lambchops's Full Review: Pure Cult: The Singles 1984-1995 [Remaster] by The...
Too many people have ignored some of the truly rich, classic songs from rock and rollers The Cult for too long. My response…write about it!
Despite parting ways in 1995, The Cult somehow manages to remain in the rock psyche. Songs like ”She Sells Sanctuary” and ”Fire Woman” are repeatedly on rock radio playlists. Why? Simply put, they rock. The band began as a project for a young Ian Astbury. Throughout the years, the apparently volatile Astbury remained a mainstay for The Cult. Regardless of the off stage troubles, the band managed to churn out some hugely important rock hits during their existence between 1981 and 1995. Pure Cult: The Singles 1984-1995 is a retrospective of nineteen of the band’s biggest and most important singles. This review will dedicate itself to looking at each of the band’s seven albums and the songs that landed on 2000’s Pure Cult.
The Cult released their first album, Dreamtime in 1984. The album introduced the band’s odd neo-mysticism ala Jim Morrison and The Doors. Musically, this album was rather good. Looks-wise, the band seemed outdated and like a wanna-be Duran Duran. Released on mini-label Beggar’s Banquet, Dreamtime proved a proper venue for Astbury’s crisp and clear vocals and guitarist Billy Duffy’s increasingly better guitar skills. From this album came two tracks that were later part of Pure Cult. ”Spiritwalker” is a rock song tinged with Native American chants in the beginning. Astbury’s singing is precise and enunciated, relying more on his voice than his ability to scream. The guitars are hollow, solid, and restrained…somehow managing to back and highlight Astbury’s obvious singing prowess. The other song is ”Go West”. The song seems to be seriously lacking, but is forgivable considering the fact that it was very early in the band’s career. I’m annoyed by the Caribbean beats and Astbury’s warbling. You will be too. The only redeeming quality is the lovely drums. I enjoy their drive and their energy regardless of the rest of the song falling into rubble.
A richer, denser, and more complex musical style marked the release of 1985’s Love. The Cult seemed to shed their cocoon, to blossom into true rock and rollers on amazing tracks like my favorite ”She Sells Sanctuary”. The band’s style is both rock and roll and mechanically new wave. Astbury’s vocals are meaningful…his voice conveys great emotion and great thoughts. The album was whole and managed not to jump around too much. ”She Sells Sanctuary” gives great guitars and drums and a lovely sound to the world of hard rock. Astbury sings with vigor, energy, and intense emotion. This is classic Cult…amazing, wonderful and truly beautiful. It’s a pleasure to hear such talent rise from my speakers. ”Revolution” is a soft and light song unlike their last offering. I personally don’t enjoy the band’s restrained moments, although this track shows the diversity of the band. Astbury sounds superb as does Duffy and his guitar. Another favorite Cult track is ”Rain”. Technically, this song could possibly be better than ”She Sells Sanctuary”. It’s more user-friendly in that the sound isn’t at all abrasive. Astbury’s vocals remain perfect, the guitars and great, the melody is catchy. What more could you want from rock music?
The Cult turned down the keyboards and turned up the guitars on 1987’s Electric. The result is another hard-hitting rock album with some great songs including fan favorite ”Love Removal Machine”. That song actually reminds me very specifically of ”Start Me Up” from the Rolling Stones. Alas, I actually end up enjoying the song more than it’s obvious influence. The track wails, Astbury’s vocals are smooth and round, musically this song shows the band at their best. They should be proud. ”Lil’ Devil” is another song that sounds much like the band’s 1960’s and 1970’s influences. Some people accused the Cult of relying too much on history. I say, if done right what’s to complain about? Finally, we have ”Wild Flower” from Electric. This track is another homage to classic bands of yore. Rather than loud and overpowering guitars and drums, the sound is restrained and sturdy. Well-executed and interesting, Astbury’s vocals sound as special and as great as the first time I heard ‘em.
Hard rock of every variety is the name of the game on 1989’s Sonic Temple. Cresting at the top 10, this album proved to be the band’s most popular—by far. This album’s sound is a retrospect of the music they created on their previous three albums. It combines all of the band’s influences into one neat, although slightly schizophrenic final product. The single ”Fire Woman” is on par with earlier releases like ”She Sells Sanctuary”. It’s got crunchy guitars, lots of rock noise, and an infinitely interesting melody. Fast and furious, Astbury sings like a master. I still love hearing this one on the radio on occasion. ”Sun King” reminds me a bit of some of the Doors psychedelic antics at times. At others, the guitars are great and powerful with the band sounding more like a modern day rock band. The orchestral ”Edie (Ciao Baby)” is also a super track. Astbury proves just how lovely his voice is as backed by a string quartet. He also proves just how strong his voice is in front of melodious guitars and drums. This is one of the most enjoyable tracks on Pure Cult in my opinion. The final track from Sonic Temple is ”Sweet Soul Sister”. I personally don’t like hearing church organs in rock music, but once you get beyond this element the band’s sound is very much on par with the hair bands of the day. Except for one thing…the Cult is wonderfully talented. Astbury can sing and Duffy can wail.
