Your basket is empty

Categories :

Similar artists

Albums

HI-RES$14.99
CD$12.99

Rock - Released November 11, 2016 | Caroline International

Hi-Res
HI-RES$21.99
CD$18.99

Rock - Released October 4, 2019 | BMG Rights Management (UK) Limited

Hi-Res
CD$31.99

Pop - Released March 25, 2013 | Virgin Catalogue

A 36-track anthology, Celebrate: Greatest Hits covers Simple Minds from the band's 1978 debut through 2009's Graffiti Soul. There's also a pair of decent exclusive tracks, "Blood Diamonds" and "Broken Glass Park," recorded specifically for the set. Fanatics could pick apart the track selections, but this provides a high-quality overview of the band's output. Their rapid development from 1978 through 1982 -- a period represented with the likes of "Chelsea Girl," "I Travel," "Love Song," "Promised You a Miracle," and "Speed Your Love to Me" -- was unlike that of any of their peers. The assortment of material taken from the band's later albums is evenhanded, including "Alive and Kicking," "All the Things She Said," "Belfast Child," "Let There Be Love," and "She's a River," all of which reached the Top Ten in the U.K. © Andy Kellman /TiVo
CD$29.49

Rock - Released May 8, 1989 | UMC (Universal Music Catalogue)

Their first proper new release since the commercial breakthrough of Once Upon a Time (a live album intervened) and Simple Minds makes a decidedly, noncommercial follow-up. Street Fighting Years is a moody, dark affair. The music is yearning and most of the songs are politically charged lyrically. It was a move that could (and did) bring commercial failure. However, Street Fighting Years is an artistic and elegant album that might lack immediate choruses but draws in the listener. The title track takes some dramatic turns that give the gentle melody added thrust. "Take a Step Back" pulsates and "Wall of Love" rocks with conviction. Slower tracks like the brooding "Let It All Come Down" and a spirited run through the traditional "Belfast Child" are well done. Other noteworthy tracks include a version of the Peter Gabriel classic "Biko" and the soaring "Mandela Day." It might not have satisfied the band's newly won fans, but Street Fighting Years is an interesting, enjoyable album with some truly lovely moments. © Tom Demalon /TiVo
CD$25.49

Pop - Released November 1, 2019 | UMC (Universal Music Catalogue)

40: The Best of 1979-2019 is the 14th compilation album from Scottish rock band Simple Minds. Celebrating the band's 40-year anniversary, the album compiles material from across their career, including prominent hits like "Alive and Kicking" and "Don't You (Forget About Me)," and also includes a new cover of King Creosote's "For One Night Only." © David Crone /TiVo
CD$31.99

Rock - Released October 21, 1985 | UMC (Universal Music Catalogue)

Riding the coattails of the John Hughes flick The Breakfast Club, Simple Minds finally broke into America with their theme song "Don't You Forget About Me," and their 1985 release Once Upon a Time captured the heart-wrenching excitement found in bands such as U2. They were now one of the biggest names in music, and Jim Kerr's thirsting vocals became the band's signature. Once Upon a Time, featuring producer Jimmy Iovine (U2, Stevie Nicks, Bruce Springsteen), showcased more of a guitar-driven sound. The band's heavy synth pop beats had relaxed a bit and Charlie Burchill's charming playing style was most noticeable. Also enlisting the choir-like beauty of Robin Clark, Simple Minds' popularity was expounded on songs such as "Alive & Kicking" and "Sanctify Yourself." This album was one of their best, most likely leading the pack in the band's album roster, because it exuded raw energy and solid composition not entirely captured on previous albums. © MacKenzie Wilson /TiVo
HI-RES$14.99
CD$12.99

Rock - Released February 2, 2018 | BMG Rights Management (UK) Limited

Hi-Res
A few notes are enough to recognize Simple Minds, and thus rediscover their brand. The echo, the lyricism, the mystic rhythmic, the muddled guitars, the choruses calibrated for the stadiums and above all Jim Kerr’s possessed voice: nothing is lacking on this 18th studio album. Forty years after starting their formation which peaked at the top of the charts during the 80s, the Scots don’t try to reinvent themselves here, but rather to rekindle a flame that shone during the last century and that they adapt quite well to 2018. With the help of a sober production, Simple Minds manages to reflect the times without sounding off track. It’s worth noting that this Walk Between Worlds is also the first album of the band since 2002 without drummer Mel Gaynor and keyboardist Andy Gillespie. © CM/Qobuz
CD$8.99

