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DISCID=8509da0a
DTITLE=Billy Idol / Billy Idol (Remastered)
DYEAR=1982
DGENRE=Rock
TTITLE0=Come On, Come On
TTITLE1=White Wedding (Part 1)
TTITLE2=Hot In The City
TTITLE3=Dead On Arrival
TTITLE4=Nobody's Business
TTITLE5=Love Calling
TTITLE6=Hole In The Wall
TTITLE7=Shooting Stars
TTITLE8=It's So Cruel
TTITLE9=Billy Idol with Generation X / Dancing With Myself
EXTD=Originally Released July 1982\nCD Edition Released 1987\nRemaster
EXTD=ed CD Edition Released January 29, 2002\n\nAMG EXPERT REVIEW: Bil
EXTD=ly Idol's self-titled debut album eventually broke the singer in 
EXTD=America, but not without a struggle. In 1981, he left Generation 
EXTD=X and launched his solo career, borrowing the group's final singl
EXTD=e, the dance-rock standard "Dancing With Myself," for his first s
EXTD=olo release, a four-song EP called Don't Stop. Billy Idol was pre
EXTD=faced in June 1982 with the ballad single "Eyes Without a Face," 
EXTD=which made the Top 40, but the album was given a second breath of
EXTD= life (and a higher chart peak) a year after its release when its
EXTD= second single, "White Wedding," finally caught on after an eye-c
EXTD=atching video played on MTV and made the Top 40 in July 1983. An 
EXTD=attempt was then made to resurrect "Dancing With Myself," which w
EXTD=as added to the album (the track "Congo Man" being deleted). Thos
EXTD=e three songs remain the album's strongest, if only because they 
EXTD=are the best realized as songs; elsewhere, Idol and guitarist Ste
EXTD=ve Stevens have constructed a series of dance-rock tracks along t
EXTD=he lines of "Dancing With Myself," mixing quick tempos with slash
EXTD=ing guitar chords and occasional hook elements (a backup choral c
EXTD=hant here, a saxophone part there), but seemingly have forgotten 
EXTD=to write real songs to go on top of the tracks. The result is an 
EXTD=uneven collection. Oddly, when Chrysalis came to reissue a 24-bit
EXTD= digitally remastered version of the album in 2002, the new produ
EXTD=cers did not take the opportunity to add on the other Don't Stop 
EXTD=tracks and "Congo Man," the sort of bonus material you'd expect. 
EXTD=Instead, the reissue presents only the ten tracks from the second
EXTD= version of the album, albeit with great sound. Scott Schindler's
EXTD= liner notes begin with a factual error (the album was not a "pla
EXTD=tinum success," it only went gold), but are otherwise adequate.  
EXTD=-- William Ruhlmann\n\nAmazon.com Editorial Review\nIt may be deb
EXTD=atable when the punk and new wave subculture of the late '70s and
EXTD= early '80s first broke through to the mainstream, but this album
EXTD= remains a perennial contender. Indeed, the cover shot alone perf
EXTD=ectly encapsulates the clichs--the sultry pout, black leather ve
EXTD=st, tattoos, and spiked bleached hair--of an entire era. After le
EXTD=aving the popular British punk outfit Generation X (represented h
EXTD=ere by their ubiquitous, if belated American breakthrough hit, "D
EXTD=ancing with Myself"), Idol was shrewd and/or lucky enough to pump
EXTD= up his image just in time for the rise of MTV, infuse his music 
EXTD=with guitarist Steve Stevens's metal flash, and hook up with Kiss
EXTD='s former manager--though not necessarily in that order. Former G
EXTD=en X producer Keith Forsey further burnished Idol's trademark sna
EXTD=rl with accessible pop flourishes and yielded two sizable hits, "
EXTD=White Wedding" and "Hot in the City." While "Love Calling" weds s
EXTD=ome catchy vocal hooks with a Burundi beat to good effect, much o
EXTD=f the rest comes off as flaccid, rushed filler. Though 24-bit mas
EXTD=tering enhances the sound greatly, the album's brief 10 tracks co
EXTD=uld have benefited greatly from the inclusion of an original-rele
