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Track List
01) (I Married a) Monster From Outer Space
04) Postwar Glamour Girls
07) Twat
08) Marjorca
02) I Don't Want to Be Nice
03) Valley of the Lost Women
05) Kung Fu International
06) Psycle Sluts
09) Gimmix! Play Loud
10) Beasley Street
11) Evidently Chickentown
12) Conditional Discharge
13) Limbo (Baby Limbo)
14) The It Man
15) Thirty Six Hours
16) Midnight Shift
17) I Wanna Be Yours
18) The Day My Pad Went Mad
19) A Heart Disease Called Love
20) Night People
01) (I Married a) Monster From Outer Space
04) Postwar Glamour Girls
07) Twat
08) Marjorca
02) I Don't Want to Be Nice
03) Valley of the Lost Women
05) Kung Fu International
06) Psycle Sluts
09) Gimmix! Play Loud
10) Beasley Street
11) Evidently Chickentown
12) Conditional Discharge
13) Limbo (Baby Limbo)
14) The It Man
15) Thirty Six Hours
16) Midnight Shift
17) I Wanna Be Yours
18) The Day My Pad Went Mad
19) A Heart Disease Called Love
20) Night People
3:31
3:31
2:21
2:13
Data Complete 80%
Total Rating
Total Rating
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2002
Punk Rock
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Medium
Compilation
29/100
5099750634325
0 copies
Album Description
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Maybe John Cooper Clarke's brief window of fame passed with the demise of punk. But his poems are every bit as arch and funny now as they were in the '70s. There are sly wordplay, groaning puns, and also plenty of strong social observation. He essentially took the ethos of the Liverpool poets of the '60s, using common language and bringing in lots of humor, but made his mark through speech, not print. This collection, cherry-picked from his major-label work, is an absolute joy. Backed by the relatively all-star Invisible Girls (which included Pete Shelley of the Buzzcocks), the Bard of Salford deadpans his way through the epic "Psycle Sluts (Parts 1 & 2)," "The Day My Pad Went Mad," and the piece that really gave him his first big exposure, "I Married a Monster From Outer Space." But in "Beasley Street" and "Postwar Glamour Girls" there's a more serious undercurrent happening, while "Kung Fu International," for all its lightheartedness, shows that little has changed in English street violence, and "Twat" remains as deliberately outrageous and hilarious as it was on its initial release. Culled from the four albums Cooper Clarke did for Epic, it shows that what was good then is still good. The world needs a Cooper Clarke for the new millennium.
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Maybe John Cooper Clarke's brief window of fame passed with the demise of punk. But his poems are every bit as arch and funny now as they were in the '70s. There are sly wordplay, groaning puns, and also plenty of strong social observation. He essentially took the ethos of the Liverpool poets of the '60s, using common language and bringing in lots of humor, but made his mark through speech, not print. This collection, cherry-picked from his major-label work, is an absolute joy. Backed by the relatively all-star Invisible Girls (which included Pete Shelley of the Buzzcocks), the Bard of Salford deadpans his way through the epic "Psycle Sluts (Parts 1 & 2)," "The Day My Pad Went Mad," and the piece that really gave him his first big exposure, "I Married a Monster From Outer Space." But in "Beasley Street" and "Postwar Glamour Girls" there's a more serious undercurrent happening, while "Kung Fu International," for all its lightheartedness, shows that little has changed in English street violence, and "Twat" remains as deliberately outrageous and hilarious as it was on its initial release. Culled from the four albums Cooper Clarke did for Epic, it shows that what was good then is still good. The world needs a Cooper Clarke for the new millennium.
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