Psychedelic Furs - Mirror Moves (1984)

For their fourth album, MIRROR MOVES, the Psychedelic Furs moved further away from their proto-punk roots. In fact, other than Richard Butler's cigarette-ravaged voice, the occasional shard of guitar distortion, and the tell-tale '80s production sound, nothing on the album would be out of place on contemporary Top-40 radio. Were all pop music this good, the world couldn't help but be a better place. The Furs co-opted the mainstream into their sound, with the result being a nearly perfect pop masterpiece made without sacrificing their vision. As mentioned, the production–evident in the flat drum sound–is really the album's only flaw. That is a small caveat, though, and the record displays the Furs at their best–Butler's particular strength is his ability to combine longing and loss into a catchy pop song while the band's steers the music far wide of becoming saccharine. Standouts include the brilliant "Heaven," with its plaintive vocal and bright guitars; the chugging train-ride of "Here Come Cowboys," where Mars Williams sax and John Ashton's guitar both shine; and "Highwire Days," which manages to turn the thin drums to its advantage while highlighting the interplay between the backing vocal and Butler's lead.

The Psychedelic Furs came together in England's emerging punk scene in 1977, where they were initially called "RKO," then "Radio." They then vacillated between calling themselves "The Psychedelic Furs" and "The Europeans", playing gigs under both names before permanently settling on the former name.[1] The band initially consisted of Richard Butler (vocals) (initially using the name Butler Rep), Tim Butler (bass guitar), Duncan Kilburn (saxophone), Paul Wilson (drums)[1] and Roger Morris (guitars). By 1979, this line up had expanded to a sextet with Vince Ely replacing Wilson on drums and John Ashton being added on guitar.
Punk had dismissed psychedelic rock and was adamantly opposed to it. The Furs embraced punk's more liberating elements, but discarded such limitations and also embraced psychedelic rock (they have also been descrbied as "Bowie-influenced".)[2] but their initial self-titled album from 1980 was eventually produced by Steve Lillywhite. The LP quickly established the band on radio and was a top 20 hit in the UK. The album also found success in Germany, Italy, France, Spain and Australia. The US version of the album was resequenced, but failed to have as strong a commercial impact.
The Furs found success in the U.S. market with the 1981 release Talk Talk Talk, which made its impact on the US album charts. In the UK, the album was a solid hit which spun off two charting singles, "Dumb Waiters" and the original version of "Pretty in Pink". The latter song served as inspiration for the 1986 John Hughes film of the same name, and was re-recorded for the platinum-selling soundtrack.
In 1982, the band was reduced to a four-piece with the departures of Morris and Kilburn.[3] (Ex-Birthday Party drummer Phil Calvert would briefly join the group around this time.)[4] The band's remaining members moved permanently to New York, where they recorded the album Forever Now with producer Todd Rundgren. This album contained "Love My Way", a breakthrough Top 40 hit in both the US and the UK. Ely left the band after this release, though he would return for the 1988 single "All That Money Wants" and the 1989 album Book of Days.
The Furs' 1984 release Mirror Moves was produced by Keith Forsey, and featured the songs "The Ghost in You" and "Heaven". Both charted in the UK, and "Heaven" became the band's highest charting UK hit at the time – but inexplicably, "Heaven" was never released as a single in America. Instead, Columbia Records opted for "Here Come Cowboys", despite both international success and heavy MTV airplay on "Heaven." "Here Come Cowboys" failed to chart, but "The Ghost In You" was a hit on the US pop charts. The band had become popular in Canada as well, CFNY, Toronto's new wave radio station, listed Mirror Moves as the #1 LP of 1984. [5]
By this time, the band had become somewhat of a staple on US college and modern rock radio stations. As well, they were building mainstream success, fairly consistently placing singles in the pop charts on both sides of the Atlantic, though they would "have more impact on future musicians than they ever did in the marketplace."[6] In 1986, the re-recorded version of "Pretty in Pink", which their biggest hit to that time in the US, and their biggest-ever UK hit.
Richard Butler later claimed that the success of "Pretty in Pink" caused the band to be pressured into entering the studio to record a follow-up release before they were ready. The result was Midnight to Midnight, an album which Butler characterized as "hollow, vapid and weak". A more overtly commercial effort than the Furs had ever recorded before, the album also featured the single "Heartbreak Beat", which happened to be their highest charting top 40 US hit.
However, the Furs were dissatisfied with their new slickly commercial direction, and subsequently returned to a rawer sound with "All That Money Wants", a 1988 track especially recorded for a 'best-of' collection. 1989's Book of Days saw a return to the old-school style and the temporary return of Vince Ely. 1991's World Outside was similarly more of a "back to basics" approach.
From 1988 on The Furs' chart success continued with three #1 hits on the US Modern Rock chart between 1988 and 1991.
The band splintered in the early 1990s, with the Butler brothers going on to found Love Spit Love. After spending most of the decade apart, Butler, Butler and Ashton reformed The Psychedelic Furs in 2000, and released a live album Beautiful Chaos: Greatest Hits Live, which also featured a new studio recording, "Alive (For Once In My Lifetime)." A DVD version of the performance included live versions of "Alive" and three other previously unreleased songs: "Anodyne (Better Days)," "Cigarette" and "Wrong Train."
Since then the Furs continue to tour the world along with former Love Spit Love drummer Frank Ferrer, ex-Information Society and World Party keyboardist Amanda Kramer and saxophonist Mars Williams who returned to the band after a stint in the late 80's. (wikipedia)

Line-up/musicians:

Richard Butler (vocals)
John Ashton (guitar)
Mars Williams (saxophone)
Tim Butler (bass)
Keith Forsey (drums, percussion).

Tracklist:

1. Ghost In You, The
2. Here Come Cowboys
3. Heaven
4. Heartbeat
5. My Time
6. Like A Stranger
7. Alice's House
8. Only A Game
9. Highwire Days

> Total time: 37:39

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