I love him. He has a great voice. I love Soul Sister ~ the entire Sonic Temple album. It’s a masterpiece + is extremely underrated. I got to see him in Atlantic City just about five years ago. His voice is still awesome. He’s still hot. His hair is delicious.
I love Ian's speaking voice (and his singing voice obviously!) He is so quiet spoken and his voice reminds me of my favourite dark chocolate (Mayan Black Velvet 100% proof) cocoa solids! Deep and yummy!
I confess that I pretty much lost interest in them after Sonic Temple. I hated to hear Ian's voice getting worse. Electric began it all and continued to abuse his natural voice. Like so many Cult fans, I preferred their pre Electric stuff.
I loved Electric when it came out, but it hasn't aged as well as Love and Dreamtime. It still sounds great but the relevance is lacking. ST was always problematic, and most everything after that was downright embarrassing.
@@Nominay ST was like a facade, but a cool facade. I still like the color of that sound tbh, and I enjoy how the early albums have such distinct flavor one from the other.
In my opinion, Electric is underated, the best Cult album, and one of the greatest rock records of all time. Yes, it is different than their eariler material, and Love is a phenomenal record. But on it's own as an album Electric is incredible and way ahead of it's time. Sonic Temple...meh.
I had cable TV and didn't know anyone else who did, I was lucky enough to live down the road from the local cable TV centre otherwise I would not have known cable TV existed!!
@@sandrafisherhayes3219 i may not be able to see them either. I feel like I don't need to see them live. however, I wish I saw them in their prime that would have been great.
Listening to their defensive responses, now I know where Ricky Gervais got much of his "David Brent-as-Overlooked-rock-phenom" character! Seriously, nearly every interview with them from this time period comes off this way. After they moved to the States and came face-to-face with the more exaggerated Testosterone-fueled-posturing native (and suspiciously so, but that's another topic altogether!) Headbanger culture, they realized (especially Ian, who missed the 'Punk Train", went from Adam Ant-inspired-Fey-Glamour Boy to Stephen Tyler-by-way-of-Rick Rubin protege) that prancing about on stage in lipstick and women's head scarves would literally get their asses kicked in most of the venues they wanted to play...and wouldn't prove nearly as useful in helping them to crack the lucrative US charts. Being a "starving artist" really does get old, there not much romantic about not being able to afford pedals, new strings, and kick-ass amplifiers, not to mention all the other expensive crap (like Women, Cars, and Drugs) that "Rock Stars" - usually with strained familial and peer relations and all the cliche psych and personality issues that go along with them - crave, confusing fan adulation with "love". Once they find actual Love, they tend to become much more stable, psychologically and identity-wise. Billy tends to play it a little cooler (partly because he already knew who he wanted to be - a Rock Guitar god - and partly because he wasn't afflicted with Ian's logorrhea), but anybody who had listened to their previous albums or, even better, seen their Pre-87 performances (especially SDC), knew they were, like so many other bands before and since then, trying to make a living in that faddish, bland era, changing in a calculated way with the fickle tastes of the buying public. They were hardly alone, the Eighties were particularly ridiculous in that respect, and they really were just disaffected kids when they first formed Death Cult. It's not easy having your awkward identity-fluid developmental stage on display for every critic to pick at. I always liked Duffy's playing, but was less enamored with Ian's vocals, but that's down to taste, I do really dig some of their tunes from before, and after, "Electric". God knows I laugh at the crazy shit I did to my hair, etc., as a young punk trying to prove himself and win the affection of the right girl (whom I, thankfully, married very early in my college days, and who's stuck with me through it my bullshit, a true Saint!) There were certainly other English bands from that era that demonstrated less chameleon-like shifts (The Smiths and The Cure come to mind: though Marr was younger than Duffy and even looked up to him to some degree, he seemed to have landed a gig that was under less commercial/label pressure to follow American fashion trends), but even so, the Cult were able to weather storms that sunk many, many other bands. I don't say this to dismiss them - it's never been easy to make a living as a musician, and the days when having a big Record Deal was virtually a prerequisite to getting heard, way before