| Artist |
The Suburbs |
| Album Title: |
Love Is The Law |
| Album Cover: |
 |
| Primary Genre |
Rock: New Wave |
| Format |
CD |
| Released |
03/00/1984 |
| Reissue Date |
07/30/2002 |
| Label |
Beegtar/Universal MusicEnterprises |
| Catalog No |
4400136402 |
| Bar Code No |
8 02177 13602 1 |
| Reissue |
Yes |
| Packaging |
Jewelcase |
| Tracks |
| 1.
|
Love Is The Law (4:44)
|
| 2.
|
Monster Man (3:18)
|
| 3.
|
Rattle My Bones (3:28)
|
| 4.
|
Skin (4:24)
|
| 5.
|
Accept Me Baby (3:47)
|
| 6.
|
Hell A (4:32)
|
| 7.
|
Perfect Communist (5:07)
|
| 8.
|
Rainy Day (5:02)
|
| 9.
|
Crazy Job (5:07)
|
|
| Date Acquired |
08/06/2002 |
| Personal Rating |
 |
| Acquired from |
Let It Be |
| Purchase Price |
14.00 |
Web Links |
All Music Guide Entry:
Discogs Entry:
MusicBrainz entry: |
Notes |
Notes:
Reissue of the band's 1983 LP, remastered in 2001.
Released by B.J. Chaney's Beejtar label in agreement with Universal Records.
"The title 'Love Is The Law' is the opinion of The Suburbs, stands alone and has no connection whatsoever with Alistair Crawley."
Credits:
Art Direction – Bruce C. Allen
Artwork [Back Cover Art] – The Suburbs
Band [The Suburbs Are], Bass – Michael Halliday
Band [The Suburbs Are], Drums – Hugo Klaers
Band [The Suburbs Are], Guitar – Bruce C. Allen
Band [The Suburbs Are], Guitar [Beejtar], Vocals – Blaine John Chaney
Band [The Suburbs Are], Keyboards, Vocals – Chan Poling
Guest [Additional Musician], Saxophone – Tom Burnevik
Guest [Additional Musician], Trumpet – Scott Snyder
Management – Katz-Gallin-Morey
Mastered By – Howie Weinberg
Painting [Front Cover Painting] – Edouard Manet
Photography By [Band Photographs] – Haga Photography, Laurie S. Allen, Lonni Ranallo
Producer – Paul Stark, Steven Greenberg
Remastered By – Doug Sax, Robert Hadley
Written-By – The Suburbs
Companies, etc.:
Copyright © – Suburbs Music
Copyright © – Suburban Music (4)
Phonographic Copyright ℗ – Universal Music Enterprises
Copyright © – Universal Music Enterprises
Record Company – UMG Recordings, Inc.
Recorded At – Stark Mudge Mobile Studio
Mastered At – Masterdisk
Remastered At – The Mastering Lab
Glass Mastered At – Technicolor, Camarillo, CA – 179015
Pressed By – Technicolor, Camarillo, CA – 179015
Barcode and other Identifiers:
Barcode: 802177136021
Rights Society: BMI
Matrix / Runout: TECHNICOLOR C1.1 179015-02 LOVE
Mastering SID Code: IFPI L891
Mould SID Code: IFPI 8013
Pressing Plant ID (In mould hub): TECHNICOLOR/CA
--------------------------------------------------------------------------------
foobar2000 1.2.9 / Dynamic Range Meter 1.1.1
log date: 2013-09-26 06:52:13
--------------------------------------------------------------------------------
Analyzed: The Suburbs / Love Is The Law
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR8 -0.28 dB -9.11 dB 4:44 01-Love is The Law
DR7 -0.28 dB -9.27 dB 3:18 02-Monster Man
DR8 -0.28 dB -9.47 dB 3:29 03-Rattle My Bones
DR8 -0.28 dB -8.99 dB 4:24 04-Skin
DR8 -0.28 dB -10.38 dB 3:48 05-Accept Me Baby
DR8 -0.28 dB -9.85 dB 4:32 06-Hell A
DR8 -0.28 dB -9.61 dB 5:07 07-Perfect Communist
DR9 -0.28 dB -11.09 dB 5:02 08-Rainy Day
DR9 -0.28 dB -11.04 dB 5:07 09-Crazy Job
--------------------------------------------------------------------------------
Number of tracks: 9
Official DR value: DR8
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 1033 kbps
Codec: FLAC
--------------------------------------------------------------------------------
|
|
| Reviews |
All Music Guide Review by Vince Ripol:
While overshadowed by their Minneapolis contemporaries the Replacements and Prince, the Suburbs still managed to leave their distinct mark on the musical landscape of the early '80s, as evidenced by their masterful 1983 effort Love Is the Law. The band must have been paying attention when 1981's double-length Credit in Heaven was heralded as a slightly overlong classic, because Love Is the Law concentrates their alternative dance-rock into a single-length showcase of their strengths. Drummer Hugo Klaers and bassist Michael Halliday force the frenetic tempos favored by the group, and Chan Poling keeps pace with his versatility on piano and synthesizer. Bruce C. Allen's jittery guitar complements the nervous, cynical desperation of vocalist Blaine John "Beej" Chaney, who also contributes "beejtar." The opening rumble of the title track is immediately hooked with bright, lively horns, which reappear throughout the album to help release tension. Along with Poling's opportune keyboard effects and Chaney's exaggerated vocals, the guest horns accentuate a fun-loving spirit generally belied by titles such as "Hell A" and "Perfect Communist." Fun and fury merge on the infectious disco rockabilly of "Rattle My Bones," in which a horny, homeward-bound motorist shifts from impatient restraint to rowdy celebration. Some of Chaney's potentially disturbing episodes are offset by his mannerisms, like the Stan Ridgway approximation that makes "Crazy Job" seem more satirical than psychotic. In general, Love Is the Law is harder and tighter than previous releases, and even the most intense tracks produce lingering melodies in the wake of relentless rock & roll. the Suburbs may not have equaled the success or longevity of other Minneapolis musicians from the 1980s, but Love Is the Law holds its own against the more celebrated albums of its time.
|
|
| Cover 1 |
 |
| Cover 2 |
 |
| Cover 3 |
 |
| Cover 4 |
 |
| Cover 5 |
 |
| Cover 6 |
 |
| Cover 7 |
 |
|
