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Steel Town Extra tracks, Import, Original recording remastered

54 customer reviews

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Steeltown
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Audio CD, Extra tracks, Import, April 1, 1996
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$10.66 & FREE Shipping on orders over $35. Details Only 4 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.

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Steel Town + Seer + The Crossing
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Editorial Reviews

Digitally remastered 1996 reissue on Mercury of their secondalbum (1984) with five unmarked bonus tracks: 'Bass Dance','Belief in the Small Man', 'Prairie Rose', 'Winter Sky' and'Wonderland' (12in Mix - 7:08 long). 15 tracks in all, alsofeaturing 'Flame of the West', 'East of Eden', 'Where TheRose Is Sown' and 'Just a Shadow'.


Product Details

  • Audio CD (April 1, 1996)
  • Number of Discs: 1
  • Format: Extra tracks, Import, Original recording remastered
  • Label: Universal I.S.
  • ASIN: B000006SWI
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (54 customer reviews)
  • Amazon Best Sellers Rank: #156,292 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

46 of 47 people found the following review helpful By Christopher Loring Knowles on May 12, 2005
Format: Audio CD
Big Country are one of the great bands of the early 80's and one of the most misunderstood. As bands crashed onto America's shores from Great Britain by the boatload, critics and audiences were prone to pigeon-holing them based on their biggest hits or most memorable video. Big Country, a deadly serious band by any measure, was tagged as a novelty act on account of the bagpipe sound of their screaming guitars. But their first hit, In a Big Country, was a vitally important song because it alone carried the flag for pure Rock and Roll at a time when cheesy LA metal and British synth pop was dominating the charts.

Big Country were inevitably compared to U2. The comparison is apt and inevitable. Both bands fused Led Zeppelin styled guitar Rock with early Clash-styled social protest and added in copious amounts of rain-swept Celtic mysticism. Both bands utilized the seminal British producer Steve Lillywhite, who had previously helmed landmark albums by XTC, Peter Gabriel, the Psychedelic Furs and Siouxsie and the Banshees.

Big Country's first two albums employed all the tricks from Lillywhite's kitbag- pounding drums and bass, huge doses of reverberating guitar and the feverish intensity of playing that he coaxed from his charges. But where U2 were stylish and instinctive amateurs, Big Country were virtuosos. Where U2 never seemed to press the panic button of full tilt Rock, Big Conutry were relentless in their fury. In comparison to Steeltown, U2's record are MOR mush.

Steeltown is one of the most intense records you'll ever hear. Unlike today's Hard Rock bands, who offer up a cliched catalog of gimmicks to make their music sound ferocious, Big Country relied on old-fashioned thrashing of their instruments.
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20 of 20 people found the following review helpful By L. Crow on April 10, 2002
Format: Audio CD
If there had been any justice in 1984, this album would have catapulted Scotland's Big Country into one of the biggest bands of the 80s. It certainly did in the UK, but America missed the boat. That's a terrible shame, because this album is better than BC's debut "The Crossing," which made significant inroads in the US in 1983. "Steeltown" sports an enormous sound, with militarylike drums and soaring, stratospheric guitars, all gloriously overdubbed to the Nth degree. Stuart Adamson's (God rest his soul) apocalyptic lyrics and strong vocals combine with the music to create a tour de force that leaves scorched earth in its wake. This album was meant to be played and played LOUD! Perfect for a cold, cloudy, rainy winter's day, or anytime you're in the mood for some serious-themed rock. Adamson always had a gift for expressing universal themes in personal ways. "Steeltown" is full of issues that you don't have be Scottish to appreciate: duplicitous political leaders, personal alienation, the plight of the unemployed, the fear of a young soldier in combat, union vs. management, etc. I have loved this album since the winter of 1984 and it's just as powerful and relevant today. If you enjoyed The Crossing or any of Big Country's other works, do yourself a favor and pick up "Steeltown," too. The band was just too good!
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24 of 25 people found the following review helpful By Tankery VINE VOICE on December 22, 2004
Format: Audio CD
I had it loaded on cassette and I never grew tired of it. I still can't put it in the CD player and stop it at any point. The bombastic, maniacal but ingeniously controlled tempos exploding through each song have no rival. Why Big Country didn't get the wide appeal in America they should have is odd, but not unexpected. I remember American critics sticking their tongues out at their albums and them. Well, in a span of two weeks I saw first U2 and then Big Country in the same venue. You might as well compare a 1000 piece orchestra with a handful of amateurs playing kazoos. About six of us went to both concerts and maybe only three of us had listened to Big Country at all. We all just stood there frozen, mouth open when Big Country hit the stage. And I mean hit the stage. Very few concerts will take your breath away, but Big Country had a sincere, riveting presence onstage, and you combine this with close to speed metal delivery of some of their songs, and Stuart's profound belief in what he was singing about, well, everyone left converted.

The American Record companies screwed them over completely. A few stupid reviews based on comparing them to U2 and other early 80's even more lame alternative bands left them with the wrong identity completely. This was no better illustrated than the big glossy fold out of the band all airbrushed up like Duran Duran on the inside of the Peace in Our Time album. Yuck! This wasn't the band that power-chorded its way through politically-charged songs us working class stiffs embraced with an unrivaled passion. It looked like a bad senior picture. It totally symbolized what their record companies just couldn't figure out about this band.
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17 of 18 people found the following review helpful By Truman Chipotle on February 12, 2004
Format: Audio CD
I still remember being very pleasantly surprised to find this in the new releases section at my local independent/alternative record store about 20 years ago. I had been a huge fan of both BC's debut album "The Crossing" (and seen the band live supporting that LP), and the excellent follow-up EP "Wonderland". But I hadn't heard a peep in the media about the new album "Steeltown." I took the record home and was absolutely blown away by its angry, passionate energy, its complexity of production, its musical prowess, and its broad range of emotional expression. To this day, the album holds up to repeated listenings and packs a mighty sensory wallop. And to this day, I believe that whoever was running the U.S. marketing department of BC's record label when this album came out should have been canned! Here was a rare example of an overnight sensation band coming out with a sophomore effort even better than their groundbreaking debut, but in America that amazing achievement was greeted by the band's own label with apparent indifference. It's interesting to note that the beguiling but dangerous smooth-talker described in the intense, wildly galloping opener "Flame of the West" was an allusion to our new president Ronald Reagan (as Stuart Adamson stated in a rare American magazine interview around that time). Sadly, most of America was probably not in a mood to hear a bunch of angry young Scotsmen telling them that their popular new Prez was a madman. (Funny how little things have changed in two decades!). Everything about this album was BIG, DENSE, DARK and INTENSE. It originally was a gatefold LP with photos of the group, standing dwarfed by the shadows of a scary steel plant.The liner notes were printed on a solid black background.Read more ›
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