To say The Age of Consent is a great album of dance-oriented synth-pop music is to sell it extremely short; this is simply a great album, period. Jimmy Somerville’s soaring tenor may take some getting used to, but the songs, many of them dealing with homophobia and alienation (none more eloquently than “Smalltown Boy”), are compelling vignettes about the vagaries of life as a gay man.

Cynics predisposed to dismissing entire genres of music based on trendiness or a limited appeal (“dance music is for dancing, not listening”) miss the point in lumping this in with more mindless forays into techno or neo-disco. As the Pet Shop Boys (the world’s greatest disco band) proved a few years later, you can have substantive content and wrap it up in a compelling, visceral, dance-oriented package. Few bands understood this better, or earlier, than Bronski Beat.

And inspired reworking of their landmark debut album 'The Age Of Consent'. The_Age_of_Reason.rar The Age of. Can listen Bronski Beat - The Age of.

~Review by John Dougan~ Release of the album: 1984, October, 15 [LP Forbidden Fruit, Cat.# BITLP 1, 820 171-1, UK] Release of this CD: 2000, February (Re-Release of 1996′ Edition) [CD London Records / Warner Music (EU), Cat.# 3984 28195-2 / UPC: 27] Tracks 1, 8, 12-14, 16 (p) 1985 London Records Ltd. 2-7, 9-11 (p) 1984 London Records Ltd.

15 (p) 1994 Panic ATC This Compilation (p)(c) 1996 London Records 90 Ltd. Made in the Germany by Warner Music Manufacturing Europe. Notes: Digitally Re-mastered by Roger Wake Cover sticker: “Warner Platinum Specials”.

Tracks 10 & 11 were commonly known as the “I Feel Love / Johnny Remember Me” medley, and the art incorrectly lists the length as 8:02 (for 10). Credits: Composed By – Somerville (tracks: 1, 3-9, 12-16), Cole (tracks: 1, 3-9, 12-16), Bronski (tracks: 1, 3-9, 12-16) Coordinator – Mike Gill Design – PCR Liner Notes – Richard Smith Producer – Mike Thorne Remastered By [Digitally Re-mastered] – Roger Wake Tracklist: 01. Ain’t Necessarily So (04:43) 03.

Screaming (04:16) 04. No More War (04:01) 05. Love And Money (05:12) 06. Smalltown Boy (05:03) 07.

Heatwave (02:40) 08. Junk (04:19) 09. Need A Man Blues (04:20) 10. I Feel Love (06:01) Extra Tracks: 11. I Feel Love (Medley with Marc Almond) (08:21) 12. Run From Love (Re-mix from ‘Hundreds And Thousands’) (08:16) 13. Hard Rain (Re-mix from ‘Hundreds And Thousands’) (07:57) 14.

Memories (02:57) 15. Puit D’Amour (01:43) 16. Heatwave (Re-mix from ‘Hundreds And Thousands’) (05:46).

To watch Britain’s music program “Top of the Pops” in 1984 was to witness masculinity wipe off the last of the spit and sawdust. You had blond, black-gloved geeks like Nik Kershaw and Howard Jones, bouffy matriarchs Queen and Ozzy Osbourne, white-teethed go-go boys Wham!, leathered-up imps Frankie Goes to Hollywood, and slinky queen Boy George—not a between them. When Bronski Beat made their on June 7, 1984, they were radical because they looked so normal—behold 22-year-old singer Jimmy Somerville’s green polo shirt and severe army-issue haircut. Windows Xp Pro Sp3 Keygen.exe. The last thing anyone would have expected from Somerville’s cartoon good-boy face was a diva-strength lament for runaway gay youth.

Add in Steve Bronski and Larry Steinbachek’s HI-NRG rhythms and desperately forlorn keyboard motif, and their debut single “Smalltown Boy” was kissed with the melancholy transcendence of its disco forebears: Sylvester in suburbia. It was perfect.

Somerville looked awkward on that “TOTP” appearance, singing live and holding his arms stiff until a tentative boogie during the reprise. But when Bronski returned to perform their second single “Why?” that September, they knew what to do. Most acts still lip-synched on “TOTP,” so this time Somerville focused on performing, rather than sustaining his fierce cri de coeur about pride in the face of a hate crime. With the camera at crotch height, he seduced viewers at home and pointed saucily down the lens, perhaps emboldened by the band’s discovery of the BBC’s alleged basement glory hole toilets, which Bronski claimed to have visited whenever they played “TOTP.” The moment hasn’t been memorialized the same way as Bowie’s iconic visit on the show 12 years earlier, but it had to be a “Starman” revelation for at least a few hundred closeted British kids who couldn’t relate to the more outlandish subversions of masculinity rampaging elsewhere on the show. British pop had never been queerer. In January 1984, Frankie’s “Relax” had been yanked off air by a BBC Radio 1 DJ who suddenly realized what it was about.

Receptive fans yearning for signals in the dark were wise to the implications of the Smiths’ “Hand in Glove,” released a year earlier.