EXTD=ase track ("Congo Man" was replaced by "Dancing with Myself" shor
EXTD=tly after the album's initial '82 release) and several contempora
EXTD=ry EP songs that are strangely MIA here. --Jerry McCulley \n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nDated, but awesome, totally awesome , 
EXTD=February 8, 2006\nReviewer: Daniel Maltzman (Arlington, MA, USA)\n
EXTD=\nIn 1981, after making a name for himself fronting the British p
EXTD=unk band Generation X, Billy Idol relocated to New York City to m
EXTD=ake it on his own. While Generation X never broke though the main
EXTD=stream to achieve massive success, and while the band was general
EXTD=ly snubbed by many punk purists as being overtly commercial, Bill
EXTD=y Idol was born to be a star. His charisma, photogenic good looks
EXTD=, and ultra-cocky persona were destined to make him an icon in th
EXTD=e flashy, glitzy 80s. After three albums with Generation X, "Gene
EXTD=ration X," (1978) "Valley of the Dolls," (1979) and "Kiss Me Dead
EXTD=ly" (1981) Idol unleashed his solo debut, the self-titled "Billy 
EXTD=Idol" (1982). \n\nFor his new band, Idol hooked up with guitar vi
EXTD=rtuoso Steve Stevens, bassist Phil Feit, and drummer Steve Missal
EXTD=. While the album title says "Billy Idol," it should be emphasize
EXTD=d that the greatness of Idol's early solo works rests on the fact
EXTD= that Idol had a killer, killer guitar player with Stevens and an
EXTD= excellent producer and collaborator with Keith Forsey. \n\nThere
EXTD= are a lot of Shredders and guitar virtuosos out there, but Steve
EXTD=ns is one of the best and certainly most underrated. His playing 
EXTD=is flashy, but also has soul, and is always fully captivating. Th
EXTD=e Idol/Stevens/Forsey combo produced some of the best, most memor
EXTD=able singles of the decade. \n\nWhile Idol's sophomore classic "R
EXTD=ebel Yell" (1983) is his best album, the self-titled debut is alm
EXTD=ost as good. "Billy Idol" possesses the same radio-friendly pop-p
EXTD=unk elements as Generation X, but Idol's solo debut is a far supe
EXTD=rior offering. For one thing, the songs are better written, with 
EXTD=tighter, catchier hooks and unbelievable guitar work. "Billy Idol
EXTD=," with its ferocious riffs, strong melodies, cool synths, and st
EXTD=ellar guitar work is equal parts punk, pop, and hard-rock. "Billy
EXTD= Idol" is probably Idol's most organic album, as the synths aren'
EXTD=t a focal point and the album is generally more of a meat-and-pot
EXTD=atoes affair compared to the more ambitious follow-ups. \n\nWhile
EXTD= "Billy Idol" is generally given good reviews, it's still an unde
EXTD=rrated album. A common claim by both fans and critics is that the
EXTD= album has a few strong singles and a lot of filler. I would stro
EXTD=ngly refute this claim. While some songs are better than others, 
EXTD=the entire album is quite strong. A lot of Idol's most memorable 
EXTD=work can be found on this release. \n\n"Billy Idol" opens up stro
EXTD=ng with the hard-rocking "Come On, Come On." Idol's sneering; coc
EXTD=ky delivery over the brutal assault of Steve Stevens makes this o
EXTD=ne of the album's strongest tracks. The MTV staple and 80s classi
EXTD=c "White Wedding" follows next. Its eerie background sighs, tensi
EXTD=on filled verse, and contrasting dark imagery and pop-sensibility
EXTD= make "White Wedding" a triumph. The album takes a left turn with
EXTD= the popish, stylish, seductive ode to New York City with "Hot in
EXTD= the City." "Dead on Arrival" is a good-but-not-great middle of t
EXTD=he road rocker. "Nobodies Business" is perhaps Idol's most underr
EXTD=ated song. Its infectious sing-along harmonies, light-as-a-feathe
EXTD=r but strong melodies and crunching solos make it pure ear-candy.
EXTD= The off-beat "Love Calling" is another strong, underrated song. 
