Categories:
Cart 0

Your cart is empty

Berlin - Pleasure Victim

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

Pleasure Victim

Berlin

Unlimited Streaming

Listen to this album in high quality now on our apps

Enjoy this album on Qobuz apps with your subscription

Digital Download

Select Audio Quality

To be elegible for this price, subscribe to Sublime+

Originally released by the fledgling Enigma Records in 1982 and picked up by Geffen in early 1983 when the lascivious novelty single "Sex (I'm A...)" started picking up radio attention, Pleasure Victim is a frankly exploitative little slab of synth pop cynicism, so baldly crass in its positioning of lead singer Terri Nunn as a sex kitten (posing her in the nude on the inner sleeve, listing her contributions as "vocals, bj's" in the liner notes) and lyrically obsessed with the seedy side of the Los Angeles demimonde that criticism becomes nearly beside the point. Lyrical obsessions aside, Pleasure Victim actually holds up quite well as a piece of early-'80s synth pop, with two very good tunes ("Tell Me Why" and "Masquerade") and one masterpiece of the genre, the gimmicky and atmospheric "The Metro," the one song where Nunn's limited vocal abilities are put to their best use. The other three songs (not to mention the tiresome eight-minute remix of "Sex" on the cassette and CD versions) are much weaker, but surprisingly, for a record that was completely unfashionable seemingly within months of its initial release, Pleasure Victim actually has more to offer than many might remember. ~ Stewart Mason

More info

Pleasure Victim

Berlin

launch qobuz app I already downloaded Qobuz for Windows / MacOS Open

download qobuz app I have not downloaded Qobuz for Windows / MacOS yet Download the Qobuz app
Listen on Webplayer

Copy the following link to share it

You are currently listening to samples.

Listen to over 40 million songs with an unlimited streaming plan.

Listen to this album and more than 40 million songs with your unlimited streaming plans.

1
Tell Me Why 00:05:35

Berlin, MainArtist - JOHN CRAWFORD, ComposerLyricist - The Maomen, Producer

℗ 1982 UMG Recordings, Inc.

2
Pleasure Victim 00:03:50

Berlin, MainArtist - JOHN CRAWFORD, ComposerLyricist - Daniel R. Van Patten, Producer

℗ 1982 Geffen Records

3
Sex (I'm A...) 00:05:07

Terri Nunn, ComposerLyricist - Berlin, MainArtist - JOHN CRAWFORD, ComposerLyricist - David Diamond, ComposerLyricist - Daniel R. Van Patten, Producer

℗ 1982 Geffen Records

4
Masquerade 00:04:07

Berlin, MainArtist - The Maomen, Re-Mixer, StudioPersonnel - Daniel R. Van Patten, Producer - Chris Ruiz Velasco, ComposerLyricist

℗ 1982 UMG Recordings, Inc.

5
The Metro 00:04:09

Berlin, MainArtist - JOHN CRAWFORD, ComposerLyricist - Daniel R. Van Patten, Producer

℗ 1982 Geffen Records

6
World Of Smiles 00:03:51

Berlin, MainArtist - JOHN CRAWFORD, ComposerLyricist - Daniel R. Van Patten, Producer

℗ 1982 UMG Recordings, Inc.

7
Torture 00:02:39

Berlin, MainArtist - JOHN CRAWFORD, ComposerLyricist - The Maomen, Re-Mixer, StudioPersonnel - Daniel R. Van Patten, Producer

℗ 1982 UMG Recordings, Inc.

8
Sex (I'm A...) (Long Version) 00:08:10

Terri Nunn, ComposerLyricist - Berlin, MainArtist - JOHN CRAWFORD, ComposerLyricist - David Diamond, ComposerLyricist - The Maomen, Re-Mixer, StudioPersonnel - Daniel R. Van Patten, Producer - DVP, Re-Mixer, StudioPersonnel

℗ 1982 Geffen Records

Album Description

Originally released by the fledgling Enigma Records in 1982 and picked up by Geffen in early 1983 when the lascivious novelty single "Sex (I'm A...)" started picking up radio attention, Pleasure Victim is a frankly exploitative little slab of synth pop cynicism, so baldly crass in its positioning of lead singer Terri Nunn as a sex kitten (posing her in the nude on the inner sleeve, listing her contributions as "vocals, bj's" in the liner notes) and lyrically obsessed with the seedy side of the Los Angeles demimonde that criticism becomes nearly beside the point. Lyrical obsessions aside, Pleasure Victim actually holds up quite well as a piece of early-'80s synth pop, with two very good tunes ("Tell Me Why" and "Masquerade") and one masterpiece of the genre, the gimmicky and atmospheric "The Metro," the one song where Nunn's limited vocal abilities are put to their best use. The other three songs (not to mention the tiresome eight-minute remix of "Sex" on the cassette and CD versions) are much weaker, but surprisingly, for a record that was completely unfashionable seemingly within months of its initial release, Pleasure Victim actually has more to offer than many might remember. ~ Stewart Mason

About the album

Improve this page

Qobuz logo Why buy on Qobuz...

On sale now...
More on Qobuz
By Berlin
You may also like...
Abbey Road The Beatles
Paul Is Live Paul McCartney
Live At Woodstock Creedence Clearwater Revival
In your panoramas...
Iggy and the Stooges: The Dawn of Punk

In 1969, a group of self-confessed cretins dynamited rock'n'roll with a charge of distortion and nihilistic lyrics. At the head of these Stooges was Iggy Pop, a sort of obsessive, rebellious Nijinsky, who was destined to become the Godfather of punk rock.

The British Blues Boom, Chronicle of a Revolution

If Joe Bonamassa has come back with British Blues Explosion, a year after the Rolling Stones’ Blue And Lonesome, it has cemented the fact that the British Blues Boom was more than just a trend. More than a simple musical trend, it was the interest of a younger generation for the great American blues idols that had been ignored in their country, which led to a real revolution, with three major agitators leading the charge, Eric Clapton, Jeff Beck and Jimmy Page, considered in the UK as the “Holy Trinity” of rock and guitar. If they were far from being the only musicians involved, it is through their respective careers that we have discovered that blues, far from being an outdated musical genre, is some kind of getaway to other musical areas and has allowed for endless innovations.

Elvis, Still The King?

40 years after his death, Elvis Presley remains an unparalleled precursor. But even if his most important performances of 1954/55 for Sun Records remain the cornerstone of rock’n’roll, the aura today of the King seems to be fading in favour of younger generations such as the Beatles, the Rolling Stones and the Beach Boys among others. And yet…

In the news...