Billy Idol – Charmed Life

Billy Idol – Charmed Life
FLAC, EAC, LOG & CUE | Lossless Artwork | Size: 481 MB
Cat#: Chrysalis CDP 32 1735 2 | Country/Year: UK 1990
Genre: Rock | Hoster: Filesonic/Uploaded

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Billy Idol – Charmed Life

Label: Chrysalis
Catalog#: CDP 32 1735 2
Format: CD, Album
Country: UK
Released: 1990
Genre: Rock
Style: Hard Rock, Classic Rock

Tracklist:

1 The Loveless 4:17
2 Pumping On Steel 4:42
3 Prodigal Blues 5:41
4 L.A. Woman 5:29
5 Trouble With The Sweet Stuff 4:40
6 Cradle Of Love 4:39
7 Mark Of Caine 4:33
8 Endless Sleep 3:13
9 Love Unchained 4:41
10 The Right Way 5:05
11 License To Thrill 6:02

Notes:

Made in the U.K..
? 1990 Chrysalis Records Inc.
© 1990 Chrysalis Records Inc.

Barcode and Other Identifiers:

Barcode (Text): 0 94632 17352 2
Other (Rights Societies): BIEM/MCPS
Matrix / Runout: CDP 321735-2 1 : 1 : 11 EMI SWINDON

by Johnny Loftus

By 1990’s aptly named Charmed Life, Billy Idol was seemingly more well-known for his excessive lifestyle than his creative zenith of a few years prior. This made his channeling of Jim Morrison on a rowdy cover of “LA Woman” even more apt. He had done so before, of course, most memorably on 1986’s Whiplash Smile. But where Idol’s clever amalgam of dance beats and punky guitar breaks had done its part to define the 1980s, his update of the classic Doors song was the new sound of the same old seedy, City of Angels underbelly, remixed for the cusp of a new decade. Its mirthful screams and bizzaro beat speak (“She drinks my wine spo-dee-o-dee”) also marked one of Charmed Life’s few memorable moments. “Cradle of Love” was another obvious high point; together with its saucy video the clattering, histrionic single was largely responsible for the LP’s platinum status. But Steve Stevens had departed prior to Charmed, taking his pyrotechnic guitar with him, and his absence is certainly felt. The album wallows in mood pieces like the greaser-tinged “Endless Sleep” or the confessional “Prodigal Blues.” While the latter cut does feature a surging melody and some great synth textures, its guitar blasts don’t ring with the same fervor. Likewise, the fiery soloing of “Right Way” doesn’t mesh as well with Idol’s vocal or the synthetic-sounding backing track — the whole thing is like the classic pieces of a Idol song, disassembled. Charmed Life probably will offer the sneering rocker’s true fans some teeth-sinkable material. But it’s impossible not to notice its inconsistencies.

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Billy Idol – Cyberpunk

Billy Idol – Cyberpunk
FLAC, EAC, LOG & CUE | Lossless Artwork | Size: 541 MB
Label/Cat#: Chrysalis CDCHR6000 | Country/Year: UK & Europe 1993
Genre: Rock | Hoster: Filesonic/Uploaded

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Billy Idol – Cyberpunk

Label: Chrysalis
Catalog#: 0946 3 26000 2 8
Format: CD, Album
Country: UK & Europe
Released: 1993
Genre: Electronic, Rock
Style: Pop Rock, Punk, Synth-pop

Tracklist:

1 Intro 1:01
2 Wasteland 4:35
3 Interlude 0:19
4 Shock To The System 3:33
5 Tomorrow People 5:07
6 Adam In Chains 6:24
7 Neuromancer 4:36
8 Power Junkie 4:46
9 Interlude 0:27
10 Love Labours On 3:53
11 Heroin 6:57
12 Interlude 0:22
13 Shangri La 7:24
14 Concrete Kingdom 4:52
15 Interlude 0:38
16 Venus 5:47
17 Then The Night Comes 4:37
18 Interlude 0:25
19 Mother Dawn 5:03
20 Outro 0:56

Notes:

Recorded at Golgotha Studios and Ameraycan Studios on 48 track Sony Digital.
Mixed at A&M Studios on SSL 6000 E.
Mastered at Precision Mastering.
Segues recorded using the Binaural System.
Album recorded by Roland Sound Space so this album is headphone friendly.

“Heroin” originally performed by The Velvet Underground.
“Mother Dawn” originally performed by Blue Pearl.

Made in Holland.
UK: CDCHR6000
F: PM 520

Chrysalis Records, Inc.
a division of EMI Records Group.

