoria de los grupos que se escuchaban por aquella época, pero claro, The Cult no estaban de moda y este disco pasó casi inadvertido.
No importa,los que le prestamos la debida atención hemos seguido disfrutando a través de los años de todos los matices y recovecos que tiene. Uno de los mejores discos de la acabada década de los 90, todo un clásico del rock a reivindicar. FIVE STARS CLARO QUE SI!!!
Submitted by Roger Bradford (Anaheim)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Purchase Cult CD To buy, Click on price to add to cart | Cult Dreamtime CD (1984) Remastered
Cult
 $9.95  
Image-wise, the Cult still weren't entirely there yet, as the band photos show. Ian Astbury's bandana is more dated than anything else. But it's Billy Duffy's look -- a Duran Duran/Spandau Ballet wannabe, down to the haircut and suit -- which is terribly amusing in context. Musically, though, on their full-length debut, the Cult were pretty much on their way. Duffy's dramatic, spaghetti Western-tinged, dark psychedelic guitar and Astbury's passionate semi-wailing set the tone from the start and throughout, while the Jamie Stewart/Nigel Preston rhythm section keeps the tribal/goth feeling running equally high. Indeed, goth is still stalking the band's efforts whether the members liked it or not: consider "83rd Dream" and its distinctly creeped-out introduction, Astbury's vocals fed through extra effects. If there's not as much in the way of blunt power chording as later, Dreamtime is still loaded with a variety of moody, energetic joys. "Spiritwalker" is especially fantastic, Preston's rolling drums and Duffy's epic, crystalline guitar not that far off from what U2 was going after, but (arguably) with even more appeal. Add in Astbury's explosive singing, and it's a definite treat through and through. The other strong tracks include the title effort, which may reference the native Australian concept of time, but is more about wearing long hair and tripping on the shamanic vibes, and the who-else-but-the-Cult invocations of mythic America in "Go West," "Horse Nation," and "A Flower in the Desert." If everything is sometimes too shrilly and dramatic for easy digestion, one can't fault the band for energy, and given that they would shortly improve all around, Dreamtime is still an attractive enough listen. Later CD versions of the album included two reasonable enough tracks, the vaguely bluesy (and slightly silly) "Bonebag" and the dreamy "Sea and Sky," plus one total smash. "Resurrection Joe," a queasy, nervous, and frenetic combination of aggro epic and swampy funk, wh
| | Cult Love CD (1985) Remastered
Cult
$10.15
Principally recorded at Jacob's Studio, Farham, England in July & August 1985. Includes liner notes by Pat Gilbert.
The Cult's 1984 debut, DREAMTIME, proved to be an intriguing, if sometimes muddled, combination of early U2 and the Doors, topped off with Ian Astbury's ongoing lyrical fascination with Native American mythology. The immediate follow-up, LOVE, was a notable improvement. Ditching the most overt Doors references in favor of moody neo-psychedelia that sounds like a harder-rocking version of Echo & the Bunnymen, LOVE includes "She Sells Sanctuary" and "Rain." These driving singles introduced the UK band to the American college-radio market and laid the foundation for the group's mainstream commercial breakthrough later in the decade. The rest of the album is nearly up to the level of the singles, with Astbury's less-mannered vocals and Billy Duffy's powerful guitar riffs offering a much more assertive musical presence than ever before.
Domestic reissue of alternative rock band's 1985 album. Digitally remastered from the original masters with expanded artwork which includes new photos & liner notes. Beggars Banquet.
All tracks have been digitally remastered.
Personnel: Ian Astbury (vocals); Billy Duffy (guitar); Jamie Stewart (keyboards, background vocals); Nigel Preston, Mark Brzezicki (drums); William (background vocals).
Liner Note Author: Pat Gilbert.
Recording information: Jacobs Studios, Farnham, England (07/1985-08/1985); Olympic Studios, London, England (07/1985-08/1985).
Photographer: Andrew McPherson .
The Cult: Ian Astbury (vocals); William H. Duffy (guitar); Jamie Stewart (keyboards, bass).