the advent of Internet-everywhere and Streaming Music and Video - it could literally be impossible to get on MTV, and also the airwaves, without major label support. Had they broken a few years later, post-Jane's Addiction, post-Lollapalooza, post-Grunge, or thereabouts, I suspect they may not have had to try so hard to reinvent their image in order to succeed commercially, but in music-biz terms, '86 and '91 were still light years apart. Good to see that these guys have survived (literally: H is a horrible mistress), and are still able to make a living making music, something very few acts from their era can still claim. Even the once-mighty Jane's Addiction have basically (in spite of their youthful poo-pooing of such eventualities) been forced to cut their set-list down to Eric Avery era tunes, becoming the "Nostalgia Act" they once swore they'd never be, back before they had mortgages, spouses, and kids like the rest of the adult world. Don't get me wrong, I think some of the tracks off of their last album ("Twisted Tales", for one) are as good, or better, than anything from 'Ritual' and 'Nothing's Shocking', but the bulk of the old fans, as well as the new, really didn't receive those well when they were performed live, sadly, and they've taken the same tack as the Cult, doing entire tours based on a single album from their Way-Back catalog. Like it or not, that's exactly what "Nostalgia Act" is. Hey, nobody can stay young forever, there really does have to come a point when you have to do certain things to make a living, no matter what the energetic/impassioned 17 year old version of us once swore 😁 As long as they keep actually making new music, and growing (who, seriously, would respect someone, musically or otherwise, who never matured or developed?), more power to them. But I can't help but thinking - watching these old interviews today - "thou dost protest too much" when I hear their constant insistence that they were "always playing this (American-style Arena Rock) kind of stuff". They just weren't. And that's OK 😉
StopMoColorado I disagree. Dreamtime and Love sound sincere to me. Electric is charming as well, but their interviews in promoting it are obnoxious, particularly on Ian's part, with dissing their previous efforts. Dreamtime and Love are great records, and they prove that Ian was once a great singer.
Are you by any chance trying to impress the non-existing UK music press? Things are far more simple -- the very clever British didn't buy their records and actually buried them. They were expected to be the next LZ but ended up being praised on TH-cam by people that never bought their records.
Damn, dude! Thanks for the history lesson! I mean that sincerely! And I can see what you mean about how they had to adapt there sound and their image to the American Market. Kind of sad in a way because I thought their post Southern Death Cult, pre-Electric sound and image was them at their best. But you have to admit Fire Woman is one badass song!
Listening to their defensive responses, now I know where Ricky Gervais got much of his "David Brent-as-Overlooked-rock-phenom" character! Seriously, nearly every interview with them from this time period comes off this way. After they moved to the States and came face-to-face with the more exaggerated Testosterone-fueled-posturing native (and suspiciously so, but that's another topic altogether!) Headbanger culture, they realized (especially Ian, who missed the 'Punk Train", went from Adam Ant-inspired-Fey-Glamour Boy to Stephen Tyler-by-way-of-Rick Rubin protege) that prancing about on stage in lipstick and women's head scarves would literally get their asses kicked in most of the venues they wanted to play...and wouldn't prove nearly as useful in helping them to crack the lucrative US charts. Being a "starving artist" really does get old, there not much romantic about not being able to afford pedals, new strings, and kick-ass amplifiers, not to mention all the other expensive crap (like Women, Cars, and Drugs) that "Rock Stars" - usually with strained familial and peer relations and all the cliche psych and personality issues that go along with them - crave, confusing fan adulation with "love". Once they find actual Love, they tend to become much more stable, psychologically and identity-wise. Billy tends to play it a little cooler (partly because he already knew who he wanted to be - a Rock Guitar god - and partly because he wasn't afflicted with Ian's logorrhea), but anybody who had listened to their previous albums or, even better, seen their Pre-87 performances (especially SDC), knew they were, like so many other bands before and since then, trying to make a living in that faddish, bland era, changing in a calculated way with the fickle tastes of the buying public. They were hardly alone, the Eighties