EXTD=With its jungle beats, what sounds like Asian back-up singers, an
EXTD=d horns, "Love Calling" comes out of left field, but it works. Wh
EXTD=ile its lyrics are completely nonsensical ("if you wanna rub-a-du
EXTD=b-dub-dub') and Idol's overtly sexual overtones are beyond dated 
EXTD=and cheesy, it only adds to its charm. "Hole in the Wall" is a so
EXTD=lid, memorable, somewhat dark atmospheric rocker. "Shooting Stars
EXTD=," a tale of innocence lost to drugs and indulgence, is both symp
EXTD=athetic and cautionary. The album's most relaxed, calmest moment 
EXTD=comes with "It's so Cruel," a song of longing that also manages t
EXTD=o be cocky (leave it to Idol). "Billy Idol" closes with the Gener
EXTD=ation X staple, the up-beat, catchy ode to masturbation "Dancing 
EXTD=with myself." \n\nIf cool is defined as timeless, and hip as tren
EXTD=dy, "Billy Idol," much like Miami Vice, is equal parts cool and h
EXTD=ip. This album is dated, very dated, and while Idol's persona is 
EXTD=cheesy and Idol is a relic of a bygone era, he's still cool as sh
EXTD=.t. Dated as it may be "Billy Idol" is very well-written, with ki
EXTD=ller hooks and grooves, and outstanding guitar work. If you are a
EXTD= fan of punk, new-wave, hard-rock, pop, or anything 80s, this alb
EXTD=um is sure to please. \n\n\nAMAZON.COM CUSTOMER REVIEW\nNice day 
EXTD=for a white wedding, and to start again..., February 7, 2005\nRev
EXTD=iewer: Daniel J. Hamlow (Farmington, NM USA)\n         \nA year a
EXTD=fter the dissolution of Generation X, its lead singer, William Mi
EXTD=chael Albert Broad, a.k.a. Billy Idol, embarked on a solo career 
EXTD=and released his eponymous solo debut. Some of the harder tracks 
EXTD=recalled the wild youth of the Gen X years, but the singles indic
EXTD=ated a polishing of that style, meaning less punk guitar, but an 
EXTD=emphasis on carefully synced bass and drums, airy synths, and gli
EXTD=tzy production. \n\n"White Wedding Part 1" encompasses the succes
EXTD=sful formula, pulsing bass, Steve Stevens fiery guitar, thudding 
EXTD=techno drum beats, airy backup vocals, and Idol's menacing deeper
EXTD= voice which ratcheted to its old punk fury when he screams "star
EXTD=t again!" Though cracking the Top 40, it's an Idol and essential 
EXTD=80's classic. \n\n"Hot In The City," another single, with synths 
EXTD=and soulful backup singers adding to the lounge-like ambience of 
EXTD=the mid-paced song. Idol's crooning is a far cry from "Your Gener
EXTD=ation," to be sure. As for "Love Calling," it's a bit of punk wit
EXTD=h some Caribbean-style rhythms mixed in with horns and rock guita
EXTD=r, relying on a constant drum backbeat, which is the sole thing p
EXTD=laying, giving this song a somewhat minimalist visage. \n\nOf the
EXTD= non-singles, it's kind of a potluck. "Dead On Arrival" is a retu
EXTD=rn to Gen X-style Idol with its pulsing drums and bass, sounding 
EXTD=like a poppier cousin of the Pistol's "EMI" at parts. The mid-pac
EXTD=ed "Nobody's Business" veers more towards pop rather than punk, a
EXTD=nd with its Van Halen-like synths and catchy vocal hooks, would'v
EXTD=e been a decent single, as would have "Shooting Stars." Other tra
EXTD=cks like "Come On Come On" makes one think what Gen X could've do
EXTD=ne with this stuff, and "Hole In The Wall" is pure filler. \n\n"I
EXTD=t's So Cruel" is a calm and quiet ballad, with the loungy sounds 
EXTD=of the Stones' "Waiting On A Friend" coming through. It also serv
EXTD=es as a nice prelude to the final track, which is a familiar one-
EXTD=none other than Billy Idol's song with Generation X, "Dancing Wit
EXTD=h Myself." It's by far the hardest driving track on here, a repla
EXTD=cement for "Congo Man" that was on the original. BTW, thanks to E