The Cult: Ian Astbury (vocals); William H. Duffy (guitar, background vocals); Jamie Stewart (keyboards, bass, background vocals).
Additional personnel: Mark Brzezicki, Nigel Preston (drums); The Soultanas (background vocals).
| | Cult Electric CD (1987) Remastered
Cult
$12.95 
Recorded in New York, New York. Includes liner notes by Pat Gilbert.
ELECTRIC was the Cult's mainstream breakthrough album in the United States, where the UK band's previous records, DREAMTIME and LOVE, had been embraced by college radio. After unsatisfying sessions with LOVE producer Steve Brown, the Cult hooked up with superstar hip-hop producer (and unapologetic 1970s-boogie fan) Rick Rubin to re-record the tracks, and his changes make the album. Adding a drum sound as loud as his previous work with the Beastie Boys and Run-DMC and beefing up Billy Duffy's lead guitar riffs into full-on Led Zeppelin territory, Rubin completed the Cult's makeover from psych-tinged goths into '70s-inspired hard-rockers (with a heavy Doors influence as well). The revved-up singles "Love Removal Machine" and "Lil' Devil" best exemplify ELECTRIC, which is arguably the band's best album.
ELECTRIC was the Cult's mainstream breakthrough album in the United States, where the UK band's previous records, DREAMTIME and LOVE, had been embraced by college radio. After unsatisfying sessions with LOVE producer Steve Brown, the Cult hooked up with superstar hip-hop producer (and unapologetic 1970s-boogie fan) Rick Rubin to re-record the tracks, and his changes make the album. Adding a drum sound as loud as his previous work with the Beastie Boys and Run-DMC and beefing up Billy Duffy's lead guitar riffs into full-on Led Zeppelin territory, Rubin completed the Cult's makeover from psych-tinged goths into the '70s-inspired hard-rockers (with a heavy Doors influence, as well). The revved-up singles "Love Removal Machine" and "Lil' Devil" best exemplify ELECTRIC, which is arguably the band's best album.
Reissue digitally remastered from the original masters with expanded artwork which includes new photos & liner notes. Beggars Banquet.
All tracks have been digitally remastered.
The Cult: Ian Astbury (vocals, tambourine); Bill Duffy (guitar); Jamie Stewart (bass); Les Warner (drums).
Personnel:
| | Cult Sonic Temple CD (1989) Remastered
Cult
$12.95
More varied than its predecessor, Electric, Sonic Temple finds the Cult trying several different metal styles, from crunchy Electric-era '70s grooves and the fuzzy, noisy psychedelia of Love, to mellow ballads and commercial '80s hard rock. Not all of the experiments work, as some of the songs lean toward ponderousness, but enough of them do to send Sonic Temple into the Billboard Top Ten, due to the exposure provided by the hit single "Fire Woman." ~ Steve Huey
Digitally remastered reissue from the original masters with expanded artwork which includes new photos & liner notes. Beggars Banquet.
All tracks have been digitally remastered.
Recorded at Little Mountain Sound Studios, Vancouver, British Columbia, Canada from September to November 1988.
Recorded at Little Mountain Sound Studios, Vancouver, British Columbia, Canada from September to November 1988. Includes liner notes by Pat Gilbert.
Personnel: Ian Astbury (vocals, percussion); Billy Duffy (guitar); Jamie Stewart (keyboards, bass guitar); John Webster (keyboards); Mickey Curry (drums); Iggy Pop (background vocals).
Recording information: Little Mountain Sound Studios, Vancouver, British Colum (09/1988-11/1988); Little Mountian Sound Studios, Vancouver BC Canada (09/1988-11/1988).
The Cult: Ian Astbury (vocals, percussion); Billy Duffy (guitar); Jamie Stewart (keyboards, bass).
