Electric represents a welcome departure from the usual over-produced, effects-laden Cult style to a world devoid of wishy-washy effects and filled with Marshall stacks cranked to 10. Rock fans must have been blown away in 1987 when this album was released, as it defied the trend of sound excess prevalent in the 80’s. On Electric, Ian Astbury’s vocals cut to the bone while Billy Duffy’s guitars remain in your face for the entire album.Rick Rubin’s (producer) fondness for AC/DC is evident on tracks such as “Lil’ Devil” (i.e. “Who Made Who”), “Aphrodisiac Jacket” (i.e. “Night Prowler”), and “King Contrary Man” (could have been on any AC/DC album). In fact, at some points during the album Duffy could easily be mistaken for Angus Young.My three favorite tracks on the album – in order of preference – are “King Contrary Man”, “Peace Dog”, and “Outlaw”. “King Contrary Man” is probably the hardest rocking song on this album, though “Born To Be Wild” gives it a run for its money. I listened to this track for at least an hour, repeating it several times! The lyrics contain a nod to Mississippi Delta blues legend Robert Johnson (“Down at the crossroads temptin’ fate / Said yeah you can take my soul”)”Peace Dog” comes in a close second, featuring an excellent solo backed by a headbanging rhythm and vocal section. A notable line from the lyrics is “B-five-two baby, way up in the sky / Come drop your lovin’ on me child”.Finally, “Outlaw” fades in with a fast, driving riff that will infect your mind for days to come. Duffy’s searing solo on this track is memorable.Though some tracks are radio-friendly (“Wild Flower”, and the Stones-esque “Love Removal Machine”) they have just enough edge to keep hardcore hard rock fans from pressing fast-forward. While I generally dislike cover songs, “Born To Be Wild” on Electric is about as nasty and grinding as I’ve ever heard it played, and it pays homage to Steppenwolf.On an interesting side note, the 1997 CD remaster includes detailed liner notes – filled with all the lyrics, discography specific to Electric, and a biographical article by Pat Gilbert.I rate the overall album five stars because every track is strong; none deserve to be skipped. If you like to play it loud, live for crunching riffs, or like AC/DC – buy this album NOW.
Reissue digitally remastered from the original masters with expanded artwork which includes new photos & liner notes. Beggars Banquet.
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This album is so simple musically, but full of so much emotion and energy. The recording is stripped down and mixed in wallace fashion with heavy bass drums, hi hats. Ian Astbury simply wails in true form. I can never get enough of this album in all of the years I have listened to it. -Mike http://www.ebooksontheweb.com
First off, I have to say I ‘grew up’ on this album. I heard it first when I was still an impressionable teen and like a fine wine, it has aged well over time. Although I have always given props to The Cult in whatever incarnation they went through, this album, through and through, is just great. It’s one of the most exciting, albeit mindless, rock albums you’re likely to come across. You won’t find any thought provoking lyrics or anything but Billy Duffy just drives it and Ian Astbury has never given more attitude to his vocals. If this is the only Cult album you bless your ears with, then turn on, turn up and enjoy.
This is by far the best album by the Cult. If it weren’t for the Pixies, this would be a shoe in for best rock album of the 80’s. Overall it’s one of the most well crafted, pure ROCK albums out there. Fantastic vocals by Ian. I challenge anybody to top his baritone howls. Billy’s solo’s are awesome, not to mention the fantastic, though simplistic riffs all over the album. Drumming is great, and the bass fits perfectly. I could do without “Born to be Wild”, but the rest of the album is 5 stars in every sense of the rating.
When ‘Electric’ came out, the ‘Goth’ followers of ‘Love’ and ‘Dreamtime’ were shocked and in rage. How could ‘The Cult’ release such a follow up to their classic hits like ‘Rain’ or ‘She sells sanctuary’ ? Almost 25 years later we finally know the answer by being able to hear, what this album was supposed to sound like, since the original mix is included in the ‘Rare Cult’ box set. Being able to compare these two versions proves even more the genious of Rick Rubin. ‘Love Removal Machine’ would have been a heavy, multi layered, dark eighties anthem while Rubin’s production transferred this track to a timeless rock classic. This whole album is full of energy, thanks to Rick Rubin’s production and the great songwriting of Billy Duffy and Ian Asburry. ‘Li’l Devil’ is pure adrenaline, ‘Wild Flower’ is the Cult at their best and ‘Memphis Hip Shake’ closes this album like there is no tomorrow. While America was considering the stadium rock of ‘Bon Jovi’ or ‘Poison’ as the future of rock, ‘The Cult’ together with Rick Rubin took a step back and created a classic British rock album. Unfortunately, ‘The Cult’ focused on the American market afterwards and released more mainstream oriented records like ‘Sonic Temple’ or ‘Ceremony’.