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Rock - Erschienen am 10. November 1983 | CAPITOL CATALOG MKT (C92)

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A slick, carefully crafted follow-up to his debut, Rebel Yell was Billy Idol's catchiest, most consistent fusion of synth-driven new wave pop and hard rock guitar pyrotechnics (courtesy of Steve Stevens). The eerie ballad "Eyes Without a Face" gave Idol his first U.S. Top Ten hit, while "Flesh for Fantasy" and the title track became MTV staples. Like much of Idol's solo output, it's all calculated for maximum appeal, but Rebel Yell also works too well not to be an infectiously guilty pleasure. © Steve Huey /TiVo
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CD13,99 €

Rock - Erschienen am 1. Januar 2001 | Chrysalis\EMI Records (USA)

Eingebleichter, blonder Strubbelkopf, zwei Kreuze am linken Ohr, Haare auf der Brust und eine Vorliebe für knappe Lederklamotten - Billy Idol ist wieder da! Oops, handelt es doch nur um eine Best-Of mit dem wenig einfallsreichen Titel "Greatest Hits"? Egal: die Zeit war lange reif, um diese Ikone aus den 80er Jahren wieder aus der Schublade zu holen. Erst Schlagzeug, dann fetzige Gitarre, Bass und schließlich Stimme; schon der Anfang von "Dancing With Myself" ist ein Zeugnis jener Qualitäten, die Idol in den oberen Chart-Regionen etablierte: einfache punkige Riffs, poppige Rhythmen und ein einprägsames Schmirgelpapierorgan. Ein Paar Synthiesounds weniger und man würde nicht glauben, dass die Lieder teilweise schon 15 Jahren auf dem Buckel haben. Mit "White Wedding", "Rebel Yell","Sweet Sixteen" und seinem wohl besten Stück "Eyes Without A Face" ("I'm on a bus on a psychedelic trip/Reading murder books, trying to stay hip") sind alle wichtigen Titel vereint. Mit "Cradle Of Love," dem Doors'schen "L.A Woman" und "Shock To The System" aus seinem bislang letzten Studioalbum "Cyberpunk" (1993) ist auch die zweite, etwas weniger erfolgreiche Phase seiner Karriere vertreten. Die akustische Version von "Rebel Yell" rockt und erinnert an den Sound von "Kiss Unplugged." Obwohl sich Idols Produktionen stets durch eine exzellente Klangqualität ausgezeichnet haben, fügt das digitale Remastering noch ein paar Facetten hinzu. Vollkommen unnötig ist lediglich das neu aufgenommene "Don't You (Forget About Me)"; von Idol-Produzent Keith Forsey geschrieben, wurde es der Simple Minds größter Hit, nachdem der Punk-Popper es abgelehnt hatte. Die einzige neue Erkenntnis, die man dem Lied abgewinnen kann, ist, dass sich seine Stimme durch die Exzesse der letzten 25 Jahre wohl kaum verbessert hat. Trotz des dürftigen Booklets ist "Greatest Hits" ein empfehlenswerter Kauf. Ende der 80er Jahre hieß die Compilation in etwas abgespeckter Form noch "11 Of The Best" - Idol scheint bescheidener geworden zu sein. Das positivste Zeichen für seine Fans ist wohl, dass er wieder mit Gitarrist Steve Stevens und Produzent Forsey zusammengefunden hat. Hoffentlich ist dieses Album ein Neuanfang und nicht nur eine Aufstockung des Bankkontos zwecks nahender Rente. © Laut
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Rock - Erschienen am 1. Januar 1982 | CAPITOL CATALOG MKT (C92)

