The Psychedelic Furs - All of This and Nothing (1988, Compilation)

Chris Anderson: Engineer
John Ashton: Guitar, Producer
Ed Buller: Keyboards
Richard Butler: Bass, Vocals, Producer
Tim Butler: Bass, Producer
Jon Carin: Horn, Keyboards, Saxophone
Andrew Douglas: Photography
Vince Ely: Drums, Producer
Keith Forsey: Drums, Producer
Paul Garisto: Drums
Steve Hodge: Engineer
Duncan Kilburn: Horn, Keyboards, Saxophone
Chris Kimsey: Producer
Steve Lillywhite: Producer
Terry Lott: Photography
Joe McGinty: Keyboards
Mark McKenna: Engineer
Roger Morris: Guitar
Tommy Price: Drums
Todd Rundgren: Horn, Keyboards, Saxophone, Producer
Steve Scales: Percussion
Ann Sheldon: Cello
Thomas Stiehler: Engineer
Stephen Street: Producer
Steve Sutherland: Liner Notes
Steve Thompson: Engineer, Mixing
Phil Thornalley: Producer, Engineer
Mars Williams: Horn, Saxophone
Steve Williams: Engineer
Marty Williamson: Guitar
Dave Wittman: Engineer

The Psychedelic Furs, whose name belies their punk-influenced music, were formed in England in 1977 by brothers Richard Butler (vocals) and Tim Butler (bass), along with saxophone player Duncan Kilburn and guitarist Roger Morris. By the time they released their self-titled debut album in 1980, the group had become a sextet, adding guitarist John Ashton and drummer Vince Ely. That album, featuring Butler's hoarse voice (the tone of which suggested John Lydon without the sneer) was a bigger hit in England, where it reached the Top 20, than in the U.S.

Talk Talk Talk (1981) did better, reaching the U.S. Top 100 and producing two British singles chart entries, one of which was "Pretty in Pink," later also a hit in the U.S. when a new version was used as the title song of a film. Forever Now (1982) saw the band reduced to a quartet with the departure of Kilburn and Morris. The rest moved to the U.S., turned to producer Todd Rundgren, and scored a U.S. Top 50 hit with "Love My Way." Ely then left, and the remaining trio of the two Butlers and Ashton made Mirror Moves (1984), the biggest Psychedelic Furs hit yet.

The film Pretty in Pink helped spread their name further before the release of their next album, Midnight to Midnight (1987), which consequently got to number 12 in the U.K. and the Top 30 in the U.S. and included the Top 30 U.S. hit "Heartbreak Beat." Book of Days (1989) marked the return of Vince Ely, but was a considerable commercial disappointment. World Outside (1991) also failed to find an audience. The Psychedelic Furs then folded up shop, and Richard Butler launched a new group, Love Spit Love. The band lasted two albums – 1994's Love Spit Love and 1997's Trysome Eatone – and didn't enjoy the monumental success of Butler's original band. Butler kept on. He began writing songs for a supposed solo effort as the '90s came to a close. Those sessions led to new songs with brother Tim and a subsequent Furs reunion in early 2000.

With both Butlers and John Ashton living in upstate New York, the time was right. They tested the waters and their audience for a joint summer tour with the Go-Go's, and the reception was warm. A year later, the Psychedelic Furs – now featuring Love Spit Love guitarist Richard Fortus and drummer Earl Harvin – headlined their own club gigs across North America and a classic Richard Butler was keen to be back in the right place. Beautiful Chaos, a live album capturing some of the band's greatest hits from the last tour, was issued in November 2001. Their first live album ever, Beautiful Chaos was a gift for the loyalists. It also introduced their first new song in almost ten years, a somber ballad entitled "Alive." – by William Ruhlmann, allmusic.com

The Psychedelic Furs acquired a million or so more fans in 1986 after they re-recorded their early '80s classic "Pretty in Pink" for the John Hughes box-office smash of the same name. The Top-40 success of "Heartbreak Beat" a year later took the once enigmatic new wave band further into the mainstream. 1988's All of This and Nothing is basically a tutorial for late Furs converts. The group's original followers probably have most of the lyrics memorized, but the album is an accessible and enlightening introduction to the band. "Imitation of Christ" and "Sister Europe" are from the group's self-titled 1980 debut, and their dark, ragged edges offer a glimpse of the band's less commercial younger days. On the gorgeous "Love My Way" the Furs have more of a pop flavor, giving hints at the group's subsequent transformation. It was on 1984's Mirror Moves that the Psychedelic Furs completely softened their abrasiveness and began writing warm, keyboard-laden songs. Accused of selling out at the time by diehard aficionados, the Psychedelic Furs actually improved on Mirror Moves; their music became more pleasing to the ear, as exemplified on the hauntingly beautiful ballad "The Ghost in You" and the soaring "Heaven". Richard Butler's voice remained as raspy as ever, but it took on a more romantic tone that was very appealing. 1987's ultra slick Midnight to Midnight is represented here by the aforementioned "Heartbreak Beat". "Heartbreak Beat" has silly, clichéd lyrics (i.e. "There's a heartbreak beat/And it feels like love"; nevertheless, its nonsense hooks are deliriously catchy. With ts swirling guitars and sarcastic lyrics, "All That Money Wants" was seen as a return to the Furs of old when it was included as a new track on All of This and Nothing. It's not. The tune merely combines the dissonance of their first full-length with their stronger melodic sensibilities in the mid-'80s. All of This and Nothing effectively summarizes the Psychedelic Furs' evolution from a left-of-center British rock band to a stylish alternative pop act.–by Michael Sutton

By EriKa "E"
The Psychedelic Furs were undoubtedly one of the best and most overlooked bands of the 1980s, apart from their misused, misinterpreted and overplayed "Pretty in Pink" which lent its name to a film of the same name. The Furs' real brilliance shone elsewhere. This is a collection of some of that brilliance. My favourite here being "All that Money Wants" with its cynical lyrics and gorgeous music, "Painted lies on painted lips, that promise heaven tastes like this… I don't believe that I believed in you…". Butler's unique vocals coupled with the sharp, intelligent, and caustic lyrics make for extremely satisfying music… I can listen to it over and over and the music still sounds fresh and undated. Another gem here is the pleasantly monotone drone of "Sister Europe", "Lonely in a crowded room, the radio plays out of tune so silently… radio upon the floor, oh stupid it plays Aznavour so out of key…" This album can also serve as a good introduction to their work, although they recently released a U.S.-oriented best of which consists of good material but not their best by any stretch of the imagination. Like many 80s bands, the Furs have recently reunited and toured. Not sure what to think of that all-too-common phenomenon. Capitalise while you can?

By t7890
If you are trying choose between this best of comp. and the "Greatest Hits" one, choose this one (I have both). The music/sound quality is more clear, emphasizing the vocals. It's a classic collection of songs. The cover is actually more attractive than the other one too.

By A Customer
For somebody who was in his mid-twenties when these guys were in their hey-day, I cannot believe that I could have almost completely missed their music; maybe it's because I grew up in Ireland. This is an outstanding collection of well-crafted songs from the Dadaistic punk period of Rock. Without in any way denegrating the other songs on the album, "The Ghost in You" towers above them and I would have bought this album for that song alone.

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The Psychedelic Furs / All Of This And Nothing

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