EXTD=ric Andrews for this bit of info. \n\nThe album marked Idol's col
EXTD=laboration with guitarist Steve Stevens, whose fiery and squealin
EXTD=g guitar theatrics would prove invaluable on the hit Rebel Yell a
EXTD=lbum, and producer Keith Forsey, who helmed Idol's albums through
EXTD= Charmed Life. Idol's image had a lot going for him, that platinu
EXTD=m spiked hair and that sneer that became his trademark. But the m
EXTD=usic here, while uneven in consistency, showed promise, especiall
EXTD=y in the midnight hour.\n\n\nAMAZON.COM CUSTOMER REVIEW\nStrong S
EXTD=tart For Future "Rebel Yell" Star, April 6, 2004\nReviewer: Matt 
EXTD=J. Craven "simonboom25" (Everett, WA United States)\nAfter your b
EXTD=and dissolves, like Billy Idol's old band, Generation X did, you 
EXTD=can do one of two things: 1) make a solo record that sets you up 
EXTD=for a solo career; 2) make a solo record that goes nowhere. Idol 
EXTD=managed to make it into the former category, although just barely
EXTD= (MTV helped him out a lot). That said, this is a strong debut fo
EXTD=r an artist just starting out on a career. It includes "Dancing W
EXTD=ith Myself" and "White Wedding"--two of his biggest hits, but the
EXTD= rest of the album holds its own. And already Idol was willing to
EXTD= take some chances: a church organ-esque intro to "Nobody's Busin
EXTD=ess," the bouncey, jungley vibe of "Love Calling," the horrible p
EXTD=icture of him on the back cover. This re-release of the original 
EXTD=album does not include any nifty bonus songs that have become a s
EXTD=taple of re-releases; however, the album liner notes now include 
EXTD=the Billboard chart positions of his songs for those that are int
EXTD=o that type stuff. Idol became a huge star with his subsequent al
EXTD=bum, but if you want to hear him at one of his best moments--when
EXTD= he's trying to prove his chops--this is the album to pick up.\n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nPost-Punk, Pre-New Wave Hard Rocker
EXTD= Billy has it all here, December 5, 2003\nReviewer: Atlanta_nativ
EXTD=e "atlanta_native" (Roswell, GA)\nNew Wave may have been on the w
EXTD=ay in and punk may have been receding (for a bit) when Billy Idol
EXTD= released this, his solo debut album, but both gained new ground 
EXTD=because of this album's release.\nThose may sound like strong wor
EXTD=ds for a solo album from someone that many either revile or rever
EXTD=e. But that is exactly the case.\n\nBilly Idol announced his pres
EXTD=ence with a snarl. He was no longer a pretty boy stuck in a punk 
EXTD=band (Generation X), nor was he a pretty boy playing synthesizers
EXTD= ala Duran Duran (who would come later). Billy Idol carved a nich
EXTD=e for himself.\n\nToday, many people consider his music to be har
EXTD=d rock rather than either punk or new wave. And while that is pro
EXTD=bably a fair assessment, Billy Idol never rested on his laurels a
EXTD=nd gave us the same type of music for too long.\n\nOn this album,
EXTD= as I said before, his solo debut, Billy gives us the chart toppe
EXTD=r - White Wedding - and a song from his former group (Generation 
EXTD=X): Dancing with Myself. These are only two of the great songs on
EXTD= this album, but they are the most easily recognizable by those n
EXTD=ot familiar with his music.\n\nThis album no doubt gained even mo
EXTD=re popular play and attention due to Billy's snarling good looks 
EXTD=and the fact that it was released just as MTV was debuting, allow
EXTD=ing the world to experience the visual experience of White Weddin
EXTD=g.\n\nNot all of this albums songs are "hits", but none of them i
EXTD=s bad. Often gritty, and frequently obnoxious, "Billy Idol" is a 
EXTD=music "must have" for anyone serious about ground breaking music.