were particularly ridiculous in that respect, and they really were just disaffected kids when they first formed Death Cult. It's not easy having your awkward identity-fluid developmental stage on display for every critic to pick at. I always liked Duffy's playing, but was less enamored with Ian's vocals, but that's down to taste, I do really dig some of their tunes from before, and after, "Electric". God knows I laugh at the crazy shit I did to my hair, etc., as a young punk trying to prove himself and win the affection of the right girl (whom I, thankfully, married very early in my college days, and who's stuck with me through it my bullshit, a true Saint!) There were certainly other English bands from that era that demonstrated less chameleon-like shifts (The Smiths and The Cure come to mind: though Marr was younger than Duffy and even looked up to him to some degree, he seemed to have landed a gig that was under less commercial/label pressure to follow American fashion trends), but even so, the Cult were able to weather storms that sunk many, many other bands. I don't say this to dismiss them - it's never been easy to make a living as a musician, and the days when having a big Record Deal was virtually a prerequisite to getting heard, way before the advent of Internet-everywhere and Streaming Music and Video - it could literally be impossible to get on MTV, and also the airwaves, without major label support. Had they broken a few years later, post-Jane's Addiction, post-Lollapalooza, post-Grunge, or thereabouts, I suspect they may not have had to try so hard to reinvent their image in order to succeed commercially, but in music-biz terms, '86 and '91 were still light years apart. Good to see that these guys have survived (literally: H is a horrible mistress), and are still able to make a living making music, something very few acts from their era can still claim. Even the once-mighty Jane's Addiction have basically (in spite of their youthful poo-pooing of such eventualities) been forced to cut their set-list down to Eric Avery era tunes, becoming the "Nostalgia Act" they once swore they'd never be, back before they had mortgages, spouses, and kids like the rest of the adult world. Don't get me wrong, I think some of the tracks off of their last album ("Twisted Tales", for one) are as good, or better, than anything from 'Ritual' and 'Nothing's Shocking', but the bulk of the old fans, as well as the new, really didn't receive those well when they were performed live, sadly, and they've taken the same tack as the Cult, doing entire tours based on a single album from their Way-Back catalog. Like it or not, that's exactly what "Nostalgia Act" is. Hey, nobody can stay young forever, there really does have to come a point when you have to do certain things to make a living, no matter what the energetic/impassioned 17 year old version of us once swore 😁 As long as they keep actually making new music, and growing (who, seriously, would respect someone, musically or otherwise, who never matured or developed?), more power to them. But I can't help but thinking - watching these old interviews today - "thou dost protest too much" when I hear their constant insistence that they were "always playing this (American-style Arena Rock) kind of stuff". They just weren't. And that's OK 😉
Hilarious that so many presenters can't say She Sells Sanctuary! Ian looks a real rock God here!! Love The Cult so much
@Davyd A WrayByrdBartholfSavinski 😄😄👍👍
I love him. He has a great voice. I love Soul Sister ~ the entire Sonic Temple album. It’s a masterpiece + is extremely underrated. I got to see him in Atlantic City just about five years ago. His voice is still awesome. He’s still hot. His hair is delicious.
Saw them last Thursday in Manchester and they were feckin awesome. Unforgettable night ❤️
Love us one of my all-time favourite albums!! I still love cranking their music in the car!!
That hat , though! ...Only Ian could rock it!
Wow never realize Rick Reuben was such a legend at 24 years old..when u look at his body of work. Amazing
THE CULT..THAT'S ALL THERE IS TO SAY..THEY WERE CAPABLE TO CHANGE THEIR STYLE IN AN VERY INTELLIGENT WAY..ONE OF THE BEST EVER!!
.
these guys had it all especially live! i saw em open for metallica on the justice tour they blew metallica outta the water.
They are fantastic! Great great music! They are the best of the rest! Salute!
I love Ian's speaking voice (and his singing voice obviously!) He is so quiet spoken and his voice reminds me of my favourite dark chocolate (Mayan Black Velvet 100% proof) cocoa solids! Deep and yummy!
Ian’s voice is so sensual… Love the Cult!
Great to see both ian and Billy they are realy best friends love The cult ❤️
Love the cult one of my favorite songs Removal Machine 🎤🎸💕
And still killer in 2020 what a kick ass band!
