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Modern

4.3 out of 5 stars 9 customer reviews

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Audio CD, September 28, 1999
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Editorial Reviews

Legendary punk heroes PETE SHELLEY & STEVE DIGGLE return with a brand new album hell-bent on re-visiting the sounds of thei...see site for more info.

Track Listings

Disc: 1

  1. Soul on a Rock
  2. Rendezvous
  3. Speed of Life
  4. Thunder of Hearts
  5. Why Compromise?
  6. Don't Let the Car Crash
  7. Runaround
  8. Doesn't Mean Anything
  9. Phone
  10. Under the Sun
  11. Turn of the Screw
  12. Sneaky
  13. Stranger in Your Town
  14. Choices


Product Details

  • Audio CD (September 28, 1999)
  • Original Release Date: 1999
  • Number of Discs: 1
  • Label: Go Kart
  • ASIN: B00000K08G
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #466,208 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By A Customer on November 12, 1999
Format: Audio CD
This is a brilliant album, bringing Buzzcocks' classic power pop sound into the new century! The always amazing, catchy and stirring Pete Shelley and Steve Diggle songs are here again, this time enhanced by wonderful production touches. The American bands that have "borrowed" from Buzzcocks (such as Green Day and The Offspring) have benefited from legions of adoring fans - now it's time for Buzzcocks to get their due. The songs on Modern range from those such as "Under the Sun" that could have come off their now-classic albums of the late 70s, to more introspective tunes such as "Rendezvous" that should fit right in on the radio!
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Format: Audio CD
The Buzzcocks emerged from Manchester in the late 70's with their self released EP "Spiral Scratch". From there they rode the punk wave, releasing a string of brilliant singles (collected in "Singles Going Steady"). But while they wore the punk mantle, they were essentially a pop band that embraced punk's energy and sense of humor. They disbanded in the early 80's, and after various solo outings (Notably Pete Shelley's "Homosapien" and Steve Diggle's "Flag of Convenience"), sank into obscurity.
A complete box set ("Product") appeared in 1989, and in the early 90's the band regrouped for a tour. 1993 saw Shelley and Diggle (with new rhythm section (Phil Barker and Tony Barber) release "Trade Test Transmission", which remarkably picked up right where the band left off in 1980. 1996's "All Set" was also amazingly strong. In an unlikely turn of events, Toyota chose "What Do I Get" for a TV commercial campaign in 2000.
Which leads us to the album at hand, "Modern". I wonder why they chose this title...the last thing I want the Buzzcocks to sound is modern! The album is infused with too many synthesizers and drum machines to sound like classic Buzzcocks, and is spotty through the first six tracks. Then the album abruptly rights itself with "Runaround" and "Doesn't Mean Anything" and doesn't falter again.
If you are new to the band, search out one of the early compilations such as "Operator's Manual". If you were a fan of the early Buzzcocks and have been leery of the 90's version start with "Trade Test Transmission". "Modern" shows the band maturing somewhat, but considering that most of the band's charm was its immaturity, that isn't necessarily a plus.
All that said, this album is far better than you'd have any reason to expect of a 70's punk band that has decided to keep on plugging.
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Format: Audio CD Verified Purchase
So far, you`re ALL wrong! Diggle`s songs from Trade Test Transmissions surpassed many of Shelley`s, possibly for the first time. And are proving to be some of his most passionate and inspiring work! To think someone could think so poorly of that CD isn`t realistic, so everything else they could have to say on this subject of Buzzcocks musical history is worthless. Don`t confuse yourselves trying to review what you can`t hear: 1.) No-one needs your false idea that Buzzcocks EVER fell into obscurity! How could they? 2.) Modern is the third, and last of their 1990`s [Studio] CDs. There`s absolutely no need to compare it to their seventies output. We all know it was great and unique then, and we`re all extremely happy with their `90`s output! It will, no doubt, influence new fans, that will be drawn, inexorably, to their past - and even more recent - music. 3.) Why do some reviewers hide behind a barrage of odd ideas that would never occur to any other listener? Don`t worry people, there`s no group of crappy filler until you get to this or that track! 4.) It`s Buzzcocks Modern, how cool can you get? Each album keeps growing on me `til I want more...5.) Here`s one fan who`s thankful, Sincerely, Your Friend - Jim.
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By crap person on September 8, 2000
Format: Audio CD
The lads (and lasses) who reviewed this so far seem to have little common ground on which to stand. Some thought the second half picked up while one disjointed and rather cryptic email loved the first half, and another hated all the songs by "Spedding" (which may be a reference to Chris Spedding who has absolutely nothing to do with the Buzzcocks). I'm sure that lad meant Diggle. As it turns out, they're all wrong. "Modern" may not be modern but it is certainly the best product they've made since they "regrouped." Most notable is the improvement Diggle shows. His songs are as good as they used to be (before the awful material he provided TTT). Actually, it shouldn't be too much of a surprise given the progress he demonstrated on "All Set." Fools will complain that this is not the old Buzzcocks. Of course not. It is still the best Buzzcock album since 1979. And it's quite good, for that matter. In fact,I was genuinely surprised just how good it turned out to be.
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Format: Audio CD
OK, so the Buzzcocks aren't still recording "What Do I Get?" and "Ever Fallen In Love...". Get over it. Buy Singles Going Steady or one of the other compilations and play it until you've heard enough. Then approach this crisply produced 1999 release with open ears. The band's most experimental outing, it contains songs that would be at home on a Pete Shelley solo disc ("Why Compromise"), strong writing contributions from Steve Diggle, and the feel of a co-operative effort between four accomplished artists who are simply interested in presenting their music in a new and different setting.
Plus, it rocks! Full marks to bassist and producer Tony Barber for giving the band's sound the clean, tight bottom end and airy mids and highs that 1993's Trade Test Transmissions approached but didn't quite achieve.
Finally, contrary to what seems to be the critical consensus about the Buzzcocks' 1990s output, I feel 1996's All Set was the low point, with some of Shelley's corniest and least imaginative lyrics and a muddy, shallow sound. Modern is a great rebound, and deserves a whole lot more respect (and more sales!) than it has garnered.
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