442:"In 1980 I spent nine months in Wales, and the reason I went away was not just because I was sick, but also because there was a bit of dissension in the group about me. I wanted to go very poppy, but Tom and Nial weren't very keen on the idea, so in coordinance with the old bookwormish Scritti Politti I decided to make some notes – which in retrospect is a ridiculous thing to do – about the theory and politics of it, and why it was a good thing to do, as opposed to keep slogging away at St. Pancras Records . So I went away and wrote an enormous amount of stuff for them as well. I ended up saying, 'Right, from now on when I've got a number of songs I want to do, then if you want to play on them, that's great; if you don't, lets forget the whole thing'. That was the basic shift of footing, that I wasn't prepared to go to the lengths of all that intellectualising to justify the songs – it was crazy."
406:' early records. Gartside came to the conclusion that "you don't have to be lobotomised in order to make pop music. It's a real passion to make it" and that making pop music did not mean selling out punk's principles or dumbing down: "I think the politics of punk does survive. There are a whole lot people who aren't happy to make pap but want to make pop. They understand that what sells means something. It finds a way into people's hearts in a way that independent music never did." He explained his reasons for abandoning the band's original "do-it-yourself" philosophy to
634:
He described "The 'Sweetest Girl'" as "the tendency for things to fall apart in the light of political awareness", or as he put it more directly in another interview, "It's got a lot to do with the promise and the myth and the cliché of the sweetest girl", or how the male idealised vision of the perfect girl was a myth, hence the inverted commas around the song's title (a subject and a grammatical trick he would later return to on the 1985 single "
638:"). The song also alludes to "the sickest group in all the world", which Gartside would later admit referred to the former bandmates and collaborators he had jettisoned from the early squat-punk collective days of Scritti Politti: "We were a sick group for some time. I used to read and write a lot, which was the only thing I did apart from being debauched ... we were always pretty poorly".
591:
distribution and economics, promotion, marketing and a bias against their product at radio stations" and in another he complained, "I must say I've been badly disappointed the way RT have handled the past three singles. I dunno, but when you really need that boost, they can't give it to you ... I'd like to see it generally happen with RT. But we'll have to see the way they handle the LP."
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happens when the anchor points of political, moral or religious understanding fall away." For example, he stated that the track "Faithless" was about "how living without faith brings you both happiness and sadness. I've never had any religion, except maybe politics, although I am interested in having some means of achieving social order and progress."
551:. A German import single of the song arrived in the UK in August 1981 but was quickly withdrawn at the band's request, as they were unhappy with both the mix and the vinyl pressing. "The 'Sweetest Girl'" finally received a full release as a single on 9 October 1981. The single versions of "The 'Sweetest Girl'" and its
618:
in
October 1981 he told the paper, "The politics have moved from an essentialist and reductionist position in which we believed in a history of science which could make sense of the future to one that realized that what you've got is needs, demands, and desires, and you go out and you fight for them.
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Although the album was completed in August 1981, its release was delayed for a whole year until the group felt ready to release it. Gartside defended the decision to hold back the album, saying that "we could have released it then, and it would probably have got some nice reviews, sold a few thousand
475:
paid each member a salary of £50 per week, as well as giving them a generous advance to record the album. Gartside explained that the album had taken several months to make because "a lot of the ideas for this album, particularly lyrically, weren't finalised by the time we went into the studio, so we
689:
The lines "He held it like a cigarette behind a squaddie's back, he held it so he hid its length and so he hid its lack" in "Jacques
Derrida" have nothing to do with the rest of the song, but refer to Gartside's remembrances of observing old men urinating in the toilets of the folk clubs he used to
645:
whom
Gartside eventually met in 1988. Speaking about the song Gartside said, "It's about how powerful and contradictory the politics of desire are. About being torn between all things glamorous and reactionary and all things glamorous and leftist. Then in the rap it dispenses with both in favour of
633:
towards those that explored linguistics as a means of expressing personal politics and deconstructing the traditional love song. As
Gartside explained, "The problematic of language is present on the LP as an essential filter to each of the songs, dealing as most of them do with love and sexuality".