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nCome On Come On! There's A Hole
EXTD= In This Album!, February 7, 2003\nA Kid's Review\nTo me there is
EXTD= very little 80's music that I can say is actually listenable. Th
EXTD=is album deserves an honorable mention for not only being listena
EXTD=ble 80's music but being excellent as well. Billy Idol deserves a
EXTD= pat on the back for the music he produced which made the 80's a 
EXTD=tad more bearable to listen to. When released in 1982 this album 
EXTD=sold very poorly for whatever strange reason. Thanks to the wonde
EXTD=rs of MTV Idol was finally noticed nearly a year after the album'
EXTD=s initial release in his 'White Wedding' Music video. The album w
EXTD=as given a bit of a makeover changing the cover to a cooler pictu
EXTD=re of Billy and replacing the final track 'Congo Man' with a shor
EXTD=tened version of a tune he did with Generation X called 'Dancing 
EXTD=With Myself'. To me it was a smart move to replace 'Congo Man' wi
EXTD=th 'Dancing With Myself' (even if it wasn't the full version). I'
EXTD=ve heard 'Congo Man' and all it is is Billy chanting like an idio
EXTD=t and smacking a bongo for a few seconds. But come on come on! Th
EXTD=ere's a hole in this album! Several Idol tunes are missing in act
EXTD=ion here as bonus tracks. Particularily the 1981 DON'T STOP EP so
EXTD=ngs 'Mony Mony' the longer version of 'Dancing With Myself' and t
EXTD=he others 'Baby Talk' and 'Untouchables'. 'Congo Man' also could 
EXTD=have been issued for release purposes or curiosity but it would h
EXTD=ave made little difference here. None the less this CD reissue is
EXTD= an excellent addition to anyone's cd rack.\nMy favourite songs a
EXTD=re the hits 'White Wedding', 'Hot In The City' and 'Dancing With 
EXTD=Myself'. However the filler here is excellent as well; 'Come On C
EXTD=ome On', 'Shooting Stars', 'Hole In The Wall' and 'Dead On Arriva
EXTD=l' being my personal faves. Other songs like 'Nobody's Buisness',
EXTD= 'Love Calling' and 'It's So Cruel' are great as well. BILLY IDOL
EXTD= is one of my favourite cd's in my collection. It's always in my 
EXTD=disc man! It makes 80's music sweet! Buy this cd!\n\n\nAMAZON.COM
EXTD= CUSTOMER REVIEW\nKILLER DEBUT ALBUM! ONE OF THE BEST ALBUMS OF T
EXTD=HE 80'S!, 12/27/2002\nReviewer: Jared Insell "hitman_37" (Canada)
EXTD=\nBilly Idol's 1982 debut broke the singer into America but it to
EXTD=ok a while for the music industry to notice Idol's exceptional ta
EXTD=lents. In 1981 Idol left his punk rock band Generation X, frustra
EXTD=ted with the limitations of punk rock. In October he released an 
EXTD=EP called DON'T STOP. The EP was a chart failure but did exceptio
EXTD=nally well in the dance club circuit with just hits as MONY MONY 
EXTD=and DANCING WITH MYSELF. In July of 1982 Idol released his self t
EXTD=itled debut LP. The record made little impact on the charts all i
EXTD=t did was produce a minor Top 40 hit HOT IN THE CITY. The album w
EXTD=as considered a failure until MTV saved the day when they aired a
EXTD=n eye popping music video of WHITE WEDDING. The album was rerelea
EXTD=sed a year later with a new front cover and the final track CONGO
EXTD= MAN being replaced by a short inferior version of DANCING WITH M
EXTD=YSELF to boost the record's status. The rest was history...\nThe 
EXTD=music itself still stands strong today and even though many criti
EXTD=cs say it hasn't aged well, the album actually has (especially fo
EXTD=r 80's music). This album has always been vastly underrated and o
EXTD=vershadowed by 'Rebel Yell' but on it's own it's a great album. A
EXTD=lthough WHITE WEDDING (PART 1), HOT IN THE CITY and DANCING WITH 
EXTD=MYSELF are the record's highlights, some of the other tracks are 