Rock - Released July 15, 2016 | UMC (Universal Music Catalogue)

One of Scotland's finest exports, Simple Minds deliver a strong synth-reared release on New Gold Dream. This album harks the darker side of the band's musicianship, and such material alludes to their forthcoming pop-stadium sound which hurled them into rock mainstream during the latter part of the '80s. They were still honing their artistic rowdiness, and Kerr's pursuing vocals were still hiding. But Simple Minds' skill of tapping into internal emotion is profound on songs such as "Someone, Somewhere in Summertime" and the album's title track. But the dance-oriented tracks like "Promised You a Miracle" and "Glittering Prize" are lushly layered in deep electronic beats -- it was only a matter of time for Simple Minds to expound upon such musical creativity which made them a household favorite through the 1980s. © MacKenzie Wilson /TiVo
CD$25.49

Rock - Released January 1, 2014 | UMC (Universal Music Catalogue)

In less than four years, Simple Minds produced and progressed like few other bands. They released six albums, including a pair of nervy post-punk classics in Real to Real Cacophony and Empires and Dance, as well as the lavish "new pop" triumph New Gold Dream. Their audience expanded, and dates opening for the likes of U2 and the Police placed them in stadiums. The band's sound naturally became less subtle. For Sparkle in the Rain, they sought U2 producer Steve Lillywhite, whose approach helped shape their performances into a forceful, direct set of commercial rock designed to shake nosebleed seats. Despite frontman Jim Kerr's vaguest gesturing and most voluble bellowing to that point, the move worked. The pounding "Waterfront," hurtling "Speed Your Love to Me," and gleaming "Up on the Catwalk," the album's singles, all reached the Top 30 in the U.K., and by the end of the year, the band was headlining North American hockey arenas and amphitheaters. Apart from the brawling "The Kick Inside of Me," which contains one of Kerr's least tethered turns, none of the album cuts matches the urgency heard in the singles. Relatively restrained moments, such as the absurdly titled "'C' Moon Cry Like a Baby" ("Could this be something we don't understand," indeed), resemble stiff stabs at re-creating tense drama akin to the tail end of New Gold Dream. As successful as it was, Sparkle in the Rain merely poised Simple Minds for their biggest year, 1985, when they followed up with "(Don't You) Forget About Me" and "Alive and Kicking," singles that hit the Top Ten in the U.K. and the U.S. © Andy Kellman /TiVo
CD$12.99

Rock - Released January 1, 2008 | Virgin Catalogue

One prize Simple Minds will never win is for being the most consistent band in the world. Some of their albums have been strong (New Gold Dream, Sparkle in the Rain, and Once Upon a Time, to name a few), while others have been weak and disappointing. Real Life sort of falls in between; some of the songs are decent (including the catchy "Stand By Love" and the haunting "Woman"), but the majority of them aren't very memorable. Devoted Simple Minds fans will want this; more casual listeners would be better off sticking to the band's mid-'80s work. © Alex Henderson /TiVo
CD$31.99

Rock - Released July 15, 2016 | UMC (Universal Music Catalogue)

One of Scotland's finest exports, Simple Minds deliver a strong synth-reared release on New Gold Dream. This album harks the darker side of the band's musicianship, and such material alludes to their forthcoming pop-stadium sound which hurled them into rock mainstream during the latter part of the '80s. They were still honing their artistic rowdiness, and Kerr's pursuing vocals were still hiding. But Simple Minds' skill of tapping into internal emotion is profound on songs such as "Someone, Somewhere in Summertime" and the album's title track. But the dance-oriented tracks like "Promised You a Miracle" and "Glittering Prize" are lushly layered in deep electronic beats -- it was only a matter of time for Simple Minds to expound upon such musical creativity which made them a household favorite through the 1980s. © MacKenzie Wilson /TiVo
CD$8.99