584:
copies and disappeared. But we thought that if we held on to it, put out 'The "Sweetest Girl"', built on that a bit, took some more singles off the album, built up the interest and then put it out, it would do a lot more. Seeing as we were really pleased with it, I would much rather that happened."
429:
of the early
Scritti Politti ideas and recordings, saying that "a lot of the very oppositional politics that we'd been involved in lost their appeal and credibility for me. I rejected the principles of that, what was monolithical Marxism. I no longer supported the mechanism which held that up, and
420:
sections of the music papers became more and more closeted with more and more people sitting in their bedrooms making cassettes and swopping them with other people making cassettes. There were more and more silly names and it began to smack more and more of 'hippy-ness'. It had become an ageing
625:
the following year
Gartside said, "My loss has been political conviction, the idea of a correct understanding of the past, present and future (Marxism). I've always been obsessively concerned that my understanding of political truth should be scientifically grounded. Many songs are about what
904:
songs", rather than songs themselves. It continued, "It's by no means a disturbing record to listen to, which is why it could appeal to the timid, but Green's lyrical preoccupations – language, definitions, the way one's preconceptions determine and control perception – would intrigue the
590:
was finally released in
September 1982. In several interviews at the time of the album's release, Gartside stated his dissatisfaction with Rough Trade's promotion of the record, hinting in one interview that "there's still a lot of problems, as far as I'm concerned, fundamental matters of
887:
stated that "Green's determination to stamp his brandmark into the nation's consciousness is reflected by the album's pompous title ... Yet the funny thing is those dubious proclamations just aren't needed because the arrogance embodied in the title is emphatically based on vinyl
888:
reality ... Some people may find Green's sugary vocals and Adam Kidron's lush production just a little too refined; listening to
Scritti can be a bit like having honey tipped down your ears, but that seems like a perfect design for mainstream invasion. If justice prevailed
373:
and his unhealthy lifestyle. Returning home to south Wales at his parents' insistence for a nine-month convalescence period, Gartside had plenty of time to think about the direction the band and their music were going in. During 1979 he had already become less interested in the
421:
alternative that was never going to present a route for people who wanted to make their music on a wide scale. We never particularly wanted to become a cult group, but the music was very marginal and we were – perhaps rightly – stereotyped as intellectuals."
446:
Although both initially stayed with the group to play on the album, Jinks left
Scritti Politti shortly after the record's completion in 1981. Morley decided to stay with the group even though his drumming was becoming replaced more frequently by programmed
650:
and tells of the vast madhouses built around ancient
Jerusalem to house the large numbers of desert-dwelling locust-eating religious fanatics who sprang up claiming to be "prophets" in the wake of Jesus's arrival. Gartside also references philosopher
1297:. Originally started in August 1980, the column was discontinued less than ten months later in May 1981 due to lack of interest and the acknowledgement that the fashion for the "do it yourself" ethic in music had passed. Gartside's referral to "the
31:
562:
The album was preceded by two more singles, "Faithless" and the double A-side "Asylums in Jerusalem"/"Jacques Derrida". The cover artwork for each of the singles was a homage to the packaging of a luxury consumer item:
433:
Before his collapse Gartside had already broached the concept of taking the group in a more commercial pop direction with his band mates. His ideas did not go down well with them, as he recounted in an interview for
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cognac for "Asylums in Jerusalem"/"Jacques Derrida". Gartside claimed that the idea behind the singles' sleeves was to "convey a sense of a common, available thing which is classy, like our records now".
951:("A Slow Soul")" but also that "there are moments of full-on glory that aren't sunk in their influences ... In sum, there's as much to love as there is to skip." Reviewing the 2001 reissue,
349:
After releasing two EPs and a single, Scritti Politti began planning their debut studio album in 1979, but the recording had to be delayed when Gartside collapsed after a gig supporting
698:
The album cover was plain white, with the handwritten artist name and album title separated by a dark blue horizontal line. Early editions of the vinyl LP were embossed with a
2097:
619:
Which means that your music will at points be indexed fairly clearly to Politics with a big 'P' and at other points will cut across it completely." In another interview with
459:
On his recovery from illness Gartside returned to London and went straight into the studio with the group to begin recording the album at the end of 1980. It was recorded at
1021:
All songs written and arranged by Green Gartside. On the album credits "The Sweetest Girl" did not include the inverted commas used on the single version of the song.
