In May 1985, the Cult released their fourth single, "She Sells Sanctuary", one which acted as a true exploding point for the band. It peaked at No. 15 in the UK and spent 23 weeks in the Top 100. The style of the song was an extension of what the band had produced for their debut album, it not only radiated the energy that the band had but musically had evolved further than what had come on “Dreamtime”. A month later, after his increasingly erratic behaviour, drummer Nigel Preston was fired from the band. Big Country's drummer Mark Brzezicki was brought in to replace Preston, and was also included in the music video for "She Sells Sanctuary". With the build in momentum and exposure from the success of the single, the band entered the studio in July and August 1985 to complete their sophomore album. It was an album that was to shift the band's music and image from their punk-oriented roots to other influences, all of which brought a whole new light to the music that would grace their second album titled, perhaps figuratively, “Love”.
From the opening chords of the opening track “Nirvana”, this album has already stamped its authority. Billy Duffy’s guitar sound from the outset is the powerhouse that it would prove to be over the coming albums, and then settling into that chugging riff as the verse starts and Astbury’s vocals join the party. While the early single release had signalled that this album would be a different kettle of fish from the band’s debut, “Nirvana” hammers that home in the first two minutes. That’s all it takes for this album to drag you in and have you entranced. Ian’s vocals here are wonderful and Billy’s guitar tone magnificent. It could have been the opening single, it works so well in that way. The solo and fast strumming interlude through the back half of the song is electrifying. “Big Neon Glitter” follows, melding in all of that 1980’s pop and rock sound into Billy’s amazing almost-psychedelically tuned guitar riffs. It has a bounce about the drums and rhythm that fits the dance club scene of the time, though it belies its 80’s pop theme by dragging the 60’s sounding guitar along for the ride. Combining these two different eras into this track without destroying the ethic of what they have created takes some real talent, and Astbury and Duffy pull it off here superbly. The underlines off the bass riff and drums really sells this song and makes it what it is.
The first signs of what would come to be arrive with the title track “Love”, built immediately around the opening guitar riff from Billy that is reminiscent of what would be further influenced on the album “Electric”. It builds throughout, showing hints of AC/DC in the rhythm early on and even in pieces of Duffy’s solo. Stretching to almost six minutes with little change to the rhythm guitar riff, those outside influencing sounds sound more prevalent than perhaps the band intended. “Brother Wolf, Sister Moon” on the other hand channels much of the style and energy that was prevalent on the debut album. At 7 minutes in length it really does feel every second of its entirety. Compared to what has come before it on this album it is sounds misplaced. If it was to be on the debut album, it would fit much better. As a contrast to what the band was creating here it probably works fine, but the mood of the album is altered by its presence here.
The second single from the album ‘Rain’ regains everything that was lost with that track, putting Astbury’s vocals back in the range where they work best, suitably supported by Duffy’s guitar tone and riff with a similar back story. Settling into a mid-tempo that sticks to its guns throughout, Ian’s vocals harmony and Billy’s guitar overlays here very much remind you of great tracks they would produce over the next three albums. Their basis does sound very much as though they have their roots in this song. It sends us out from the first side of the album with these thoughts in my mind.
Side B opens with ‘The Phoenix’, another great song that seems to have Led Zeppelin-like motivations behind it. Whether intentional or not, the guitar and vocals do slip into that Plant and Page retrospective in moments. Billy’s screaming guitar solo in the second half of the song really does have that kind of power behind it, while in little moments Ian does almost channel Plant in style. Given the way this album has been put together it probably isn’t a complete surprise. The follow up of “Hollow Man” is far more back in the style of The Cult, Billy’s traditional guitar styled sound along with dual vocal harmonising from Astbury, and that solid rhythm of drums and great bass line underneath make this unmistakeably a Cult song. The third single “Revolution” is next, where the tempo drops back a cog again and we again have a track that is more similar in tone to the previous album than what the majority of the songs provided here are. While the bass sound on this song is particularly good, and also more noticeable because of the style of the song, like “Brother Wolf, Sister Moon” before it, for me they are the weaker links on an otherwise excellent album. I get that these are important songs lyrically for the band and that they tell a story that is an important part of their structure. And, that as a part of the changing face of the band they are still an important piece of the band’s puzzle.