EXTD=equally as strong. Particularily the killer opener COME ON COME O
EXTD=N, the jazzy SHOOTING STARS and the rockers HOLE IN THE WALL and 
EXTD=DEAD ON ARRIVAL. The other songs are great as well. NOBODY'S BUIS
EXTD=NESS has a killer guitar solo by the brilliant Steve Stevens (who
EXTD= deserves just a much credit as Idol for his career). LOVE CALLIN
EXTD=G is an interesting expirementation of Tribal beats with Rock mus
EXTD=ic. IT'S SO CRUEL is a dreamy ballad that proved Idol could do mo
EXTD=re than just 'rock'. \n\nThe cd is nicely remastered with some go
EXTD=od liner notes but the only problem is that the record company ne
EXTD=glected to include any bonus tracks on this reissue as they had w
EXTD=ith the 'Rebel Yell' remaster. There were a few songs left in the
EXTD= can, particularily the original release's final track CONGO MAN 
EXTD=(which has yet to appear on cd) as well as the DON'T STOP EP trac
EXTD=ks MONY MONY, UNTOUCHABLES, BABY TALK and a longer version of DAN
EXTD=CING WITH MYSELF. Otherwise this is a nice little album that is a
EXTD= great addition to anyone's music collection particularily Idol f
EXTD=ans. This is afterall Vital Idol! Highly recommended!\n\n\nHalf.c
EXTD=om Details \nContributing artists: Generation X \nProducer: Keith
EXTD= Forsey \n\nAlbum Notes\nPersonnel: Billy Idol (vocals, guitar); 
EXTD=Steve Stevens (guitar); Phil Feit (bass); Steve Missal (drums).\n
EXTD=\nProducer: Keith Forsey.\nReissue producer: Cheryl Pawelski, Kev
EXTD=in Flaherty.\nIncludes liner notes by Scott Schinder.\nAll tracks
EXTD= have been digitally remastered using 24 bit technology.\n\nAltho
EXTD=ugh Generation X had been relatively unheralded second-generation
EXTD= punks in their native UK, the group's frontman, the former Willi
EXTD=am Broad, always clearly wanted more. For his solo debut, Billy I
EXTD=dol hired American metal guitarist Steve Stevens and streamlined 
EXTD=his sound to something more in line with Def Leppard (soon to hav
EXTD=e their own US breakthrough) than the Sex Pistols. BILLY IDOL's f
EXTD=irst single, "Hot in the City," was a radio-ready pop-rocker in t
EXTD=he glossy, late-1970s FM style of Nick Gilder's quite similar "Ho
EXTD=t Child in the City." However, the second single, the tougher and
EXTD= creepier "White Wedding," was a massive MTV hit and made BILLY I
EXTD=DOL one of the top-selling albums of 1982 and '83. The remastered
EXTD= CD is faithful to the second US version of BILLY IDOL; the first
EXTD= version featured a different cover shot and the track "Congo Man
EXTD=," here replaced with the reworked Generation X single "Dancing w
EXTD=ith Myself," a major chart success in 1983.\n\n\nROLLING STONE RE
EXTD=VIEW\nBilly Idol's music has gone through many alterations since 
EXTD=his days with Generation X. Back then, it was punk rock with a po
EXTD=p flair. Then, on his solo EP, Don't Stop, it was boring dance ro
EXTD=ck. Now, on his first album as a solo artist, Idol has moved into
EXTD= mainstream power rock. The LP is full of energetic, straight-ahe
EXTD=ad rock & roll, and it looks like Idol may have finally found a c
EXTD=omfortable niche.\n\nIdol has a gritty, aggressive voice -- sugge
EXTD=sting a hybrid of Bruce Springsteen, Lou Reed and Dave Clark. He'
EXTD=s backed by a first-rate band of New York musicians who give his 
EXTD=songs musical depth while keeping up a relentless pace. Admittedl
EXTD=y, there's a disturbing familiarity about too many of the tunes h
EXTD=ere. Still, "Come On, Come On," "Hot in the City," "Love Calling"
EXTD= and "Shooting Stars" are powerful and catchy, and Billy Idol's c
EXTD=ombination of rock & roll energy and pop melodies makes this a ve
EXTD=ry satisfying album. (RS 377 - Sep 2, 1982)  -- JONATHAN TAYLOR
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