289:'s collapse and illness, and then after completion its release was delayed for a further year at the band's request. It was eventually released on 3 September 1982 by
1006:
where he described the record as "a unique and modestly epic fusion of pop, reggae, funk, soul, jazz and lyrics submerged in the deep end of political philosophy".
641:
References to famous philosophers, another of Gartside's favourite subjects, recur throughout the album, most obviously on the track "Jacques Derrida", named after
492:, so it took that much longer to complete. Plus the fact that there's quite a few other musicians playing on it, many of whom could only work two hour schedules."
909:
is witty, ingenious, likeable and probably in the public interest ... All this notwithstanding, there is something missing; a certain solidity, perhaps."
702:
of an insect inside a circle in the bottom right corner. On the CD and later versions of the vinyl album this pictogram was printed onto the album cover.
510:
1602:
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The first song to be released from the album was "The 'Sweetest Girl'", described by Gartside ahead of its release as "a perversion and an extension of
2160:
892:
would be number one across the globe ... You'd have to go back a long way to find a better pop record than this – back to the Sixties probably."
961:-gospel, anyone?), lilting melodies, winsome wit and wonderful invention ... sounds as delightfully undateable as it did back in 1982 ...
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placed it at number 14 in their critics' list of the best albums of the 1980s, and it was included in journalist Garry Mulholland's book
2397:
1694:
Denselow, Anthony (June 1982). "Scritti Politti: How Rough Trade revolutionaries discovered pop and learned to (almost) stop worrying".
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The result of these changes was that the lyrics on the album moved away from the overtly political lyrics of the early Scritti Politti
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1939:
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said that Scritti Politti had "valiantly spot-welded such rarified tropes to an unsuspecting pop chassis ... Lovers Rock and
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s singles of the year for 1981, while "Faithless" was listed at number 35 in the magazine's equivalent list the following year.
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took their name from a line in the track "Gettin' Havin' & Holdin'" – "it's tired of joking ... wet, wet with tears".
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as "Scritti Politti's greatest hits", and said that the unfinished nature of the tracks made them "sound like ideas
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frequent as a young man: "They had a way of holding their cocks while they were pissing. I found that fascinating."
672:
The last line in the song "Lions After Slumber" ("like lions after slumber in unvanquishable number") is taken from
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sections of the music papers" was therefore meant as a description of the DIY independent music scene in general.
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felt that "the two years it took to make may have blunted its impact somewhat" but "there's more than enough in
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noted that many of the album's nine tracks had already appeared in some form on the singles, and described
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covering the latest developments and releases in the independent music scene, particularly records and
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1974:
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467:). The band were able to take their time with the recording and to employ guest musicians including
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in London, with the exception of "Faithless" which was recorded at Island Studios (since renamed
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541:". It was first made available in January 1981 when it was included as the opening track on the
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333:(2006) where he described the record as "a unique and modestly epic fusion of pop, reggae,
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Gartside's change in beliefs directly affected the music and particularly the lyrics of
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said, "This is trademark Scritti Politti from the start, all unlikely musical fusions (
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carried over to the music. Plus I was bored shitless with the noise we were making."
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416:"In simple terms, we were sick to death of the ghetto of the independent scene. The
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661:" in the song "Gettin' Havin' & Holdin'"—the joke being that according to the
555:"Lions After Slumber" are both different from the versions that later appeared on
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music, and marked the beginning of Scritti Politti's move from their underground
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liner notes. All personnel are credited on the album by their first names only.
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and has since been held up as a political poem signifying peaceful resistance.
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As well as his musical change of heart, Gartside had also abandoned the strict
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scene and had started listening to and buying American funk and disco like
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to establish Scritti Politti as the acceptable face of intellectual pop."
