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La Folie [Explicit]

May 22, 2007 | Format: MP3

$9.49
Also available in CD Format
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Product Details

  • Original Release Date: August 20, 2001
  • Release Date: May 22, 2007
  • Label: Parlophone UK
  • Copyright: 2001 Parlophone Records Ltd. This label copy information is the subject of copyright protection. All rights reserved. (C) 2001 Parlophone Records Ltd
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:01:12
  • Genres:
  • Format: Explicit Lyrics
  • ASIN: B000SZ1240
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Best Sellers Rank: #87,019 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Most Helpful Customer Reviews

8 of 8 people found the following review helpful By D. Garcia on November 20, 2007
Format: Audio CD Verified Purchase
OH YEAH. I have this one on vinyl too. Haven't listened in years. But just ordered it and put the headphones on.

WOW!

What a treat! I remember their other records as great. But this one seemed kind of too pop, you know, with "Golden Brown." Boy was I wrong.

On second listen now I know why they called the next one Aural Sculpture. The sound here really IS sculpture. This is SOUND on the RAZOR's EDGE. All these guys have intelligence to spare, and one wonders if it was Hugh or all of them but whatever it was... it sure clicked. Especially the original cuts. The extras are OK and historically instructing, but the first 7 are amazing examples of how simple rock forms can become works of the best kind of intelligent art sound.

The choices of timbre, harmony, mix and structure are unexpected, impeccable and swing like mad. There are no fillers and no clichés. All instruments are used sparely to create one coherent sound. All are excellent. I can think of no better bass player and I own thousands of records. The sound he gets is incredible, vicious even. Usually the bass is a supporting instrument, but here its part of the whole contributing to the shape of the sound. The others are just as good. I was never impressed by Hugh's guitar, but now I'm smarter and I hear just how carefully considered Hugh's timbres are. He and Dave simultaneously contrast and complement each other as each player weaves the net.

The lyrics are a little difficult to make out but they are interesting too. No clichés here either. No clear cut meanings but definitely wry comments on philosophy and modern life.

Strong 5 stars from a band inexplicably less famous than most of the standardized punk bands. Unfair of course but that seems to be the way. Challenging listening, not for the background. My only lament is there are not more of these to buy.
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6 of 6 people found the following review helpful By A Customer on December 1, 2000
Format: Audio CD
'La Folie' is 'the madness'. This is an album loosely based on the concept of love as madness: love of drugs; love of God; love of the family; love of money. Even cannibalism makes an appearance!
This showcases the Stranglers at their creative peak. If you haven't heard 'Golden Brown', I envy you - I wish I was hearing it for the first time. The sweetest song ever written about smack.
Other standouts for me are 'Tramp' 'Pin up' 'Non Stop' and the spoken French title track. Classic Stranglers - melancholy, maverick; world-weary and weird.
This CD reissue is marred only by the inclusion of 'Cruel Garden' a later b-side, which although a nice song, sits incongruously with the rest of the collection. But hey! You wouldn't expect a record company to understand great art...
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8 of 9 people found the following review helpful By "skak1" on March 11, 2002
Format: Audio CD
This album enjoyed some commercial success due to the presence of Golden Brown (ironically a pro-Drugs after the anti-drugs message of 'Don't bring Harry'- Hugh Cornwell had recently served time for possession of heroin). Musically the song Golden Brown was actually based on a tune rejected from their previous album 'The Meninblack'. 'La Folie' was another concept album based around the cynical notion that the only love possible is the love of oneself. 'Let me introduce you to the family' was about the mafia, 'Everyone loves you when you're dead' made a tasteless dig at John Lennon who had recently been assassinated. The Stranglers were always keen to shock and probably caused massive distress at their record company by insisting that the follow-up single to Golden Brown should be the slow paced but beautiful La Folie, sung entirely in French and dealing with the subject of a Japanese student in Paris who ate his girlfriend but was not imprisoned because his father was a diplomat (the theme was later stolen by the Rolling Stones for 'Too much blood'). Needless to say the single flopped. My own favorite on here is 'The man they love to hate'. But alongside the excellent songs there are also some fillers ('it only takes 2', 'how to find', 'ain't nothing to it'). A mixed bag.
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5 of 5 people found the following review helpful By Ryan O'Beirne on April 13, 2007
Format: Audio CD
One of the best I've heard from the band - I'd rank it in their top 3 of their work with Cornwell (except for No More Heroes and 10 - haven't heard those yet), with my other top picks being The Raven and The Gospel According to the Meninblack - The Raven's my favorite, and it's a toss up between Gospel and La Folie.

Like the main review says, this is their most musically skilled album besides The Raven - reminds me alot of that one in how audible and dominating the guitar is, as apposed to Rattus Norvegicus and Black and White, where it's even hard to tell if there's guitar in the song sometimes (and while it's dominating half the songs on Rattus, the guitarwork sounds very simplistic compared to here), or Aural Sculpture, which while great, has little guitarwork from the brillant Cornwell.

The first four tracks on here are possibly one of the best sets of opening tracks for a Stranglers album. Non Stop has poppy, but great, keyboards by Greenfield dominating the song, with simplistic and catchy guitarwork by Cornwell. Fantastic vocal performance by Cornwell that fits the song just right, and as with every track on here, Burnell drives it on with his imaginitive and catchy bass line. Everybody Loves You When You're Dead has good interplay between all four instruments on the introductory part, this one's mostly dominated by bass and keyboards - some really funny lyrics on this one, like "They laugh at you with your trousers down, and pick they stones so they will match your head", with the right atmosphere and attitude provided vocally by Cornwell. Tramp almost made me think the band had returned to their early days, with the name of the song and such - but nevertheless, this is one of the best songs on this album.
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