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Rock - Released January 1, 2000 | The Bicycle Music Company


Pop - Released November 24, 2014 | Contrasena Records S.L


Pop - Released July 2, 1986 | Airline Records


Punk / New Wave - Released July 25, 2019 | Cleopatra Records


Punk / New Wave - Released August 2, 2019 | Cleopatra Records


Pop - Released July 21, 2017 | Antonio Cospito


Pop - Released September 25, 2018 | HMedia

Punk / New Wave - Released May 9, 2019 | Cleopatra Records

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Rock - Released February 16, 2014 | 110 Records - Heavensake

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Rock - Released January 1, 1982 | Geffen

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

Pop - Released January 1, 1988 | Geffen

Berlin's electro-pop sound is salvaged only by the enduring and assertive voice of Terri Nunn, which is why The Best of Berlin is the most preferable place to hear this Los Angeles-based group's music. The synth-soaked punch of "No More Words" from 1984's Love Life album and the week-long number one ballad "Take My Breath Away" from the film Top Gun are the album's high points, while the other tracks are made up of clean and bright techno pop/rock with heavy emphasis stemming from three different keyboard players employed throughout the band's career. Berlin's '80s poignancy provided some rather palatable music, even if the charts didn't say so. Songs like "For All Tomorrow's Lies" and "Blowin' Sky High" could compete with anything Soft Cell or A Flock of Seagulls spouted at the time, and the range of Nunn's vocals elevated most of Berlin's efforts above the norm of the run-of-the-mill synthesizer glitz, but only marginally. A compressed lineup of their most accomplished material is definitely the best way in which to enjoy Berlin, avoiding all the inessentials that crept through their albums. ~ Mike DeGagne

Pop - Released January 1, 1984 | Geffen

Love Life, Berlin's second album, took over where 1982's Pleasure Victim left off, with Terri Nunn's vocals sounding a tad stronger in some places as well as some noticeable improvements on behalf of the synthesizers, but this improvement occurs sporadically, not consistently. Their first chart single, the clean-cut dance-rock hybrid entitled "No More Words," made it to number 23 thanks to Giorgio Moroder's production help. Moroder lends his talents to another track, "Dancing in Berlin," which emulates the same streamline formula of sharp keyboards and an animated dance pace. Outside of these two singles, the rest of the songs on Love Life fail to harbor any distinction, and even Nunn's forceful voice can't raise their value. Efforts like "When We Make Love," "Touch," and "For All Tomorrow's Lies" get lost in lukewarm techno-dance rhythms and cloned synth-driven beats. Berlin's sexual innuendoes are much too contrived, wearing thin by the end of the album, as does their attempt at combining one part rock to nine parts drum machine and dance beat. Two years after Love Life, Nunn cashed in on her vocal strengths, scoring a number one hit with "Take My Breath Away" from the Top Gun soundtrack. She then departed from the band in 1987. ~ Mike DeGagne

Rock - Released September 17, 2013 | 110 Records - Heavensake

Bolstered by a pair of divergent singles, the high-octane, dancefloor-ready title track and the languid, "Take My Breath Away"-inspired "It's the Way," the follow-up to 2009's All the Way In finds the Terri Nunn-led, 21st century incarnation of Berlin embracing the explosive EDM scene with a 12-track set of new material that owes more to acts like Armin Van Buuren and Skrillex than it does the new wave days of old. Still, the Derek Cannavo-produced Animal is hook-filled and synth pop-savvy enough to lure in fans of the group's early days. ~ James Christopher Monger