285:. The album's recording had to be delayed for nine months due to frontman
1864:(2004). "Scritti Politti". In Brackett, Nathan; Hoard, Christian (eds.).
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before realising that the name could be confused with that of the singer
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358:
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top 20 albums of 1982. "The 'Sweetest Girl'" was placed at number 45 in
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in miniature form ("Jacques Derrida"); sometimes it sounds like wannabe
881:
received a favourable reception from the UK music press on its release.
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481:
451:, but he was eventually sidelined and left the group in November 1982.
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decided to do a couple of days at a time. Also, we were working with
302:
1674:
Black, Johnny (10 June 1982). "It's the Scritti Politti Broadcast".
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desire." "Asylums in Jerusalem" was inspired by the writings of
568:
338:
334:
2142:
1488:
Hoskyns, Barney (31 October 1981). "Where radical meets chic".
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Jackie Challenor, Lorenza Johnson, Mae McKenna – backing vocals
341:
and lyrics submerged in the deep end of political philosophy."
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in 1986. A remastered version was released in October 2001 by
497:
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as "a rather scatterbrained record. Sometimes it sounds like
1654:
McCullough, Dave (4 September 1982). "Politti-cal Asylum".
1380:
Fear of Music: The 261 Greatest Albums Since Punk and Disco
1004:
Fear of Music: The 261 Greatest Albums Since Punk and Disco
331:
Fear of Music: The 261 Greatest Albums Since Punk and Disco
365:, the cause of his collapse was eventually diagnosed as a
1576:
Barber, Lynden (5 December 1981). "Green Light Special".
1436:
Lewis, John (30 May 2006). "Scritti Politti: Interview".
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that were self-financed recordings and only available by
1002:
In 2006, Garry Mulholland included the album in his book
1416:
Dwyer, Simon (29 May 1982). "The Polittics of ecstasy".
975:
intellectualism have rarely combined more fruitfully."
2058:
Snow, Mat (14 March 1987). "I can't stand the rain".
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played trumpet on the single version of "Faithless".
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1992:Wilkinson, Roy (November 2001). "Scritti Politti –
1840:Roberts, David (December 2001). "Scritti Politti –
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1462:Birch, Ian (12 November 1981). "Scritti Politti".
2111:"Charts.nz – Scritti Politti – Songs to Remember"
1724:. London, England: Faber and Faber. p. 192.
1431:
1429:
501:that he had originally planned to call the album
1955:Pye, Ian (4 September 1982). "Scritti Politti –
1722:Totally Wired: Postpunk Interviews and Overviews
1593:"Old music: Scritti Politti – The Sweetest Girl"
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2096:: CS1 maint: others in cite AV media (notes) (
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529:who was just beginning a solo career in 1982.
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1513:Rip It Up and Start Again: Postpunk 1978–1984
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1977:(4 September 1982). "Sweetness and Light".
1924:Weisbard, Eric; Marks, Craig, eds. (1995).
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361:in early 1980. Originally believed to be a
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1127:Although he does not appear on the album,
941:("Sex"); sometimes it sounds like wannabe
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29:
20:
965:remains a well-named, well-made record".
669:, the concept of "truth" does not exist.
277:is the debut studio album by the British
1184:
255:"Asylums in Jerusalem"/"Jacques Derrida"
18:1982 studio album by Scritti Politti
1905:(2 September 1982). "Scritti Politti –
1314:
1275:
1123:Matthew Kay – organisation (management)
2089:
567:cigarettes for "The 'Sweetest Girl'",
297:. The album was heavily influenced by
2322:Wood Beez (Pray Like Aretha Franklin)
1060:"Gettin' Havin' & Holdin'" – 5:16
715:
7:
1835:
1833:
1818:from the original on 8 February 2018
1605:from the original on 10 January 2014
1358:"The Top 100 Albums of the Decade".
1322:"New Albums from Imagination, Who".
1364:. 25 November 1989. pp. 28–29.