Additional personnel: John Webster (keyboards); Mickey Curry (drums); Iggy Pop (background vocals).
| | Cult Ceremony CD (1991) Remastered
Cult
$9.89
The two-year gap between the release of Sonic Temple and 1991's Ceremony saw the Cult become victims of their own success. With Temple, the band had finally achieved the mass commercial acceptance that they had pined after for so long. Touring U.S. arenas (as headliners) and as Metallica's special guests, the Cult had officially "arrived." With Billy Duffy having assumed the musical direction of Sonic Temple, it was clear from the get-go that Ceremony would be Astbury's baby. Now reduced to a duo, Duffy and Astbury had their work cut out for them. The ensuing sessions that would make up the bulk of Ceremony would turn out to be a sonic triumph (the record sounds as if were recorded yesterday), and at the same time, a creative, blithering mess. Things start off promisingly with the record's title track, which is quickly followed by a classic Cult single, "Wild Hearted Son." Unfortunately, what follows the stomp and chant of "Earth Mofo" are eight of the most contrived, lyrically mundane songs that the Cult ever released. Although noble in his intentions, Asbury's ongoing fascination with the plight of the Native American Indian accounts for the majority of the lyrical content of Ceremony. Another promising ballad-turn-rocker, "If" quickly evaporates into nowhere land as the song's main guitar riff sounds like a slower, recycled version of every bad generic AC/DC L.A. hair band. Sadly, as the ensuing tour rolled across the U.S., it was obvious that the Cult had lost their edge (they were upstaged nightly by a young, hungry artist named Lenny Kravitz). In the three years that would follow, Astbury would get clean, shave his head, and rekindle his desire to make records. ~ John Franck
The two-year gap that elapsed between the release of Sonic Temple and 1991's Ceremony saw the Cult become victims of their own success. With Temple, the band had finally achieved the mass commercial acceptance that they had pined after for so long. Touring U.S. arenas (as headliners) and
| | VH1 Presents The Corrs Live In Dublin CD (2002)
Cult
$6.39
This audio document of The Corrs' Dublin homecoming concert has pretty much everything fans of Irish pop could wish for, including an appearance from Bono in his earthly incarnation, fresh from an audience with President George W. Bush. It's to the band's credit that the charismatic singer fails to steal the show, despite creditable efforts via an anthemized version of Ryan Adams' beautifully downtempo "When the Stars Go Blue," and a great, leering rendition of Lee Hazlewood and Nancy Sinatra's "Summer Wine."
Somewhat more mysteriously, Rolling Stone Ron Wood also turns up on what sounds dangerously close to a lounge version of Jimi Hendrix's "Little Wing," but this minor faux pas is redeemed by the Irish folk medley "Joy of Life/Trout in the Bath" which arguably features more full-on Irishness than the Dublin production of RIVERDANCE. There's also a lovely rendition of Neil Young's "Only Love Can Break Your Heart" that's topped only by Ron Wood's reappearance on a finale of the Stones' "Ruby Tuesday." VH1 PRESENTS THE CORRS LIVE IN DUBLIN is a fine mix of the band's greatest hits with a few well-chosen covers, which will doubtless reach out to new fans and longtime Corrs aficionados alike.
Recorded at Ardmore Studios in Dublin, Ireland in January 2002.
The Corrs: Jim Corr (vocals, guitar, keyboards); Sharon Corr (vocals, violin); Andrea Corr (vocals, tin whistle); Caroline Corr (vocals, drums, bodhran, percussion).
| | Hot Strings Douce Ambiance CD (1998)
Cult
$13.85
this group plays in the tradition of the Quintette of the Hot Club of France - they have a tasteful sound that also has shades of Django Reinhardt
| | Care Diamonds & Emeralds CD (1997) (Import) United Kingdom
Cult
$9.69
Diamonds and Emeralds is a long-overdue retrospective of Care's sadly brief career; compared to the vast majority of their synth-pop peers, the duo was the very essence of understatement, with Paul Simpson's relaxed vocals perfectly complementing Ian Broudie's simple yet engaging electronic sound. In addition to their lone hit, "Flaming Sword," athe collection also includes their debut single "My Boyish Days," as well as "Cymophane" and "An Evening in the Ray." ~ Jason Ankeny
Rescued from the vaults, the long lost recordings of the80's cult duo Care. Moody, magnificent, melodic pop fromthe Liverpool legends Ian Broudie (Lightning Seeds) andPaul Simpson. Contains all the singles, plus B-sides, 12inmixes and unreleased tracks. U.K. release on BMG's Camdenlabel. 19 tracks, including 'My Boyish Days' and 'FlamingSword'. Perfect addition to the collections of fans of theSmiths, Aztec Camera, the Housemartins, etc. 1997 Camdenrelease.
