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16 of 17 people found the following review helpful:
5.0 out of 5 stars
Excellent album with multiple uses!, April 22, 2001
Those of you who won't touch (even with a 10' pole) anything Techno-like, are truly missing out here. Yes, this album has a major Techno element, but the strong guitar gives it the hard edge that we've come to expect and want from Billy. People who criticize this album, are forgetting one of the things that Billy Idol is known for: He combines elements of Rock, Pop, Punk, and Dance. That's right, folks, Dance has been there right from the start. The difference with Cyperpunk, is that it was released in 1993, when the Dance music of choice was Techno. But this is much more than a Techno album. It's a concept album containing brilliant soundscapes, and Billy's vocals are no less than top notch. Also on this album, you will find some of his best lyrics.So what are these multiple uses that I refer to in the heading? First of all, this CD would be a great choice to play at a club where people dance. However, ironicly, it's also a great album to relax or fall asleep to. Or perhaps you just feel like jumping in the car and going for some night driving, because that works, too! And last, but not least (probably not even last), this is a fantastic album to have sex to. Billy Idol's vocals are very sensual, and many of the rythms are erotic. Unless you hate all Techno music with a passion, you'll want to have this gem in your collection. So don't leave Billy dancing with himself! Give it a try!
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9 of 9 people found the following review helpful:
4.0 out of 5 stars
Billy Idol - Cyberpunk, March 6, 2004
Although Billy Idol boasted that ecstasy in his machine gave him the secret to life in Wasteland, the lead track off of 1993's Cyberpunk (an album loosely based around the modern technology movement derived from several books written by William Gibson) it was met with universal derision and scorn by nearly every rock critic in America. Because of the quality of most of the material on the album, the disdain for it seemed puzzling at the time and it is equally befuddling today. That being said, however flimsy a concept may be on the surface it is the actual musical content of a record that should be the main focus of any recording.
Though the brief segues or bridges between the songs which attempt to tie the cyberpunk concept together detract from the album somewhat and are by and large unnecessary, Cyberpunk is a set comprised of consistently good and adventurous techno-rock. There may be nothing technically groundbreaking here but the negative reputation that the record has garnered over the years is certainly not deserving. For example, the lead single Shock To The System is as immediately catchy and electrifying as Idol hits of yore while investing a more technologically driven and robotic sound. Mother Dawn, the last track on the album is a highlight unto itself for its relentless R&B-flavored industrial vibe which sounds as refreshing today as it did in 1993. Other standout tracks include Neuromancer which breezes by in a hard-rocking rave, the futuristic Tomorrow People and its ominous soundscape and the potent Then The Night Comes, a track providing a link to the straight-ahead rock sound of past Idol records. Concrete Kingdom continues the marriage of heavy rock to a warped, futuristic disco pulse while also serving as one of the more distinctive songs we've heard from Idol.
However, it is that distinctiveness and Idol's attempt to produce a record wholly apart from anything he's done in the past that got him into hot water with critics and fans in the first place. Unfortunately, fans and critics alike who were expecting another Rebel Yell or an album packed with White Weddings and Cradle Of Loves missed the boat on this one entirely. Most of the songs on this, Idol's most ambitious work actually work quite well most of the time despite the presence of the overly long track Shangrila and the disruptive bridges between songs which threaten to put a halt to the album's momentum on more than one occasion. Also of note is Idol's seven minute electro-dance interpretation of the Velvet Underground's immortal track Heroin which utilizes the infamous "Jesus Died For Somebody's Sins But Not Mine" lyric from Patti Smith's 1975 pre-punk classic Gloria for the song's chorus which oddly enough, fits rather nicely within the context of the song. For those purists out there, any cover of such a monumental song is blasphemy, however, listeners will be left to draw their own conclusions as to whether Idol's interpretatation is a blazing tour de force of danceable electronic new wave or just a plain disaster.
In a way, Cyberpunk is a fully more realized and logical extension of his greatest hits remix package Vital Idol and one must wonder whether this album would have received stronger reviews had it been released under the name of an artist with a much more musically varied reputation such as David Bowie or Beck. Unfortunately, pigeon-holed artists like Idol must carry the negative weight of preconceived notions of their work much in the same way that they are liable to benefit by them. All in all, this was clearly a record that Idol had been working toward his whole career though as sad as it may be, it also became his commercial undoing. Be that as it may, take the thirteen songs on this album at face value and you'll find that Cyberpunk is much better than advertised.
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6 of 6 people found the following review helpful:
5.0 out of 5 stars
I love it!, October 17, 1999
By A Customer
When this cd came out in 1993, I was instantly hooked. I'd liked Billy Idol's music before, but when "Cyberpunk" came out, I was more into him than before. My favorite song on the cd is "Adam In Chains". I love the beginning when a voice is trying to hypnotize the listener. It hasn't worked, but its great to listen to. If you're a Billy Idol fan, then you might enjoy this.
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