Still killing it in 2022 too! Ian's voice sounds awesome! Looks good too ❤
Kings of cool. Skull and bones muskrat hat and all.
Que bandaza que fueron los The Cult los amé en los 80
for years years I'd thought electric was before love.
Good honest Rocknroll.
Love The cult and ian one of my favorites is fire woman
My two favorite Englishmen
One of The Best. Great albums
Only 40 comments, c'mon...highly underrated band...one of my freaking faves!!!
They were never underrated, quite the contrary .
They would have been huge, but imploded due to stupidity.
Shake it Don't break it Baby!
Baaaaaby ow ow ow
Aaahhhh YEAH!
FKNG LOVE THE CULT
I love The Southern Death Cult’s music.
No you don't
i love them. they are so fucking underrated!! they are awesome!!!
Electric is The Cult’s masterpiece
Weird hearing someone refering to themselves as a alternative band in 1987.
HAHAHA, my legs are sweating just by watch thys guys on lether pants.
I confess that I pretty much lost interest in them after Sonic Temple. I hated to hear Ian's voice getting worse. Electric began it all and continued to abuse his natural voice. Like so many Cult fans, I preferred their pre Electric stuff.
I loved Electric when it came out, but it hasn't aged as well as Love and Dreamtime. It still sounds great but the relevance is lacking. ST was always problematic, and most everything after that was downright embarrassing.
@@Nominay Ceremony is their best album
@@Nominay ST was like a facade, but a cool facade. I still like the color of that sound tbh, and I enjoy how the early albums have such distinct flavor one from the other.
Their Punk/Alternative sounds was the best.❤️❤️❤️❤️❤️
Been into the cult since 1984 but most early interviews are Ian being a knob. Steve brown produced their best ever album - Love -
In my opinion, Electric is underated, the best Cult album, and one of the greatest rock records of all time. Yes, it is different than their eariler material, and Love is a phenomenal record. But on it's own as an album Electric is incredible and way ahead of it's time. Sonic Temple...meh.
Billy Duffy....Manchester proud!
did sky have a big audience in 1987?
I had cable TV and didn't know anyone else who did, I was lucky enough to live down the road from the local cable TV centre otherwise I would not have known cable TV existed!!
TravisBickle1963 ~ Where did you record this, in England?
woooooooooowwwwww! thnx
The cult rule love them still killer in 2019
2020!
@@shannon6708 2022!
@@sandrafisherhayes3219 and they are on tour now
@@shannon6708 yes I know. Sadly I won't get to see them live 😕 they're not coming to Ireland and tickets for the UK are too expensive 👎
@@sandrafisherhayes3219 i may not be able to see them either. I feel like I don't need to see them live. however, I wish I saw them in their prime that would have been great.
Amazing! Their best time!
Tal cual..., con su mejor disco!
Danilo Almeida ~ And, it all went downhill from there.
@@Simba______ For you.
😍 😍 😍 😍 😍
Listening to their defensive responses, now I know where Ricky Gervais got much of his "David Brent-as-Overlooked-rock-phenom" character! Seriously, nearly every interview with them from this time period comes off this way. After they moved to the States and came face-to-face with the more exaggerated Testosterone-fueled-posturing native (and suspiciously so, but that's another topic altogether!) Headbanger culture, they realized (especially Ian, who missed the 'Punk Train", went from Adam Ant-inspired-Fey-Glamour Boy to Stephen Tyler-by-way-of-Rick Rubin protege) that prancing about on stage in lipstick and women's head scarves would literally get their asses kicked in most of the venues they wanted to play...and wouldn't prove nearly as useful in helping them to crack the lucrative US charts. Being a "starving artist" really does get old, there not much romantic about not being able to afford pedals, new strings, and kick-ass amplifiers, not to mention all the other expensive crap (like Women, Cars, and Drugs) that "Rock Stars" - usually with strained familial and peer relations and all the cliche psych and personality issues that go along with them - crave, confusing fan adulation with "love". Once they find actual Love, they tend to become much more stable, psychologically and identity-wise.