| | American Analog Set Through The 90S: Singles And Unreleased CD (2001)
Cult
$10.59
Recorded in 1995 & 1999. Includes liner notes by Guy Fidelity.
The complexity and intricacy of the American Analog Set's albums betray their skills as a singles band -- while it's highly doubtful any of their 7" singles will ever threaten the top of the Billboard charts, their unique drone pop tone poems translate to the single format with surprising effortlessness, their approach gaining in immediacy what it loses in scope. Borrowing its title from a lyric in The Golden Band's "The Wait" (reprised here as a jingle for AmAnSet's favorite soft drink, "Dr. Pepper"), Through the 1990s: Singles and Unreleased compiles 14 tracks scattered across the group's brief but so far brilliant career, spanning from their first single, 1996's "Diana Slowburner II," to 1999's "The Only Living Boy Around," arguably their catchiest moment to date. Although the disc is above all an exercise in completism -- the alternate versions of cuts like "Magnificent Seventies," "On Our Way," and "It's All About Us" differ only superficially from their original LP versions -- the clutch of uncollected material makes it an essential purchase for fans, although newcomers are advised to seek out From Our Living Room to Yours or The Golden Band first. ~ Jason Ankeny
| | Sorts Six Plus CD (2003)
Cult
$11.19
Recorded at National Recording Studio, Washington, DC; January 2002.
Personnel: Joseph McRedmond, Joshua LaRue (guitar); Stuart Fletcher (electric bass); Chris Farrall (drums, percussion).
Recording information: dsll, Silver Spring Maryland; National Recording Studio, Washington DC.
The Sorts: Joseph P. McRedmond, Joshua La Rue (guitar); Stuart Fletcher (bass); Chris Farrall (drums).
| | Carter Family 1935-1941 Vol. 2 CDs (2003) (Import) United Kingdom
Cult
$27.35
British label JSP offers another of their fine budget collections on The Carter Family, Vol. 2: 1935-1941. On 129 songs collected on five CDs, this second volume in the series gives a complete overview of the first family of country music's later years. Legendary songs like "Can the Circle Be Unbroken," "Keep on the Sunny Side," "No Depression," "Single Girl, Married Girl," and "I'm Thinking Tonight of My Blue Eyes" are all represented, and the sound quality is slightly more even than on the first JSP box, The Carter Family: 1927-1934. Essentially, anyone who can pull together the 60 dollars or so that it would take to own both sets will have not only virtually every Carter Family studio recording, but also a valuable archive of the roots of American music. ~ Zac Johnson
Unknown Contributor Role: Drew Kent.
Personnel: Alvin Pleasant Carter (vocals); Sara Carter (guitar, autoharp); Mother Maybelle Carter (guitar).
Recording information: Charlotte, NC (05/05/1935-10/14/1941); Chicago, IL (05/05/1935-10/14/1941); New York, NY (05/05/1935-10/14/1941).
5 Cds
| | Pretty Things Parachute CD (1970) (Import) Japan; Remastered; Mini LP Sleeve
Cult
$42.05
Also available in a 3-pack with THE PRETTY THINGS and CROSS TALK.
The Japanese special-edition release features a vinyl-inspired design.
