Echo & the Bunnymen - Live in Athens 28 Apr. 2011 (photos)

Echo and the Bunnymen - Echo and the Bunnymen (Great Alternative Rock 1987)

Echo & the Bunnymen caught the group at a fortuitous career juncture; the clutch of songs here were among the hookiest and most memorable the band would ever write, while the arrangements are noticeably clean and punchy, mostly eliminating strings and similar clutter to focus almost exclusively on guitars, keyboards, drums, and occasional percussion touches. The warmly expressive "All My Life," which might perhaps have received an overheated arrangement on prior albums, benefited especially from this approach. The band rocked out convincingly on other selections, such as "Satellite" and "All in Your Mind." Pete DeFreitas' solid drumming at times veered toward the danceable on tracks like "Lost and Found," "Lips Like Sugar," and the overtly Doors-influenced "Bedbugs and Ballyhoo." Surprisingly, vocalist Ian MuCulloch appeared to have rediscovered the maxim "less is more"; his singing was comparatively restrained and tasteful, resulting in a more natural, unforced emotiveness that was extremely effective. The production values were excellent, with many subtle touches that do not detract from the album's overall directness. In short, doing it clean really paid off here.

AMG Review by David Cleary

Echo and the Bunnymen - Flowers (Wonderful Post-Punk 2001)

Still clinging to the post-punk snarl that made them cult favorites during the '80s, Echo and the Bunnymen's Ian McCulloch and Will Sergeant maintain a stunning inventiveness as they enter into the third decade of the band. They're older, but an ignited passion remains central. What Are You Going to Do With Your Life? was more or less a lackluster Ian McCulloch effort, but the mediocrity of that album was twisted into a clear beauty for Echo's ninth album, Flowers. After contractual battles with London Records, a deal with SpinArt contributed to the redefined structure of the band, and Flowers solidified McCulloch's and Sergeant's brotherly musical jaunt, reaching a respectable status. McCulloch isn't an angst-ridden punk -- he's aged with class -- and Sergeant's typically moody guitar work has mellowed. The alluring rawness of the band is intact, and songs such as "King of Kings" and "Hide & Seek" are playful cuts with reminiscent production work of 1983's musical prize, Ocean Rain. "It's Alright" rolls with layered guitars, and McCulloch experiments vocally for a rough-edged spiral of psychedelics and '60s pop flair. "Everybody Knows" and "An Eternity Turns" get back to basics, circa Crocodiles, and they are the most consistent set of songs on the new album. Ian McCulloch is at his finest with a lyrical clarity that is typically dark, intelligent and swaggering. Sergeant's rippling accompaniment is rightfully complimentary to define that Echo and the Bunnymen have stayed in tune to what makes them an effective unit. Flowers doesn't possess the initial fiery power of the band's first four albums, but the underlying concept that brought McCulloch and Sergeant together in 1978 is what matters, and this album holds true to such a bond.

AMG Review by MacKenzie Wilson

Echo and the Bunnymen - Crocodiles (Great Debut Album 1980)

Inspired by psychedelia, sure. Bit of Jim Morrison in the vocals? OK, it's there. But for all the references and connections that can be drawn (and they can), one listen to Echo's brilliant, often harrowing debut album and it's clear when a unique, special band presents itself. Beginning with the dramatic, building climb of "Going Up," Crocodiles at once showcases four individual players sure of their own gifts and their ability to bring it all together to make things more than the sum of their parts. Will Sergeant in particular is a revelation — arguably only Johnny Marr and Vini Reilly were better English guitarists from the '80s, eschewing typical guitar-wank overload showboating in favor of delicacy, shades, and inventive, unexpected melodies. More than many before or since, he plays the electric guitar as just that, electric not acoustic, dedicated to finding out what can be done with it while never using it as an excuse to bend frets. His highlights are legion, whether it's the hooky opening chime of "Rescue" or the exchanges of sound and silence in "Happy Death Men." Meanwhile, the Pattinson/De Freitas rhythm section stakes its own claim for greatness, the former's bass driving yet almost seductive, the latter's percussion constantly shifting rhythms and styles while never leaving the central beat of the song to die. "Pride" is one standout moment of many, Pattinson's high notes and De Freitas' interjections on what sound like chimes or blocks are inspired touches. Then there's McCulloch himself, and while the imagery can be cryptic, the delivery soars, even while his semi-wail conjures up, as on the nervy, edgy picture of addiction "Villiers Terrace," "People rolling round on the carpet/Mixing up the medicine." Brisk, wasting not a note, and burning with barely controlled energy, Crocodiles remains a deserved classic.

AMG Review by Ned Raggett

Echo & the Bunnymen - Live in Liverpool (2006)

Ian McCulloch and Will Sergeant shaped Echo & the Bunnymen's dreamy post-punk into something timeless. Their 1997 reincarnation sparked new life for the band, and McCulloch and Sergeant have maintained their strong appeal of passionate rock & roll. On a live setting, they're charming and their first proper live album, Live in Liverpool, proves that. The duo have a weird musical madness together, and they're comfortable with it. The two night stint captured August 2001 at Paul McCartney's Liverpool of Performing Arts, McCulloch's romantic brood and Sergeant's riveting guitar work are at its best. It's a merry collection of cult classics ("Seven Seas," "The Killing Moon," "Never Stop") and new material ("SuperMellow Man," "Eternity Turns"), but a homage to the band itself. The psychedelic bombast of "All That Jazz" is slick and savvy. Songs from the Crocodiles album take on that tone, but with a signature lust and a sneaky intensity. "Over the Wall" brings that side of the band to the forefront. In a live setting, it's eerie and alluring. "Rescue" and "The Cutter" soar with lush guitar riffs and McCulloch's warm vocals illustrate something primitive. "Nothing Lasts Forever," from 1997's Evergreen, is a sweet sign of age, but it's also graceful. McCulloch and Sergeant are fond of what Echo & the Bunnymen have become. Two nights churning out fan favorites and band mainstays in their hometown makes it much sweeter.

AMG Review by MacKenzie Wilson

Echo & the Bunnymen - Me, I'm All Smiles (2006 Live)

Whereas 2002's Live in Liverpool captured a glorious homecoming show for the band, Me, I'm All Smiles ends up being more of a celebration of their nearly 30 years together than a fantastic live album. Touring in support of 2005's Siberia, Ian McCulloch and Will Sergeant are spot-on throughout this 19-song set at Shepherds Bush Empire in London. McCulloch's signature swagger is a bit more slinky and lazy with age; his vocals are less dramatic, so live rarities such as "Going Up," "Villiers Terrace," and "With a Hip" come off flirty and fun. Newer tracks such as "Stormy Weather," "Of a Life," and "In the Margins" are equally enjoyable, but it's the thunderous delivery of "Scissors in the Sand" that proves the Bunnymen have still got it. However, there are few moments of greatness, despite some skilled playing, especially from Sergeant, who steals the spotlight from McCulloch more than a few times. Nine of the songs included here are also featured -- and done better -- on Live in Liverpool. Purists might disagree, but Me, I'm All Smiles isn't a must for most fans' collections.

AMG Review by MacKenzie Wilson