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Avg: 4.0 (207 ratings)
- Date Released: June 6, 2000
- Genre: Rock/Pop
- Style: Rock, Alternative Hard Rock
- Label: Beggars Banquet
Fusing AC/DC and the Doors, English '80s band the Cult were proud to be loud.
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We Say...
Given that they never actually had anything in the US Top 40, it may seem odd to call the Cult a singles band, but this was an outfit far better suited to three-minute spurts than hour-long (or even half-hour-long) explorations. In fact, their singles made the Cult positively huge in their native England — a nearly identical singles collection with the same title debuted at No. 1 there. Between singer Ian Astbury's semi-sonorous croon and guitarist Billy Duffy's ragged, power-chord riffage, the Cult's best work may have evoked the swagger of the Doors and AC/DC, but it somehow also retained the quirky anti-glamour of '80s alt-rock. Some of that is reflected in the lyrics, which happily blur the line between trippy and goofy, but mostly it's because the Cult's best singles — "She Sells Sanctuary," the relentless "Love Removal Machine," "Fire Woman" and the Edie Sedgewick-inspired "Edie (Ciao Baby)" — appreciate the power of a heavy riff without ever falling prey to bombast. Not quite metal and not entirely punk, the Cult were simply proud to be loud — and good at it, too.
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They Say...
Say what you want about the Cult, a band who will certainly go down as one of the most schizophrenic in rock history, but singer Ian Astbury and guitarist Billy Duffy could sure write a great tune. Just glance at a few titles included on the greatest-hits collection Pure Cult: The Singles 1984-1995: "Edie (Ciao Baby)," "Love Removal Machine," "She Sells Sanctuary," "Wild Flower," "Fire Woman," "Rain," "Lil' Devil" -- you get the picture. Spread haphazardly across the disc (rather than in chronological order), each track's uniqueness is even more evident, further showcasing the Cult's fearless creativity. Early songs such as "Spiritwalker" and "Resurrection Joe" will surprise most fans with their class and maturity, while later cuts like "Wild Hearted Son," "Heart of Soul," and "Coming Down" (from their disappointing latter-day albums) are given new life when viewed on their own merits. Boasting almost identical track selection to another Pure Cult collection (including a few rare outtakes) of a few years earlier, this one's merely a tad more career-spanning complete, but the small differences aren't worth stressing over.
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19 Total Tracks, 77:30 Total Length
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Credits
- The Cult - Main Performer // Andrew McPherson - Photography // Ian Astbury - Vocals // Benmont Tench - Keyboards // John Brand - Producer // Mark Brzezicki - Drums // Mickey Curry - Drums // Charley Drayton - Guitar (Bass) // Scott Humphrey - Keyboards // Chris Kimsey - Producer // Michael K. Lee - Drums // Bob Rock - Guitar // Bob Rock - Keyboards // Bob Rock - Producer // Rick Rubin - Producer // John Sinclair - Keyboards // Matt Sorum - Drums // James Stevenson - Guitar // Les Warner - Drums // John Webster - Keyboards // John Webster - Keyboards // Richie Zito - Keyboards // Richie Zito - Producer // Craig Adams - Guitar (Bass) // Jim Marshall - Photography // Nigel Preston - Drums // Steve Webbon - Design // Steve Webbon - Layout Design // Bleddyn Butcher - Photography // Raymond Taylor-Smith - Drums // Scott Garrett - Drums // Steve Brown - Producer // Alex Jenkins - Cover Photo // Annette Aurell - Photography // Jon Sinclair - Keyboards // Kinley Wolfe - Guitar (Bass) // Bill Duffy - Guitar // Dominic Wills - Liner Notes
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