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Billy Idol's self-titled debut album eventually broke the singer in America, but not without a struggle. In 1981, he left Generation X and launched his solo career, borrowing the group's final single, the dance-rock standard "Dancing with Myself," for his first solo release, a four-song EP called Don't Stop. Billy Idol was prefaced in June 1982 with the single "Hot in the City," which made the Hot 100, but the album was given a second breath of life (and a higher chart peak) a year after its release when its second single, "White Wedding," finally caught on after an eye-catching video played on MTV and made the Top 40 in July 1983. An attempt was then made to resurrect "Dancing With Myself," which was added to the album (the track "Congo Man" being deleted). Those three songs remain the album's strongest, if only because they are the best realized as songs; elsewhere, Idol and guitarist Steve Stevens have constructed a series of dance-rock tracks along the lines of "Dancing With Myself," mixing quick tempos with slashing guitar chords and occasional hook elements (a backup choral chant here, a saxophone part there), but seemingly have forgotten to write real songs to go on top of the tracks. The result is an uneven collection. Oddly, when Chrysalis came to reissue a 24-bit digitally remastered version of the album in 2002, the new producers did not take the opportunity to add on the other Don't Stop tracks and "Congo Man," the sort of bonus material you'd expect. Instead, the reissue presents only the ten tracks from the second version of the album, albeit with great sound. Scott Schindler's liner notes begin with a factual error (the album was not a "platinum success," it only went gold), but are otherwise adequate. © William Ruhlmann /TiVo
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CD13,99 €

Rock - Erschienen am 1. Januar 2008 | Capitol Records

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Rock - Erschienen am 1. Mai 1990 | CAPITOL CATALOG MKT (C92)

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HI-RES17,49 €
CD12,49 €

Rock - Erschienen am 20. Oktober 1986 | CAPITOL CATALOG MKT (C92)

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Although it was ultimately an unsatisfying album, failing to live up to the promise of its fabulous single, "To Be a Lover," Whiplash Smile still burned clean with an immediately recognizable 1980s energy. Like Billy Idol himself, who affected the punk archetype but cut it with a two-dimensional, cartoonish plasticity perfect for the decade, Whiplash Smile expands on the sound of the 1983 breakthrough Rebel Yell while cleverly leaving its key elements unchanged. Idol's inherent Jim Morrison-ness was fleshed out, and Steve Stevens' already atmospheric guitar work was blended even more seamlessly with a percolating pot of shifting styles, new wave dance beats, and synth-heavy production. "Soul Standing By" and "Man for All Seasons certainly rocked -- Stevens' guitar work crackles with inventiveness, even augmented as it is with multiple overdubs. But like most of Whiplash, the songs seemed to exist in a phantom zone akin to the prismatic holding cell of General Zod and his cohorts in Superman II. The plodding "Beyond Belief" and the weird, Marty Robbins-meets-Del Shannon-in-space vibe of "Sweet Sixteen" are similarly opaque. There's plenty to listen for on Whiplash Smile, and Idol's attempt to expand his palette is admirable. Unfortunately, there's nary a memorable hook here outside of the single and whatever mileage can be gained from his trademark sneer. In that sense, Whiplash Smile is similar to so much music of the decade, which got by with rayon flash and giddy video posturing but little in the way of reality. But that means that Whiplash Smile is also disappointing: Idol's best work was equally as era-defining, but it lived on to be just as memorable after the calendar flipped on the Me Decade. © Johnny Loftus /TiVo
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CD5,49 €

Rock - Erschienen am 17. September 2021 | BMG Rights Management (US) LLC

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CD12,49 €

Rock - Erschienen am 1. Januar 2007 | Capitol Records

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CD9,99 €

Rock - Erschienen am 21. Oktober 2014 | BFI Records, Inc.