Following the disappointing sales of their ambitious 1968 concept album S.F. SORROW, the Pretty Things lost two of their members--drummer Twink (who went on to join the Pink Fairies) and, more significantly, founder/guitarist Dick Taylor. Remarkably, though, the remaining members, now light years away from their blues-rock beginnings, pressed on in relatively undaunted fashion with PARACHUTE, another bold Beatle-esque outing. Vocalist Phil May and multi-instrumentalist Wally Allen emerged as the British band's driving force, writing eclectic tunes such as the revved-up "Miss Fay Regrets," the melancholy "Grass," and the psychedelic sing-along "She Was Tall, She Was High." Although critically lauded, the record failed to bring the Pretty Things to a wider audience, essentially sealing the ensemble's fate as a perpetually underappreciated act. While the band would record a few more albums during the 1970s in various incarnations, PARACHUTE is, in many ways, its swan song and deserves to be held in high regard along with S.F. SORROW.
Japanese reissue of the British Invasion act's 1970 album is packaged in a miniature LP gatefold sleeve & features 19 tracks including 6 bonus tracks, 'Blue Serge Blues' (Single B-side), 'October 26' (Single A-side), 'Cold Stone' (B-side), 'Stone-Hearted Mama' (Single A-side), 'Summer Time' (B-side), & 'Circus Mind' (B-side). JVC. 2004.
CD comes in Jpn LP Sleeve.
| | Stephen Schwartz Uncharted Territory CD (2002)
Cult
$13.25
Although he is best known as a songwriter for Broadway and Hollywood, Stephen Schwartz, born in 1948, belongs to a generation of tunesmiths who have tended to double as performing artists, and since he has a perfectly acceptable tenor, it's no surprise that he harbors the desire to step into the spotlight himself. Uncharted Territory, his second solo album, is, like its predecessor, 1997's Reluctant Pilgrim, a collection of mostly independent songs. (The exceptions are "Cold Enough to Snow," written for the film Life with Mikey, and "Since I Gave My Heart Away" from the TV musical Geppetto.) But even when he isn't writing with character and plot in mind, Schwartz tends to write songs that describe people and tell stories, and it's often possible to imagine them fitting into some musical work as yet unproduced. A good example is the comic "Toxic People," which is about those individuals who somehow insinuate themselves into your lives, even though you don't actually like them. Generally, of course, love forms the primary subject matter of Schwartz's concerns, and he writes particular, closely observed love songs such as "Worth Waiting For," which reflects on romance between mature people who have prior commitments and experiences that preclude them from coming together innocently and unfettered. Schwartz's music for these songs has a light pop-rock feel that recalls the Adult Contemporary music of the 1970s; he tends to come across as a slightly more sophisticated version of Kenny Loggins (in a calm mood) or Barry Manilow, that is, when he's not channeling Stephen Bishop or Rupert Holmes. At least a couple of these names, come to think of it, are people who have crossed over in the opposite direction, taking their pop talents to stage and screen. No wonder they sound alike. ~ William Ruhlmann
Personnel: Stephen Schwartz (vocals, piano, keyboards); Diane Pennington (vocals); Matt Beck (guitar, E-bow, mandolin); Jay Condiotti (guitar, bass); Sandra Park (violin); Ken Beckstead (flute); Javier Gandara (French horn); John Bucchino (piano, bass, programming); Martin Erskine, John Angier (keyboards); Richard Hammond (bass); Shawn Pelton (drums, percussion); Andy Jones (percussion).
| | Rca Swing 100 Rca Swing! 100 CDs (2006) (Import)
Cult
$56.49
Limited edition japanese only 6 CD box set features Duke Ellington, Benny Goodman and many more. 2006.
| | Pedro Infante Viejos Amigos CD (1990)
Cult
$9.55
Track Listing of songs: El Cobarde; Cuatro Caminos; Ella; Que Suerte La Mia; Paloma Querida; Cuando El Destino; Viejos Amigos; Dia Nublado; Serenata Sin Luna; Hijo Del Pueblo; Ahora Soy Rico; Esta Noche; La Que Se Fue; Corazon, Corazon; Tu Recuerdo Y Yo; Mi Tenampa; Camino De Guanajuato; Cuando Sale La Luna; Rosa Maria; Los Gavilanes;
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