Customer Reviews

Second Album

5 star:		(3)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Suicide's first studio album was the highly acclaimed "First album", a somewhat cold and manic record which fired off a sonic assault of electronic noise and angst-ridden, morbid lyrics. Despite the purely synth-driven sound, it was still a punk album - and a very influential one, too. Connected with the famous "CBGB's scene" at that time, the duo's live performances in the late-'70s were still intact, but their "Second album" and nearly every following studio effort confirmed that Suicide were inclined to take the 'easy option'. For their much-delayed second outing they entered the studio with Ric Ocasek, and "Second album" indeed is given the same immaculate and slick production that was the trademark of several other Ocasek products. The abrasive nature of the first release has been replaced by a somewhat laid-back, more accessible sound which makes clear why Suicide are often considered as forerunners of all these '80s pop duos, for example, Erasure, Soft Cell, Pet Shop Boys, and OMD. On the other hand, this makes it all stranger because the band doesn't really write pop songs on "Second album" instead of coming up with layers of atmospherics and arrangements which employ more details and a stronger rhythmic foundation.

Given the still primitive equipment at that time, the effects and sounds Martin Rev manages to wrangle from his machines are still awesome. "Fast money music" is worth of comparison to some of Aphex Twin's gentler ventures, particularly "Analogue bubblebath Vol.1". "Diamonds,..", "Mr.Ray", and "Harlem" are magnificent electro-pop classics. "Sweetheart" and "Dream baby dream" are moderately paced love songs which almost border on saccharine. Alan Vega's vocals are much calmer than on "First album", but they still have a somewhat menacing aura. However, the variations and changes Suicide can create with their formula are limited, towards the end of the album it all sounds a little to similar. Nevertheless, this is a worthy successor to "First album" and Suicide even experienced some commercial success with this second outing. The bonus disc is a grave disappointment, though. It features home recordings from the early-'70s which are so poor in audio quality that their inclusion seems pointless. Although titles like "Speedqueen" and "Spaceship" appear interesting, it's almost impossible to work out what's going on and it only gets slightly more rewarding after repeated listening. All in all, 4 stars for "Second album" and 2 stars for "The first rehearsal tapes". OK?

Sometimes slagged as a sell-out, Suicide's second effort bore the imprint of pop star producer Ric Ocasek yet stayed true to the band's urban roots. Though updated (for its time) electronics replaced Martin Rev's thrift store gear, the sound retains the monotonous urgency that defined Suicide as a pacesetter two years prior. Alan Vega delivers brilliant, madcap vocal performances, most often on the tracks that blast street atmosphere into the mix (Mr. Ray, Harlem).
Here we also see the duo venturing into starry-eyed fascination with fame and riches, which is strangely in line with its blighted vision -- when Vega croons about Diamonds, Fur Coat, Champagne and Fast Money Music, it sounds like the daydreams of a rotter. Dreams go sour on Las Vegas Man, a haunting and ultra-sedated exploration of gambling's self-defeating lure.
Vega unintentionally summed up the vibe of this album when he told an interviewer that he knew the band was nearing success when he saw a go-go dancer do a striptease to the glossy beat of Diamonds, Fur Coat, Champagne. That must have been a thrill but Suicide's mainstream appeal never went much further, an eventuality perhaps ensured by a wretchedly sentimental single release, Dream Baby Dream, here included as an obligatory but bum bonus track.
The powerfully morbid B-side, Radiation, is also included and is far better. Super Subway Comedian rounds out the extras with Vega's take on the lighter side of city life.
For contrast, the bonus circa-1975 second disc gives all us lo-fi junkies something to mull over and is impressively creepy.

Other reviews of this album often include the term "sellout", even if it is in the context of defending this album.

I have no idea where the idea that this is somehow a more "commercial" album than their first one, because it simply isn't.

Their second album finds the duo much more confident and polished than their first. Ric Ocasek's production adds a sheen that presages The Car's own dabbling into the same "wall of grinding sound" on "Shoo Be Doo" - the jarring and brilliant introduction to "Candy-O", measuring the same level of desperation and angst.

The songs on Suicide's second album have some of same elements of oppression, paranoia and desperation, but now with a glimmer of hopefulness that counters with gritty reality. It is sometimes an expression of the wish for escape via material goods - as the first track states, but often the depression and fear is just below the surface. This in the end makes this a more nuanced production.

Still, there are those that will be disappointed that there isn't another "Ghost Rider" or "Rocket USA" - but in the end this album is as - or perhaps more - essential than their first, because it is much clearer the influence this seminal band had on others afterwards.

Suicide-The Second Suicide Album **1/2

Points are being offered on sheer originality alone. This is a far cry from the superior debut album the band released, and in comparison this feels trite and frankly boring most of the album, especially the a side. 'Mr. Ray' 'Harlem' 'Touch Me' 'Shadazz' all are decent tracks and easily show the influence they held over many of their peers in the future. But that isn't enough to justify a good album. At the time Suicide had been making electronic punk music for over a decade, that is completely revolutionary and original so for that it deserves 2 1/2 stars. It also doesn't help that the synth riff to 'Radiation' is a complete rip of of the 'Money' riff from the 1950's.

Suicide-The First Rehearsal Tapes ****

Fantastic almost to the point of passing the debut album in quality. Close but no cigar. As far as more of a raw sound this has it and there for isn't over powered by the synth use. The lyrics are slightly stronger and far more interesting all around. The rehearsal tapes are of much higher quality.

Yes, even Bruce is a fan of Suicide, believe it or not and covered "Dream Baby Dream" on his solo tour from a few years back.

Suicide was so influential in many ways and this cd just highlights their impact on what would become the 80's synth driven music. From Depeche Mode to Nine Inch Nails, Suicide's sound is reflected, and is still infuential today in bands like Shiny Toy Guns.

Great beginnings by a band that certainly blazed a trail but sadly did not reap the benefits.

While it may be true that Suicide's first album is much more aggressive(and the live disc that comes with it further proves they were more 'violent' during this time period'), it doesn't take merit away from this, Suicide's second effort. The production by Ric Ocasek(the Cars) definately was a driving force in the Second Album's pop leanings. However, despite the poppy production, Suicide doesn't lose any of their power. The fast, repetitive, electronic beats are still here, along with Vega's menacing vocals. BUY BUY BUY!

I am attending Moogfest 2011 in October, so I am checking out all of the bands that I'd previously not heard of that are playing there. Suicide looks like a band I'll definitely check out (they are doing their entire first album live there). If you like electronica with vocals, check them out.

At long last Suicide's second LP has become available to the general public and it's value to you will depend on what you want out of pop music. If you want your pop music that is a pleasure to listen to, this is not your record. Much has been written about how accessible and smoothed out this album is compared with the band's first LP. And while this is indeed true, listeners expecting a relatively easy listen to a seminal synth-pop record will be sorely disappointed.