Ceremony (1991) is an interesting case. Astbury and Duffy were alone in the band during the making of this album. Ceremony somehow became Astbury’s project. Apparently, he has a different mindset than his partner in making music. The duo also was very popular thanks to the success of their previous effort and an arena tour with-gasp-Metallica. There are lots of tribal rhythms. That’s not inherently a bad thing unless the music sucks. There are times on this album when the listener feels isolated and left out of some big joke. These noises and rhythms are definitely NOT what the listening public was wanting, expecting, or willing to accept. This album did manage to give the public a single in the form of ”Wild Hearted Son”. Yet again, this is a great track although it seemed a bit dated coming out in the midst of the beginnings of grunge. The guitars are heavy and Astbury is more intense than usual. The track proves to be a great song despite its dour surroundings. Also included on Pure Cult is the light metal-laden ballad Heart of Soul. It’s not as worthy as some of the other songs on this collection, but hey. Not all the songs can be perfect. It sounds like a big cliché. The sound is too wishy-washy and wimpy for my liking. It manages to pick up a bit at the chorus. But, it’s already too late.
1991 also saw the release of the relatively rare EP Resurrection Joe. This album showcased just six songs including two versions of the title track. Of course, this is the song that’s included on ”Pure Cult”. The song is reminiscent of some of the more rock and roll tracks from English popsters Duran Duran. It also has some obvious influences from the Rolling Stones. I don’t know why it was included on a greatest hits album…but, I suppose, you have to have at least one track from every effort regardless of how sorry it is.
The Cult released their final album of new material in 1994. Self titled, this song is the erosion of what once was a truly talented an innovative band. It seems that Astbury and company are just trying too hard to make new and interesting music. The resulting product is trite and seems lackluster in comparison to the musical festivals of earlier years. ”Coming Down” is too mechanical and too hollow for my tastes. Astbury still sounds wonderful regardless of what’s going on behind him. He growls, wails, screams in pain throughout. Besides that, I don’t like the music or the melody. The other included song is ”Star”. Fortunately, this track is an updated version of some of their older efforts. But, it’s really a case of too little too late. Too bad, because the song is great rock and roll.
The final two tracks are both offerings from soundtrack compilations. ”Witch” is from the positively horrendous yet surprisingly full of eye-candy Cool World. That’s a film that even the combination of Brad Pitt and the Cult couldn’t save. Anyway, this song is heavier and more mechanical than most other Cult tracks. It ultimately proves interesting and different without sounding overly forces. I like the industrial tinge mixed with Astbury’s vocals and a catchy melody. A great song. The other track came from the original soundtrack to ESPN’s X-Games. ”In The Clouds” proves immediately offensive to the ears with bizarre sci-fi feedback. It’s repetitive and lacks any real direction.
As you can see, Pure Cult is a great collection of Cult tracks. Since there are only 19 songs included from the band’s repertoire, it’s of course incomplete at times. The people who put this album together seemed to be attempting to pull evenly from the Cult’s musical eras. I would have preferred more from the band on this album between 1987 and 1991.
The Cult is a classic rock band. In a few more years, I think that they will be remembered as such thanks in large part to their contributions from Love, Sonic Temple, and Electric. My adoration for the band aside, this is a great album. If a few of the rotten songs had been left off, I would have easily given this album 5/5 stars. Instead, I can only give it a measly 4/5 stars. Although, I will recommend it to rock and roll fans everywhere. If you don’t yet own a Cult CD, this is definitely one to consider. It cuts through most of the junk and fluff leaving listeners with a great collection of rock songs.
Finally, here’s a list of the songs (something I don’t generally do) in the order they appear on the album followed by their original source.
1. She Sells Sanctuary [Love – 1985]
2. Fire Woman [Sonic Temple – 1989]
3. Lil’ Devil [Electric – 1987]
4. Spiritwalker [Dreamtime – 1984]
5. Witch [Cool World Soundtrack – 1992]
6. Revolution [Love – 1985]
7. Love Removal Machine [Electric – 1987]
8. Rain [Love – 1985]
9. In The Clouds [X-Games Soundtrack – 1995]
10. Cooling Down [Cult – 1994]
11. Edie (Ciao Baby) [Sonic Temple – 1989]
12. Heart of Soul [Ceremony – 1991]
13. Wild Flower [Electric – 1987]
14. Star [Cult – 1994]
15. Resurrection Joe [Resurrection Joe EP – 1991]
16. Go West [Dreamtime – 1984]
17. Sun King [Sonic Temple – 1989]
18. Wild Hearted Son [Ceremony – 1991]
19. Sweet Soul Sister [Sonic Temple – 1989]
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