Pop - Released September 22, 2014 | Edsel

CD$11.49

Rock - Released January 1, 2002 | Virgin Records

Simple Minds' astonishingly rapid ascent from humble and derivative post-punk to platinum and transcendent art pop is just as remarkable as the descent that followed it. More remarkable is the fact that a fair portion of the band's fans have such a strict discographical line in the sand drawn -- right at the chart-crashing masterpiece that is New Gold Dream -- where both sides overlap but don't dare cross. While fans of the band's earlier work essentially drop off with that record (and choose to live in blissful denial that the band existed after that), those on the other end are more or less oblivious to what's on the other side. So what's on that other, earlier side? Five studio albums released within the span of three years. Five studio albums that range from safe to bold, from impenetrable to accessible, from strange to puzzling, and from good to pee-your-pants phenomenal. Life in a Day, the first of the five records released during this fascinating pre-fame period of Simple Minds' career, is easily the least of the first five. On their debut, they seem to run with a template based on the jittery bounce of Roxy Music's "Virginia Plain" and the keyboard-accentuated lunatic punch of Magazine, a band that had released their own debut a year prior to Life in a Day. (Simple Minds would later release an album with the same title, Real Life. Coincidence?) Despite the growing pains, this is a skilled and assured assemblage of guitar-heavy post-punk, with Jim Kerr's over-caffeinated yelp taking the lead role. The arrangements are full, direct, and sharply executed. The high points: the teeter-tottering title track and the J. Geils Band-like swagger (honestly!) of "Someone." The low point: "Pleasantly Disturbed," an epic Velvet Underground-inspired limp that lasts eight very long minutes. © Andy Kellman /TiVo
CD$10.49

Rock - Released January 1, 2002 | Virgin Records

Hardly content with fumbling around with the same sound, Simple Minds shifted gears once again for album number three, Empires and Dance. The "dance" aspect of the title needs to be emphasized, but it's apparent that the group's globetrotting and simmering political tensions in Britain affected their material in more ways than one. One gets the idea that Simple Minds did some clubbing and also experienced some disparate views of the world. The opening "I Travel" is the most assaultive song in the band's catalog, sounding like a Giorgio Moroder production for Roxy Music. Think "I Feel Love" crossed with "Editions of You," only faster; gurgling electronics, a hyperkinetic 4/4 beat, and careening guitars zip by as Jim Kerr delivers elliptical lyrics about unstable world affairs with his throaty yelping (this was still before he developed that predilection for foghorn bombast). The remainder of the album repeals the blitzkrieg frenetics of the beginning and hones in on skeletal arrangements that focus on thick basslines and the loping rhythms that they help frame. The hopping/skipping "Celebrate" isn't much more than a series of handclaps, a light drum stomp, some intermittent bass notes, and some non-intrusive synth effects. It goes absolutely nowhere, yet it's more effective and infectious than most verse-chorus-verse pop songs. The seven minutes of "This Fear of Gods," which boast another dense rhythm abetted by trebly atmospheric elements (distant guitars, percolating electronics, sickly wind instruments), come off like an excellent 12" dub, rather than an original mix. Just as bracing, the paranoiac disco of "Thirty Frames a Second" should have been played regularly at every club in 1980 and should live on as a post-punk dance classic. It's a true shock that this record was released with reluctance. The band coerced an unimpressed Arista into pressing a minimal amount of copies for release (fans still had trouble locating copies), but thankfully Virgin reissued it in 1982. © Andy Kellman /TiVo
CD$7.49

Rock - Released January 1, 2003 | Virgin Records

In less than four years, Simple Minds produced and progressed like few other bands. They released six albums, including a pair of nervy post-punk classics in Real to Real Cacophony and Empires and Dance, as well as the lavish "new pop" triumph New Gold Dream. Their audience expanded, and dates opening for the likes of U2 and the Police placed them in stadiums. The band's sound naturally became less subtle. For Sparkle in the Rain, they sought U2 producer Steve Lillywhite, whose approach helped shape their performances into a forceful, direct set of commercial rock designed to shake nosebleed seats. Despite frontman Jim Kerr's vaguest gesturing and most voluble bellowing to that point, the move worked. The pounding "Waterfront," hurtling "Speed Your Love to Me," and gleaming "Up on the Catwalk," the album's singles, all reached the Top 30 in the U.K., and by the end of the year, the band was headlining North American hockey arenas and amphitheaters. Apart from the brawling "The Kick Inside of Me," which contains one of Kerr's least tethered turns, none of the album cuts matches the urgency heard in the singles. Relatively restrained moments, such as the absurdly titled "'C' Moon Cry Like a Baby" ("Could this be something we don't understand," indeed), resemble stiff stabs at re-creating tense drama akin to the tail end of New Gold Dream. As successful as it was, Sparkle in the Rain merely poised Simple Minds for their biggest year, 1985, when they followed up with "(Don't You) Forget About Me" and "Alive and Kicking," singles that hit the Top Ten in the U.K. and the U.S. © Andy Kellman /TiVo
CD$6.99