Billy tends to play it a little cooler (partly because he already knew who he wanted to be - a Rock Guitar god - and partly because he wasn't afflicted with Ian's logorrhea), but anybody who had listened to their previous albums or, even better, seen their Pre-87 performances (especially SDC), knew they were, like so many other bands before and since then, trying to make a living in that faddish, bland era, changing in a calculated way with the fickle tastes of the buying public. They were hardly alone, the Eighties were particularly ridiculous in that respect, and they really were just disaffected kids when they first formed Death Cult. It's not easy having your awkward identity-fluid developmental stage on display for every critic to pick at. I always liked Duffy's playing, but was less enamored with Ian's vocals, but that's down to taste, I do really dig some of their tunes from before, and after, "Electric". God knows I laugh at the crazy shit I did to my hair, etc., as a young punk trying to prove himself and win the affection of the right girl (whom I, thankfully, married very early in my college days, and who's stuck with me through it my bullshit, a true Saint!)
There were certainly other English bands from that era that demonstrated less chameleon-like shifts (The Smiths and The Cure come to mind: though Marr was younger than Duffy and even looked up to him to some degree, he seemed to have landed a gig that was under less commercial/label pressure to follow American fashion trends), but even so, the Cult were able to weather storms that sunk many, many other bands.
I don't say this to dismiss them - it's never been easy to make a living as a musician, and the days when having a big Record Deal was virtually a prerequisite to getting heard, way before the advent of Internet-everywhere and Streaming Music and Video - it could literally be impossible to get on MTV, and also the airwaves, without major label support. Had they broken a few years later, post-Jane's Addiction, post-Lollapalooza, post-Grunge, or thereabouts, I suspect they may not have had to try so hard to reinvent their image in order to succeed commercially, but in music-biz terms, '86 and '91 were still light years apart. Good to see that these guys have survived (literally: H is a horrible mistress), and are still able to make a living making music, something very few acts from their era can still claim. Even the once-mighty Jane's Addiction have basically (in spite of their youthful poo-pooing of such eventualities) been forced to cut their set-list down to Eric Avery era tunes, becoming the "Nostalgia Act" they once swore they'd never be, back before they had mortgages, spouses, and kids like the rest of the adult world. Don't get me wrong, I think some of the tracks off of their last album ("Twisted Tales", for one) are as good, or better, than anything from 'Ritual' and 'Nothing's Shocking', but the bulk of the old fans, as well as the new, really didn't receive those well when they were performed live, sadly, and they've taken the same tack as the Cult, doing entire tours based on a single album from their Way-Back catalog. Like it or not, that's exactly what "Nostalgia Act" is. Hey, nobody can stay young forever, there really does have to come a point when you have to do certain things to make a living, no matter what the energetic/impassioned 17 year old version of us once swore 😁
As long as they keep actually making new music, and growing (who, seriously, would respect someone, musically or otherwise, who never matured or developed?), more power to them. But I can't help but thinking - watching these old interviews today - "thou dost protest too much" when I hear their constant insistence that they were "always playing this (American-style Arena Rock) kind of stuff". They just weren't. And that's OK 😉
StopMoColorado I disagree. Dreamtime and Love sound sincere to me. Electric is charming as well, but their interviews in promoting it are obnoxious, particularly on Ian's part, with dissing their previous efforts. Dreamtime and Love are great records, and they prove that Ian was once a great singer.
Are you by any chance trying to impress the non-existing UK music press? Things are far more simple -- the very clever British didn't buy their records and actually buried them. They were expected to be the next LZ but ended up being praised on TH-cam by people that never bought their records.
Damn, dude! Thanks for the history lesson! I mean that sincerely! And I can see what you mean about how they had to adapt there sound and their image to the American Market. Kind of sad in a way because I thought their post Southern Death Cult, pre-Electric sound and image was them at their best. But you have to admit Fire Woman is one badass song!
I guess that would be one way to look at it.
logorrhea indeed ;)
Didn't like their post "Love" output one bit........too fucking much geared towards the fucking U.S. market .....