480:, who was at the time committed to
1797:Christgau's Record Guide: The '80s
1591:Fletcher, Nick (17 October 2011).
655:with the line "it's true like the
14:
1867:The New Rolling Stone Album Guide
824:
786:
736:
643:the poststructuralist philosopher
471:and Joe Cang because their label
1764:from the original on 17 May 2016
1558:(June 1982). "Scritti Politti".
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594:The album was first released on
2047:. 25 December 1982. p. 29.
2032:. 19 December 1981. p. 30.
1342:"Official Albums Chart Top 100"
2393:Albums produced by Adam Kidron
1700:. No. 26. pp. 22–25.
1643:. 10 October 1981. p. 33.
665:Wittgenstein developed in the
293:, peaking at number 12 on the
1:
1927:Spin Alternative Record Guide
1710:Reynolds (2005). pp. 361–362.
1628:. 15 August 1981. p. 35.
1030:"Asylums in Jerusalem" – 3:12
867:Spin Alternative Record Guide
817:The Rolling Stone Album Guide
575:perfume for "Faithless", and
521:, a backing vocalist for the
509:released their chart-topping
1850:. No. 185. p. 143.
1328:. 28 August 1982. p. 5.
1173:
1158:
1039:"Lions After Slumber" – 6:09
369:, brought on by his chronic
2002:. No. 96. p. 126.
1105:Mgotse Mothie – double bass
2419:
2398:Rough Trade Records albums
1378:Mulholland, Garry (2006).
663:picture theory of language
54:3 September 1982
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1210:
1207:
1204:
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547:cassette compiled by the
316:sound towards commercial
266:
227:
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177:
28:
1720:Reynolds, Simon (2009).
1057:"Rock-A-Boy Blue" – 5:52
1036:"Jacques Derrida" – 4:58
767:Christgau's Record Guide
614:. In one interview with
240:Released: 9 October 1981
1580:. pp. 12 & 34.
1346:Official Charts Company
1053:
986:was included as one of
606:Writing and composition
511:single of the same name
323:British music magazine
249:Released: 16 April 1982
2403:Scritti Politti albums
2279:White Bread Black Beer
2013:"Albums of the Year".
444:
438:fanzine in June 1982:
423:
258:Released: 23 July 1982
2272:Anomie & Bonhomie
2258:Cupid & Psyche 85
2043:"Vinyl Finals 1982".
2028:"Vinyl Finals 1981".
1975:Murray, Charles Shaar
679:The Masque of Anarchy
533:Release and promotion
200:Cupid & Psyche 85
69:late 1980–August 1981
1872:Simon & Schuster
1386:. pp. 134–135.
1285:was a column in the
1152:New Zealand Albums (
1033:"A Slow Soul" – 3:16
979:Accolades and legacy
711:Professional ratings
682:which describes the
398:, and 1960s British
2315:The "Sweetest Girl"
2092:cite AV media notes
2084:Rough Trade Records
2017:. 25 December 1982.
1601:. London, England.
1517:. London, England:
1382:. London, England:
712:
653:Ludwig Wittgenstein
648:Friedrich Nietzsche
461:Berry Street Studio
291:Rough Trade Records
235:The "Sweetest Girl"
80:Berry Street Studio
2135:(list of releases)
1788:"Scritti Politti:
1754:– Scritti Politti"
1624:"Fussy Politti!".
1142:Chart (1982–1983)
1102:Tom Morley – drums
1042:"Faithless" – 4:13
1009:The Scottish band
710:
706:Critical reception
427:Marxist philosophy
412:in November 1981:
222:Songs to Remember
2388:1982 debut albums
2375:
2374:
2251:Songs to Remember
2128:Songs to Remember
2076:Songs to Remember
2064:. pp. 21–22.
1994:Songs to Remember
1957:Songs to Remember
1907:Songs to Remember
1842:Songs to Remember
1790:Songs to Remember
1784:Christgau, Robert
1752:Songs to Remember
1731:978-0-571-23549-0
1678:. pp. 34–35.