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CD1,99 €

Rock - Erschienen am 1. Januar 2009 | Capitol Records

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HI-RES21,49 €
CD14,99 €

Rock - Erschienen am 29. Juni 1993 | CAPITOL CATALOG MKT (C92)

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Cyberpunk, Idol's attempt to restyle himself as a futuristic cyber-rocker, only works when he falls back on his effortlessly catchy guitar hooks and melodies of his past hits (the first single, "Shock to the System," for instance). Unfortunately, most of the album is padded with pretentious speeches, sampled dialog, and underdeveloped songs. Especially noteworthy is his techno-dance interpretation of the Velvet Underground's "Heroin" (featuring a repeated Patti Smith quote), which is one of the worst covers ever recorded. © Stephen Thomas Erlewine /TiVo
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CD14,99 €

Rock - Erschienen am 28. September 2018 | CAPITOL CATALOG MKT (C92)

"It's a nice day to start again." Als Billy Idol Mitte der 80er "Vital Idol" herausbrachte, war er bereits ein Weltstar und die Platte hochmodern. Sogar musikhistorisch bedeutet es das erste komplette Remix-Album eines Superstars sowie eine damals nicht selbstverständliche Verschmelzung von Rock und Dance. Nach über 30 Jahren ist der Remix längst obligatorischer Bestandteil der Musik. Mit "Vital Idol: Revitalized" greift der Engländer das Konzept für das 21. Jahrhundert erneut auf. Zu diesem Zeitpunkt liegt seine letzte wirklich gute LP "Whiplash Smile" mehr als drei Dekaden zurück. Auch sonst ist es recht still um den ehemals so unruhigen Geist geworden. Doch wenn der mittlerweile 62-jährige Onkel Billy ruft, stehen Musiker immer noch Schlange. Den Zuschlag erhielten u.a. Moby, RAC, The Crystal Method, Tropkillaz, Paul Oakenfold, Shiba San, Juan Maclean und CRAY, die sich auf 15 Evergreens des Idol-Katalogs stürzen. Wer die komplette Sammlung genießen möchte, achte auf das jeweilige Format. Nicht alle Editionen jenseits des Downloads warten mit der gesamten Liste auf. Die Remixer können aus dem Vollen schöpfen. Kein Wunder, denn immerhin schoss der Mann mit dem platinblonden Haarschopf in seiner großen Zeit haufenweise weltweit chartende Singles aus der Hüfte, die heute als Klassiker gelten. Deshalb ist ein Blickwinkel auf diese Lieder aus heutiger Sicht künstlerisch interessant und macht den Reiz der Platte aus. "Hey little sister, shotgun!": CRAY gelingt als Opener mit "White Wedding" bereits das Kunststück, den sarkastisch-aggressiven Touch der Urfassung in einen eleganten Club-Kontext zu überführen, dessen Gerippe dem Lied viel Raum zum Atmen lässt. Man spürt förmlich, wie die Song audiophil dekantiert. Damit hängt die Latte schon recht hoch. Doch die Mixer finden beim Makeup-Auftragen jene rote Linie, die das hervorragende Ausgangsmaterial in jenes Licht versetzt, dass Erneuerungswillen und Respekt gleichermaßen spiegelt. Besonders interessant gerät die Neudeutung der Ballade "Eyes Without A Face", beginnend als elektronischer Nachtkokon, der sich zum zeitgemäßen EDM-Pop-Bastard steigert. Bei "Hot In The City" stiehlt ein frisches Piano allen anderen Zutaten die Show und tritt mal als House-Klavier, dann als groovy Jazzinstrument in Erscheinung. Ähnlich rund läuft "To Be A Lover". Der Mix kehrt die Dramaturgie des Originals um, amputiert den Rock'n'Roll-Touch und setzt den Gesang in einen Rahmen aus Beats und Gospel. "Face to face and back to back, you see and feel my sex attack." Als Höhepunkte schimmern die Varianten von Idols beiden Überkloppern: "Flesh For Fantasy" erhält ein verdient erotisches Korsett, das in Verbindung mit den offensiven Vocals hervorragend auf den Dancefloor des Postmillenniums passt. Den ultimativen Gipfel erreicht "Rebel Yell". Der Remix behält die rockende Grundidee bei, erweitert sie aber mit hervorragend sägendem Gitarrensalat. Dazu packen The Crystal Method das gesamte Paket in einen neuen, variierenden Rhythmus, dessen derbe Atmosphäre lässig mit der sexuellen Aufgeladenheit der bekannten Fassung gleichzieht. "What sets you free, I need you hear by me, because ..." © Laut
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CD12,49 €

