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Psychoderelict |
| no producer credited, no wonder | |
| Released on June 1993 | |
| US CHART POSITION #118 | |
| Find it at GEMM | |
| 82494-2 cover [high resolution scan] |
I t hit me when the 18th individual track rolled around, a stretch of talking called "Dialogue Introduction to Now And Then (Reprise)," how unnecessarily complicated this all was. If you thought Radio K.A.O.S. was work, it’ll feel like a freakin’ vacation next to this. In light of Pete’s recent travails (which appear to be unfortunate for everyone involved), I’ll leave discussion of the principal action -- an aging rock star apparently corresponds with a 15-year-old girl -- for another, brighter day. Psychoderelict is ambitious, telling the story of a ‘70s rock star who tries to revive his career with a live performance on the Grid (something of an evolution on the Internet that allows people to escape their own realities) while simultaneously being manipulated via a smear campaign architected by a rock critic whom he falls in love with. Complicated, I know, but luckily there’s the lyric sheet to follow -- except that half of the lyrics are printed upside down (this was a group conspiracy). The dialogue from the trio of unsympathetic characters (Ray Hines, his manager and bitchy Rosalyn) covers the listener in a greasy, uneasy feeling much of the way; even when Ray redeems himself with the revelation that leads to “Fake It,” it’s hard to feel good about any of this. In fact, it seems like a weak whitewashing of events after all the dark ugliness that has been squeezed from the story. By album’s end, Townshend’s concept acknowledges its own inability to deliver a better world, once again saving his most scathing remarks for himself. Salvaging songs from this convoluted concept is probably fool’s work, but here goes: “English Boy” is nearly as fun as “Face the Face,” the combination of “Meher Baba m4 (Signal Box)” and “Early Morning Dreams” is strangely transcendent, and “Outlive the Dinosaur” has a quiet intensity to it. Still (and I never thought I’d say this about any work of art that features gratuitous spanking) I don’t like Psychoderelict. Note that the album was also released in versions with the dialogue edited and the dialogue removed, as if that were the problem.
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| 82494-2 lyric gatefold | 82494-2 back sleeve |
TRACK LISTING
CREDITS
PETE TOWNSHEND --
Jeremy Allom --
Jon Astley --
Richard Barnes --
Paul Bonnick --
Ian Broudie --
Mark Brzezicki --
John "Rabbit" Bundrick --
Chyna --
Allan Corduner --
Bruce Davies --
Barry Diament Audio -- mastering
Julia Duff (of Anne Henderson casting) --
Andrew Eccles -- photography
Nick Goderson --
Linal Haft --
Deidre Harrison --
Steve Hill --
Peter Hope-Evans --
Icon Communications --
Nicola Joss --
Kick Horns --
Roger Knapp --
John Labanowski --
Jamie Lane --
Dee Lewis --
Gavin Lewis --
Jody Linscott --
Jaz Lochrie --
Andy Macpherson --
Billy Nicholls --
Michael Nicholls --
Tessa Niles --
Phil Palmer --
Josh Phillips-Gorse --
Bob Pridden --
Jan Ravens --
Smion Rogers --
Adam Seymour --
Paul Stevens --
Paul Townshend --
Simon Townshend --
Nigel Walker --
Cleveland Watkiss --
Suzy Webb --
Lee Whitlock --
Paul "Tubbs" Williams --
Ian Wilson --
Tom Bowman -- cover design
Frank Gargiulo -- booklet design
| REGION | RELEASE DATE | LABEL | MEDIA | ID NUMBER | FEATURES |
|---|---|---|---|---|---|
| WW | June 1993 | Atlantic | CD/CS | 82494 | w. practically useless lyric sleeve |
| US | 1993 | Atlantic | 2CDPRO | 5103 | promo release w. and wo. censored dialogue |
| US | September 1993 | Atlantic | CD/CS | 82535 | wo. dialogue repackaged as PSYCHODERELICT (MUSIC ONLY) w. different cover |
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