Electric is the third album by British rock band The Cult, released in 1987. It was the follow-up to their commercial breakthrough Love. The album equalled its predecessor’s chart placing by peaking at number four in the UK but exceeded its chart residency, spending a total of 27 weeks on the chart (the most successful run for an album by The Cult).[1]
The album marked a deliberate stylistic change in the band’s sound from gothic rock to more traditional hard rock. Rick Rubin, the producer on Electric, had been specifically hired to remake the band’s sound in an effort to capitalize on the popularity of hard rock and heavy metal in the 1980s. The album was featured in the book 1001 Albums You Must Hear Before You Die.
In 2013 the album was re-released as a double CD set under the title Electric Peace, with one disc featuring the originally released album and the second containing the entire Peace album recorded during the Manor Sessions.
After the breakthrough success of their second album, Love, the Cult began working on a follow-up with producer Steve Brown. In the summer of 1986, they recorded twelve tracks at the Manor Studio in Oxfordshire. These recordings, which came to be known as the Manor Sessions, were to make up a new album, tentatively entitled Peace. However upon completion of the recording sessions, the band decided that they were unhappy with the sound, and began to look for a new producer.
The band went on to choose Rick Rubin, who was known for producing albums for hip hop artists and thrash metal band Slayer. These new recordings, with a slightly different track-list and running order, became the album that was released. (by wikipedia)
The roots of Electric lay in another album entirely, Peace, which was recorded with Love producer Steve Brown in a series of sessions that the band found increasingly pressure-filled and fraught with tension. A chance meeting with Def Jam supremo Rick Rubin at an American awards ceremony turned out to be the charm, resulting in the saucy chest-baring stomp of Electric. Rubin chucked all the old recordings for a series of new sessions, stripping everything down and essentially transforming Billy Duffy into the logical successor to AC/DC’s Angus Young. Thankfully Ian Astbury decided not to become Brian Johnson, and while his macho yells can’t help being cartoonish, he’s clearly having fun throughout.
Though both band and album caught a lot of flak for their perceived wallowing in dinosaur sounds and styles, the end result is still a fist-punching yelp of energy that demands to be heard at maximum volume in arenas, with a brusque punch in Les Warner’s drums to match Duffy’s power-chord action. “Love Removal Machine” is still the album’s calling card, another in the series of instantly catchy Cult singles. “Li’l Devil” is almost as worthy, while other cuts like “Wild Flower” and “King Contrary Man” would have sounded good in 1973 and sound just as good in a new century. There are a couple of missteps — “Peace Dog” starts good but ends up being what happens when the Doors are used as a model in the wrong way, while the version of the Steppenwolf classic “Born to Be Wild” should be taken out and shot. Otherwise, an enjoyable pleasure from start to finish — even if Astbury sings “plastic fantastic lobster telephone” at one point. (by Ned Raggett)
Personnel:
Ian Astbury (vocals)
Billy Duffy (guitar)
Jamie Stewart (bass)
Les Warner (drums)
Tracklist:
01. Wild Flower 3.38
02. Peace Dog 3.35
03. Lil’ Devil 2.44
04. Aphrodisiac Jacket 4.11
05. Electric Ocean 2.49
06. Bad Fun 3.34
07. King Contrary Man 3.12
08. Love Removal Machine 4.18
09. Born To Be Wild 3.55
10. Outlaw 2.52
11. Memphis Hip Shake 4.01
All songs written by Ian Astbury and Billy Duffy,
except 09., which was written by Mars Bonfire
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