Barcode and Other Identifiers:

Barcode: 0 9463 26000 2 8
Matrix / Runout: EMI 326002 CDM01
Other (Label Code): LC 1626
Other (Rights Societies): BIEM/STEMRA
Matrix / Runout: EMI UDEN 326002 @1

Cyberpunk is a concept album by English rock musician Billy Idol, released in 1993 by Chrysalis Records. Inspired by his personal interest in technology and his first attempts to use computers in the creation of his music, Idol based the album on the cyberdelic subculture of the late 80s and early 90s. Heavily experimental in its style, the album was an attempt by Idol to take control of the creative process in the production of his albums, while simultaneously introducing Idol’s fans and other musicians to the opportunities presented by digital media.

The album featured a cyberpunk-styled narrative as well as synthesized vocals and techno influences. Despite the critical and financial failure of the album, Billy Idol set several precedents in the process of promoting the album. These included his use of the internet, e-mail, virtual communities, and multimedia software – each a first for a mainstream celebrity. Idol also based his fashion style, music videos, and stage shows on cyberpunk themes and aesthetics.

Released to negative reviews, Cyberpunk polarized the internet communities of the period. Detractors viewed it as an act of cooptation and opportunistic commercialization. It was also seen as part of a process that saw the overuse of the term “cyberpunk” until the word lost meaning. Alternatively, supporters saw Idol’s efforts as harmless and well-intentioned, and were encouraged by his new interest in cyberculture.

During the release of 1990’s Charmed Life, Idol suffered a broken leg in a motorcycle accident. While in recovery, he was interviewed by Legs McNeil. McNeil noticed the electronic muscle stimulator on Idol’s leg and referred to him as a “cyberpunk”, citing the cyborg qualities of his appearance. This led to Idol taking a serious interest in the works of William Gibson for the first time, although he had read Neuromancer in the mid-80s. In the following months, Idol continued to investigate cyberpunk fiction and technology. He also read Neal Stephenson’s Snow Crash, works by Robert Anton Wilson, and others.

At approximately the same time, he began to work with Trevor Rabin to create his music, having parted ways with his former producer, Keith Forsey. Rabin introduced Idol to his home studio, which was centralized around Rabin’s Macintosh computer and music software. The ability to personally produce music from his home, rather than at a professional studio, appealed to Idol’s “do it yourself” ethic. He felt that working through a team of producers and sound engineers cut into his personal vision for previous albums, and was interested in being more directly in control of his future work. Idol asked his producer, Robin Hancock, to educate himself and his guitarist, Mark Younger-Smith, on the use of software for musical production.

With his increasing exposure to technology and science fiction, Idol decided to base his upcoming album on the cyberpunk genre, and quickly set about educating himself in Cyberdelic counter culture.[2] Idol saw the convergence of affordable technology with the music industry and anticipated its impact on a new era for DIY punk music. “It’s 1993,” Idol said during a New York Times interview. “I better wake up and be part of it. I’m sitting there, a 1977 punk watching Courtney Love talk about punk, watching Nirvana talk about punk, and this is my reply.”
Gareth Branwyn (left) and Mark Frauenfelder (right) were two consultants from the cyberdelic print culture tapped by Idol for consultation.

Reading Mondo 2000 and Gareth Branwyn’s 1992 manifesto, “Is There A Cyberpunk Movement?”, Idol resolved to base an opening sequence on Branwyn’s essay, contacting the writer for permission. He also read Branwyn’s Beyond Cyberpunk! HyperCard stack, a collection of essays based on fanzines, political tracts, conspiracy theories, and which referred to itself as “a do-it-yourself guide to the future.” Idol proceeded to consult with various writers familiar with the computer related magazines, such as Mondo 2000, and bOING bOING. Idol also hosted a “cyber-meeting” attended by the likes of Timothy Leary, famed counterculture guru; Jaime Levy, author of books published on disks under the “Electronic Hollywood” imprint; R. U. Sirius, co-founder of Mondo 2000; and Brett Leonard, director of The Lawnmower Man.

Asked by Idol about how he could become further involved in cyberculture, Branwyn and Mark Frauenfelder advised him to investigate The WELL, one of the oldest online communities.[9] Idol did so, discussing the album project online with WELL users, and creating a personal e-mail account which he released on printed advertisements for the upcoming album, so that fans could communicate with him. Idol also made occasional postings to alt.cyberpunk, a Usenet newsgroup. Later in an interview for MTV News promoting the album, Idol expressed excitement over the medium. “This means I can be in touch with millions of people, but on my own terms. wikipedia

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