1532:978-0-571-21570-6
1393:978-0-7528-6831-8
1267:
1266:
1208:3 September 1982
1178:
1177:
1093:Nial Jinks – bass
1078:Songs to Remember
1076:Adapted from the
1065:The Sweetest Girl
984:Songs to Remember
963:Songs to Remember
925:Songs to Remember
915:Songs to Remember
907:Songs to Remember
905:curious ...
898:Songs to Remember
890:Songs to Remember
879:Songs to Remember
876:
875:
684:Peterloo Massacre
612:Songs to Remember
588:Songs to Remember
557:Songs to Remember
507:Adam and the Ants
503:Stand and Deliver
376:independent music
274:Songs to Remember
270:
269:
208:
207:
191:Songs to Remember
24:Songs to Remember
2410:
2360:Related articles
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1639:"Record News".
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1232:United Kingdom
1205:United Kingdom
1183:
1181:Release history
1146:
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1084:Joe Cang – bass
1074:
1019:
996:
981:
944:Young Americans
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636:The Word 'Girl'
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519:Junior Giscombe
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396:Aretha Franklin
347:
295:UK Albums Chart
283:Scritti Politti
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2182:Green Gartside
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2122:
2121:External links
2119:
2116:
2115:
2103:
2078:(CD booklet).
2067:
2050:
2035:
2020:
2005:
1984:
1966:
1947:
1940:
1916:
1891:
1884:
1862:Sheffield, Rob
1853:
1829:
1810:
1802:Pantheon Books
1775:
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1681:
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1583:
1565:
1562:. No. 13.
1556:Fletcher, Tony
1538:
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1260:Remastered CD
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600:Virgin Records
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495:Gartside told
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287:Green Gartside
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2350:She's a Woman
2347:
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2336:The Word Girl
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2243:Studio albums
2241:
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2227:
2225:
2222:
2220:
2217:
2215:
2214:Steve Ferrone
2212:
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2209:Marcus Miller
2207:
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2202:Rob Smoughton
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2016:
2009:
2006:
2001:
2000:
1995:
1988:
1985:
1981:. p. 29.
1980:
1976:
1970:
1967:
1963:. p. 18.
1962:
1958:
1951:
1948:
1943:
1941:0-679-75574-8
1937:
1933:
1932:Vintage Books
1929:
1928:
1920:
1917:
1913:. p. 25.
1912:
1908:
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1896:
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1885:0-7432-0169-8
1881:
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1468:. p. 33.
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1361:Record Mirror
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1017:Track listing
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978:
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719:
716:Review scores
714:
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701:
693:
691:
687:
685:
681:
680:
676:'s 1819 poem
675:
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449:drum machines
443:
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326:Record Mirror
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76:
72:
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53:
49:
45:
40:
36:
32:
27:
22:
16:
2295:
2289:Compilations
2277:
2270:
2263:
2256:
2250:
2249:
2229:David Gamson
2201:
2194:
2187:
2180:
2126:
2106:
2075:
2070:
2059:
2053:
2044:
2038:
2029:
2023:
2014:
2008:
1997:
1993:
1987:
1978:
1969:
1961:Melody Maker
1960:
1956:
1950:
1925:
1919:
1910:
1906:
1865:
1856:
1845:
1841:
1820:. Retrieved
1795:
1789:
1778:
1766:. Retrieved
1751:
1721:
1715:
1706:
1695:
1675:
1655:
1649:
1641:Melody Maker
1640:
1634:
1625:
1619:
1607:. Retrieved
1598:The Guardian
1596:
1586:
1578:Melody Maker
1577:
1559:
1512:
1489:
1463:
1437:
1417:
1379:
1359:
1353:
1325:Melody Maker
1323:
1317:
1298:
1286:
1282:
1278:
1244:ROUGH CD 20
1238:Rough Trade
1126:
1115:Robert Wyatt
1109:Jamie Talbot
1077:
1075:
1054:"Sex" – 4:20
1046:
1045:
1024:
1023:
1020:
1008:
1003:
1001:
993:
987:
983:
982:
966:
962:
952:
942:
932:
924:
919:
914:
910:
906:
901:
897:
893:
889:
884:Melody Maker
882:
878:
877:
865:
853:
815:
777:
765:
697:
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671:
666:
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640:
628:
620:
615:
611:
609:
593:
587:
586:
582:
572:
561:
556:
548:
542:
536:
515:Junior Gichi
514:
502:
496:
494:
490:Orange Juice
465:Sarm Studios
458:
445:
441:
435:
432:
424:
417:
415:
407:
388:the Jacksons
371:stage fright
367:panic attack
363:heart attack
355:Gang of Four
348:
330:
324:
322:
273:
272:
271:
221:
198:
190:
189:
182:
39:Studio album
15:
2367:Discography
2343:Perfect Way
2234:Alan Murphy
2196:Dicky Moore
1384:Orion Books
1212:Rough Trade
1117:– keyboards
1111:– saxophone
1099:– keyboards
1097:Mike McEvoy
1011:Wet Wet Wet
949:David Bowie
577:Courvoisier
573:Eau Sauvage
539:lovers rock
513:, and then
478:Adam Kidron
473:Rough Trade
469:Mike McEvoy
404:the Beatles
246:"Faithless"
157:Adam Kidron
143:Rough Trade
2382:Categories
2224:Fred Maher
1911:Smash Hits
1874:. p.
1676:Smash Hits
1521:. p.
1465:Smash Hits
1309:References
1299:Garageland
1295:mail order
1283:Garageland
1227:ROUGH 20C
934:Dirty Mind
923:described
911:Smash Hits
855:Smash Hits
482:Delta Five
418:Garageland
409:Smash Hits
400:beat music
394:soul like
345:Background
173:chronology
58:1982-09-03
2265:Provision
1291:cassettes
1263:CDV 2944
1224:cassette
1219:ROUGH 20
1165:UK Albums
1147:position
1072:Personnel
973:Left Bank
700:pictogram
667:Tractatus
658:Tractatus
523:Brit funk
455:Recording
351:post-punk
318:pop music
314:post-punk
183:4 A-Sides
2329:Absolute
1816:Archived
1786:(1990).
1762:Archived
1758:AllMusic
1697:The Face
1603:Archived
1560:Jamming!
1509:(2005).
1439:Time Out
1200:Catalog
1067:" – 6:15
1047:Side two
1025:Side one
921:AllMusic
730:AllMusic
622:The Face
486:Pere Ubu
436:Jamming!
402:such as
359:Brighton
337:, soul,
150:Producer
108:new wave
88:(London)
82:(London)
66:Recorded
51:Released
41: by
2307:Singles
2133:Discogs
2086:. 1982.
1609:3 March
1197:Format
1188:Region
959:vocoder
694:Artwork
674:Shelley
565:Dunhill
505:before
218:Singles
204:(1985)
195:(1982)
186:(1979)
56: (
2015:Sounds
1938:
1882:
1822:2 June
1808:
1768:2 June
1728:
1656:Sounds
1529:
1419:Sounds
1390:
1194:Label
1135:Charts
989:Sounds
939:Prince
929:T. Rex
724:Rating
721:Source
553:B-side
305:, and
303:reggae
121:Length
74:Studio
2297:Early
1270:Notes
1235:1986
1191:Date
997:'
947:-era
937:-era
902:about
860:7½/10
525:band
353:band
299:disco
281:band
220:from
138:Label
96:Genre
2098:link
1999:Mojo
1936:ISBN
1880:ISBN
1824:2016
1806:ISBN
1770:2016
1726:ISBN
1611:2013
1527:ISBN
1388:ISBN
1154:RMNZ
1145:Peak
968:Mojo
872:8/10
569:Dior
527:Linx
488:and
484:and
392:Stax
386:and
384:Chic
380:punk
378:and
339:jazz
335:funk
307:soul
2131:at
2061:NME
2045:NME
2030:NME
1996:".
1979:NME
1959:".
1909:".
1876:722
1844:".
1626:NME
1523:366
1490:NME
1348:.
1287:NME
1241:CD
1216:LP
1174:12
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