Listening to their defensive responses, now I know where Ricky Gervais got much of his "David Brent-as-Overlooked-rock-phenom" character! Seriously, nearly every interview with them from this time period comes off this way. After they moved to the States and came face-to-face with the more exaggerated Testosterone-fueled-posturing native (and suspiciously so, but that's another topic altogether!) Headbanger culture, they realized (especially Ian, who missed the 'Punk Train", went from Adam Ant-inspired-Fey-Glamour Boy to Stephen Tyler-by-way-of-Rick Rubin protege) that prancing about on stage in lipstick and women's head scarves would literally get their asses kicked in most of the venues they wanted to play...and wouldn't prove nearly as useful in helping them to crack the lucrative US charts. Being a "starving artist" really does get old, there not much romantic about not being able to afford pedals, new strings, and kick-ass amplifiers, not to mention all the other expensive crap (like Women, Cars, and Drugs) that "Rock Stars" - usually with strained familial and peer relations and all the cliche psych and personality issues that go along with them - crave, confusing fan adulation with "love". Once they find actual Love, they tend to become much more stable, psychologically and identity-wise.
Billy tends to play it a little cooler (partly because he already knew who he wanted to be - a Rock Guitar god - and partly because he wasn't afflicted with Ian's logorrhea), but anybody who had listened to their previous albums or, even better, seen their Pre-87 performances (especially SDC), knew they were, like so many other bands before and since then, trying to make a living in that faddish, bland era, changing in a calculated way with the fickle tastes of the buying public. They were hardly alone, the Eighties were particularly ridiculous in that respect, and they really were just disaffected kids when they first formed Death Cult. It's not easy having your awkward identity-fluid developmental stage on display for every critic to pick at. I always liked Duffy's playing, but was less enamored with Ian's vocals, but that's down to taste, I do really dig some of their tunes from before, and after, "Electric". God knows I laugh at the crazy shit I did to my hair, etc., as a young punk trying to prove himself and win the affection of the right girl (whom I, thankfully, married very early in my college days, and who's stuck with me through it my bullshit, a true Saint!)
There were certainly other English bands from that era that demonstrated less chameleon-like shifts (The Smiths and The Cure come to mind: though Marr was younger than Duffy and even looked up to him to some degree, he seemed to have landed a gig that was under less commercial/label pressure to follow American fashion trends), but even so, the Cult were able to weather storms that sunk many, many other bands.
I don't say this to dismiss them - it's never been easy to make a living as a musician, and the days when having a big Record Deal was virtually a prerequisite to getting heard, way before the advent of Internet-everywhere and Streaming Music and Video - it could literally be impossible to get on MTV, and also the airwaves, without major label support. Had they broken a few years later, post-Jane's Addiction, post-Lollapalooza, post-Grunge, or thereabouts, I suspect they may not have had to try so hard to reinvent their image in order to succeed commercially, but in music-biz terms, '86 and '91 were still light years apart. Good to see that these guys have survived (literally: H is a horrible mistress), and are still able to make a living making music, something very few acts from their era can still claim. Even the once-mighty Jane's Addiction have basically (in spite of their youthful poo-pooing of such eventualities) been forced to cut their set-list down to Eric Avery era tunes, becoming the "Nostalgia Act" they once swore they'd never be, back before they had mortgages, spouses, and kids like the rest of the adult world. Don't get me wrong, I think some of the tracks off of their last album ("Twisted Tales", for one) are as good, or better, than anything from 'Ritual' and 'Nothing's Shocking', but the bulk of the old fans, as well as the new, really didn't receive those well when they were performed live, sadly, and they've taken the same tack as the Cult, doing entire tours based on a single album from their Way-Back catalog. Like it or not, that's exactly what "Nostalgia Act" is. Hey, nobody can stay young forever, there really does have to come a point when you have to do certain things to make a living, no matter what the energetic/impassioned 17 year old version of us once swore 😁
As long as they keep actually making new music, and growing (who, seriously, would respect someone, musically or otherwise, who never matured or developed?), more power to them. But I can't help but thinking - watching these old interviews today - "thou dost protest too much" when I hear their constant insistence that they were "always playing this (American-style Arena Rock) kind of stuff". They just weren't. And that's OK 😉
How doesn't this comment have any likes... Also, what's logorhea?
this comment is 💣
loved your insight