Pop - Released November 14, 2015 | Edsel

CD$10.49

Rock - Released January 1, 2003 | Virgin

To the delight of some open-minded post-punk fans -- fans who also had space for the relatively new, untraditional likes of Devo, Kraftwerk, and Eno in their record collections -- the relative simple-mindedness of Life in a Day was blown to bits and left for dead on the pub floor by Real to Real Cacophony, the wide-eyed carnival-like follow-up released only seven months after its predecessor. The artistic leap from Life in a Day to Real to Real has to be one of the most mesmerizing ones imaginable, an improvement that is even more impressive when the short time between release dates is considered. It's where Simple Minds ventured beyond the ability to mimic their influences and began to manipulate them, mercilessly pushing them around and shaping them into funny objects the way a child transforms a chunk of Play-Doh from an indefinable chunk of nothing into a definable chunk of something. Aside from a mercifully brief lapse into aimless murmuring and doodling that occurs during the middle of the record, Real to Real Cacophony is rife with countless bizarre joys. It knocks you on your back with pretentious artsy-fartsiness as instantly as New Gold Dream dazzles with its art pop pleasures, but its challenging melodicism through jerky time signatures and an endless supply of varied sounds and textures keeps you coming back for more. "Real to Real," a sinister rewrite of Kraftwerk's "Radio-Activity," is a good, quick point of reference. Guitars are employed less frequently and are replaced by burbling electronics and further use of keyboard shadings, though the absolute high point of the band's early years, "Changeling," benefits from plangent, angular jabs. The record is certainly as much of an achievement as New Gold Dream -- an achievement that's on a plane with other 1979 post-punk landmarks like Metal Box, 154, Entertainment, and Unknown Pleasures. No kidding. © Andy Kellman /TiVo
CD$7.49

Rock - Released January 1, 2003 | Virgin Records

Although Simple Minds pretty much dropped off US pop radar after 1985's hit ONCE UPON THE TIME, the band, effectively reduced to the duo of singer Jim Kerr and guitarist Charlie Burchill plus session musicians, continued their success in the UK. The Scottish group was still popular enough there to be skewered in a scene in Nick Hornby's pop-geeks-in-love novel HIGH FIDELITY. 1995's GOOD NEWS FROM THE NEXT WORLD, the second album by the Kerr-Burchill duo, continues its predecessor's trend towards adult, reflective, mildly anthemic pop. It's less experimental and immediate than '80s classics such as NEW GOLD DREAM or SPARKLE IN THE RAIN, but less bombastic and pretentious than later records such as ONCE UPON A TIME and STREET FIGHTING YEARS. A sense of wistfulness pervades these eight spacious, uncluttered tracks, though there's plenty of joy to be had in songs such as "And the Band Played On." © TiVo
CD$16.49

Rock - Released July 15, 2016 | UMC (Universal Music Catalogue)

One of Scotland's finest exports, Simple Minds deliver a strong synth-reared release on New Gold Dream. This album harks the darker side of the band's musicianship, and such material alludes to their forthcoming pop-stadium sound which hurled them into rock mainstream during the latter part of the '80s. They were still honing their artistic rowdiness, and Kerr's pursuing vocals were still hiding. But Simple Minds' skill of tapping into internal emotion is profound on songs such as "Someone, Somewhere in Summertime" and the album's title track. But the dance-oriented tracks like "Promised You a Miracle" and "Glittering Prize" are lushly layered in deep electronic beats -- it was only a matter of time for Simple Minds to expound upon such musical creativity which made them a household favorite through the 1980s. © MacKenzie Wilson /TiVo
CD$17.99

Rock - Released January 1, 2008 | Virgin Catalogue

The second box dedicated to compiling Simple Minds' Themes series -- i.e., dolled-up reissues of the group's original 12" singles -- covers August of 1982 through April of 1985, which means that the A-sides originate from the New Gold Dream and Sparkle in the Rain albums. Though only "Promised You a Miracle" (found on Themes, Vol. 1) managed to crack the Top 70 of the U.S. club chart, it carried New Gold Dream to a similar position on the album chart. The album rightfully fared much better in the group's home country, aided by the previously mentioned hit and "Someone Somewhere (In Summertime)," the scope-widening introduction to the album, and another stellar A-side. Sparkle in the Rain, despite carrying a couple spare flashes of light, was a turn for the overambitious worse. These Themes boxes were obviously made with the collectors in mind, and it's only those people who will have any need for them. Extended versions of "Don't You (Forget About Me)," "Waterfront," "Speed Your Love to Me," and "Up On the Catwalk" are featured, along with B-side spots filled out with album cuts and the odd live performance. © Andy Kellman /TiVo