Pure Cult: The Singles 1984-1995 [Remaster] (CD - 2000)

The Cult: Ian Astbury (vocals); Bob Rock (guitar, keyboards); Billy Duffy, James Stewart, James Stevenson (guitar); John Sinclair, Benmont Tench, John Webster, Richie Zito, Scott Humphrey (keyboards); Jaime Stewart, Haggis, Charley Drayton, Kinley Wolfe, Craig Adams (bass); Nigel Preston, Matt Sorum, Raymond Taylor-Smith, Scott Garrett, Michael Lee, Mickey Curry, Les Warner, Mark Brzezicki (drums).

Producers include: Steve Brown, Bob Rock, Rick Rubin, John Brand, Richie Zito.

Recorded between 1985 & 1996. Originally released on Beggars Banquet (130) IAN [43958 600130]. Includes liner notes by Dominic Wills.

Digitally remastered by John Dent (Loud Mastering).

Personnel: Ian Astbury (vocals); Bob Rock (guitar, keyboards); Bill Duffy, James Stevenson (guitar); Jon Sinclair, John Sinclair, John Webster, Richie Zito, Scott Humphrey, Benmont Tench (keyboards); Kinley Wolfe, Craig Adams , Charley Drayton (bass guitar); Nigel Preston, Raymond Taylor-Smith, Les Warner, Michael K. Lee, Mark Brzezicki, Matt Sorum, Mickey Curry, Scott Garrett (drums).

Liner Note Author: Dominic Wills.

Photographers: Andrew McPherson ; Annette Aurell; Bleddyn Butcher; Jim Marshall .

Say what you want about the Cult, a band who will certainly go down as one of the most schizophrenic in rock history, but singer Ian Astbury and guitarist Billy Duffy could sure write a great tune. Just glance at a few titles included on the greatest-hits collection Pure Cult: The Singles 1984-1995: "Edie (Ciao Baby)," "Love Removal Machine," "She Sells Sanctuary," "Wild Flower," "Fire Woman," "Rain," "Lil' Devil" -- you get the picture. Spread haphazardly across the disc (rather than in chronological order), each track's uniqueness is even more evident, further showcasing the Cult's fearless creativity. Early songs such as "Spiritwalker" and "Resurrection Joe" will surprise most fans with their class and maturity, while later cuts like "Wild Hearted Son," "Heart of Soul," and "Coming Down" (from their disappointing latter-day albums) are given new life when viewed on their own merits. Boasting almost identical track selection to another Pure Cult collection (including a few rare outtakes) of a few years earlier, this one's merely a tad more career-spanning complete, but the small differences aren't worth stressing over. ~ Eduardo Rivadavia

The Cult, unlike its predecessor bands the Southern Death Cult and the Death Cult, was unapologetic about its mainstream rock & roll aspirations, which makes PURE CULT: THE SINGLES 1984-1995 the best possible starting place for the group, and for many, the logical end point as well. The Cult was a singles band, and a pretty great one, too, as evidenced by the Stones-like "Love Removal Machine" and the blazing "Fire Woman." The ensemble's mixture of '60s influences (no wonder Ian Astbury became the lead singer of the reformed Doors) and hard-rock power (no wonder drummer Matt Sorum went on to join Guns N' Roses) not only helped define a whole subset of the late-'80s alternative-rock scene, it's fair to say that the groups like Stone Temple Pilots owed at least some of their success to the Cult's early flirtations with the rock mainstream. Although the set isn't chronologically ordered, PURE CULT still gives a good sense of the band's surprisingly organic shift in sound, ranging from the gothy neo-psychedelia of "She Sells Sanctuary" to the sneering rock of "Star." minimize