Cult Love CD

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.

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).
Principally recorded at Jacob's Studio, Farham, England in July & August 1985. Includes liner notes by Pat Gilbert.
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 .
1985's Love displayed a marked improvement over the Cult's early material, and though it remains underappreciated in America (worldwide it was a smash), this exceptional record has actually aged better than the band's more notorious (and equally important) releases: Electric and Sonic Temple. Equal parts psychedelic hard rock and new wave goth, the songs on Love emanate a bright guitar sheen, tight arrangements, crisp drumming, and a command performance from vocalist Ian Astbury, who as usual says a lot more with less than most singers. Overall, the album benefits from a wonderful sense of space, thanks in large part to guitarist Billy Duffy (who is much more subdued here than on future releases), whose restraint is especially notable on "Revolution" and the remarkably uncluttered title track. Duffy also provides compelling melodies ("Hollow Man," "Revolution"), driving riffs ("Nirvana," "The Phoenix"), and even a U2-like intro to "Big Neon Glitter." Also on offer is the near-perfect "She Sells Sanctuary" and the smash hit "Rain," quite possibly the band's most appealing single ever. Considering the musical schizophrenia that would plague each subsequent Cult release, Love just may be the band's purest moment. ~ Eduardo Rivadavia
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.
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.