Case in point, the first single and lead off track to The Cult’s booming future, “She Sells Sanctuary”. It is the song that truly brought the band to greater prominence, and the one that acted as the northern star that they were to follow into the future. That iconic opening guitar tone, which by all accounts was created by Billy Duffy turning on all of his guitar pedals and drawing a violin bow across his fretboard, then bursts into the heart of the song, again with the band in their best places – Astbury in his higher, playful fun range of vocals, Duffy’s guitar with that magical tone throughout, and that solid drum thumping and rumbling bassline that are the essence of drawing together all of the great parts of the band. It is still as iconic today as it was 40 years ago on its release, still one of their greatest songs. The album closes out with the segue into “Black Angel”, the mournful slowed tempo builds from the keys and Ian’s vocals to the ballad guitar playing out the track and the album.
“Love” is very much a transitional album. The band’s debut album, 1984’s “Dreamtime”, was very much rooted in the post-punk and goth-rock emerging genre. “Love” is a much bigger leap forward, but their sound would morph even further as we headed towards 1987 and their album that followed this, "Electric”. Ian Astbury’s soaring vocals remain much the same, but “Love” offers more. The goth-rock moments, the increase in the hard rock core, the psychedelic interludes, all alongside those sounds still apparent from their debut album. The sheer variety on display also highlights just how mature their writing was. Astbury and Duffy had yet to hit the age of 25 when “Love” was released. To the average music fan “Love” may rest on the big hit singles “Rain” and “She Sells Sanctuary” but ignore the rest of the album at your peril.
My own introduction to The Cult came with the release of their outrageously amazing “Sonic Temple” album in 1989, the one that is probably mostly responsible for drawing the majority of their fan base. That album proved to be one of the big winners for me in 1989 and it copped a bashing on my parents stereo at the time. I did eventually get copies of the three earlier albums from the band, though that came over a longer period of time and from several different sources. I knew about half of the songs off this album when I eventually got my copy of the album in the early 1990’s, but I remember listening to it at the time and wondering just how they got from the sound they had on this album to the sound they had on that first album I had listened to. And perhaps more importantly at the time, how they created this album. Because at the time I felt it was uneven, with the songs such as “Brother Wolf, Sister Moon” and “Revolution” and “Black Angel” in with “She Sells Sanctuary” and “Nirvana” and “Big Neon Glitter”. And that lasted until I finally got around to listening to “Dreamtime” and I though... ooohhhhh THAT’S why! And to be fair my understanding and enjoyment of this album actually grew after I had first gotten “Dreamtime” as well.
The progression of the band’s first four albums makes an interesting journey, and i had gone about it all wrong as it turned out. But given my own tastes in music, there’s little doubt that those three songs I mentioned here as being so different for me here on “Love” are ones that still today raise those same questions for me. The mood and tempo of the album does rise and fall according to the tracklist, and that riding of the waves is no doubt what the band would say is part of the journey of the album. And it remains there when I listen to the album toay, as I have again over the last couple of weeks. And as always, when I just put the album on and listen to it, it sounds as great as it always has. That is unquestioned. But when you sit down to analyse it, to review it, say... for a podcast episode you might be doing on the album... then the same general thoughts will rise to the surface. And those three songs for me are just not quite as good as the rest. Or, perhaps more accurately, they are not what I am looking for on this particular album by The Cult. For me, they had done this on the previous album, and whereas the rest of the album provides that change and move forward that I enjoy, those three songs do not. But that is why “Love” is an album by a ban in flux, in transition. And that is what is showcases to me. The Cult were in the process of changing their place, and their music was changing along with them. That certainly came, but this was a stepping stone towards that. The lyrics of the album deal with women, woe, outcasts, loss and hopelessness. But it’s also a record of pure joy, of Nirvana, of sanctuary and finding light in the darkness. And on that scale, it continues to be an album that is a shining light, and provides so many terrific musical moments that you can’t help but like it. Or, indeed, “Love” it.
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