Rock - Erschienen am 22. März 2005 | Castle Communications

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CD13,99 €

Rock - Erschienen am 1. Januar 2002 | Chrysalis\EMI Records (USA)

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CD9,99 €

Rock - Erschienen am 20. März 2020 | FNM

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CD13,99 €

Pop - Erschienen am 1. Januar 1985 | Unknown

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HI-RES5,99 €
CD3,99 €

Rock - Erschienen am 1. Oktober 1981 | CAPITOL CATALOG MKT (C92)

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Chrysalis Records introduced American audiences to Billy Idol with this debut EP, which led off with Idol's big UK hit as part of Generation X (and one of the best power pop numbers ever), "Dancing With Myself." Also included were a faithful cover of Tommy James And The Shondells' "Mony Mony" (not the later chart-topping live version), "Untouchables," and "Baby Talk." With this short record, which stayed in the album charts over a year, Idol was established as a post-punk hard rock singer of considerable promise. (A 1983 reissue of Don't Stop featured an interview with Idol conducted by MTV VJ Martha Quinn.) © William Ruhlmann /TiVo
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CD14,99 €

Rock - Erschienen am 10. November 1983 | CAPITOL CATALOG MKT (C92)

A slick, carefully crafted follow-up to his debut, Rebel Yell was Billy Idol's catchiest, most consistent fusion of synth-driven new wave pop and hard rock guitar pyrotechnics (courtesy of Steve Stevens). The eerie ballad "Eyes Without a Face" gave Idol his first U.S. Top Ten hit, while "Flesh for Fantasy" and the title track became MTV staples. Like much of Idol's solo output, it's all calculated for maximum appeal, but Rebel Yell also works too well not to be an infectiously guilty pleasure. © Steve Huey /TiVo
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CD1,99 €

Rock - Erschienen am 1. Januar 2009 | Capitol Records

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CD12,49 €

Rock - Erschienen am 20. Oktober 1986 | CAPITOL CATALOG MKT (C92)

Although it was ultimately an unsatisfying album, failing to live up to the promise of its fabulous single, "To Be a Lover," Whiplash Smile still burned clean with an immediately recognizable 1980s energy. Like Billy Idol himself, who affected the punk archetype but cut it with a two-dimensional, cartoonish plasticity perfect for the decade, Whiplash Smile expands on the sound of the 1983 breakthrough Rebel Yell while cleverly leaving its key elements unchanged. Idol's inherent Jim Morrison-ness was fleshed out, and Steve Stevens' already atmospheric guitar work was blended even more seamlessly with a percolating pot of shifting styles, new wave dance beats, and synth-heavy production. "Soul Standing By" and "Man for All Seasons certainly rocked -- Stevens' guitar work crackles with inventiveness, even augmented as it is with multiple overdubs. But like most of Whiplash, the songs seemed to exist in a phantom zone akin to the prismatic holding cell of General Zod and his cohorts in Superman II. The plodding "Beyond Belief" and the weird, Marty Robbins-meets-Del Shannon-in-space vibe of "Sweet Sixteen" are similarly opaque. There's plenty to listen for on Whiplash Smile, and Idol's attempt to expand his palette is admirable. Unfortunately, there's nary a memorable hook here outside of the single and whatever mileage can be gained from his trademark sneer. In that sense, Whiplash Smile is similar to so much music of the decade, which got by with rayon flash and giddy video posturing but little in the way of reality. But that means that Whiplash Smile is also disappointing: Idol's best work was equally as era-defining, but it lived on to be just as memorable after the calendar flipped on the Me Decade. © Johnny Loftus /TiVo