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Pop - Released January 1, 1990 | Virgin EMI

The Soup Dragons' Lovegod is packed with contradictions; the synthesizers and breakbeats don't match the psychedelic cover art, and the guitars seem out of place within the slick production. If Lovegod is where the Soup Dragons supposedly found their sound -- and it is -- they still hadn't fine-tuned it to the level it would reach in a few short years. This isn't to say that Lovegod isn't an enjoyable album, though; in fact, it's quite the opposite: of the late-'80s/early-'90s explosion of British rock bands who made danceable rock music, the Soup Dragons were one of the most interesting and most fun. Lovegod is far from an exception to this rule, and several of the band's best songs are included here: the hit "I'm Free," "Mother Universe," and the title track. What makes Lovegod frustrating, however, is that it feels as though the band is being held back. Given the way they let loose later -- on Hotwired and Hydrophonic -- on this album they sound too mannered, too rigidly following the rules implied by the overly stiff beats. It's not a disappointment, it just means that in retrospect, Lovegod was more of a transition album, more of a blueprint to come, than the statement that would define this band's unfortunately short career. © Jason Damas /TiVo

Rock - Released January 1, 1992 | EMI

Hotwired is where the Soup Dragons reached equilibrium -- the happy medium between the slick breakbeats and guitar-based rock & roll. Throughout most of the album, the songs are among the strongest of the band's career and sonically the album is near perfect; fans of dance alternative will love singles like "Pleasure" and "Divine Thing" (both moderate hits in the U.S.) and rock fans will appreciate the crisp but not sterile instrumentation. There are many great production flourishes -- like the "gospel choir"-like background vocals and fun sound effects -- sprinkled throughout the disc. In fact, "Hotwired" is worth listening to for the chugging guitars on the fabulous "Getting Down" alone. For fans of this genre or fans of Brit-pop or even power pop in general, this is the place to start. © Jason Damas /TiVo

Rock - Released January 1, 2012 | UMC (Universal Music Catalogue)

Between 1988 and 1994, the Soup Dragons were signed to the Big Life label, spawning one worldwide smash single, their cover of the Rolling Stones' "I'm Free," and three albums (1990's Lovegod, 1992's Hotwired, and 1994's Hydrophonic) that were amalgamations of arena-sized riffs, danceable beats, and uncomplicated alternative pop. They had a couple other songs (most notably "Divine Thing") scare the charts, but mostly they toiled away on the fringes of the big time. This generous 20-song collection of tracks from that era rounds up songs from each album, plus a handful of rarities. © Tim Sendra /TiVo

House - Released September 3, 2018 | Midnight Riot


Pop - Released July 27, 2005 | Rhino - London-Sire

The Soup Dragons' Hang-Ten! is a clattering rush of indie pop that manages to overcome the weak vocals of Sean Dickson, the rudimentary production, and the sometimes overly simplistic songwriting with a wave of pure teenage energy. Recorded on the heels of the C-86 movement, the record is very much influenced by that scene and the nascent noise-pop sound as well. It is built around the trashcan drums of the Jesus and Mary Chain, the fuzzy but not dangerous guitars of the Shop Assistants, the chirping backing vocals and the shambling feel of bands like the Pastels or the Bodines. Of course it isn't the equal of their influences, but tunes like "Slow Things Down," "Pleasantly Surprised," and especially "Whole Wide World" have a ramshackle charm that puts them just below the first tier of '80s U.K. fuzz-pop bands. The seven-minute long melancholy epic "So Sad ( I Feel)" even makes a case that the band could have transcended their narrow scope if they had gone in that more "adult" noise-pop direction (see the Wedding Present for a band that did) instead of jumping for the mainstream on their subsequent albums. Although its appeal is mainly limited to devoted C-86 enthusiasts and Soup Dragons completists (if such a thing exists), Hang-Ten! is actually a pretty decent record. Certainly it was the best work of a band that went on to release nothing but sub-par records after this. © Tim Sendra /TiVo

Pop - Released July 27, 2005 | Rhino - London-Sire

Many bands would kill for a song as immediately lovable as the Soup Dragons' "Soft As Your Face" from This Is Our Art; however, while the track reveals the group's ability to craft clever, hummable pop, the rest of the LP unveils the band's lack of punch. "Soft As Your Face," with its jaunty acoustic guitars and warm harmonies, outshines almost everything else on the album. On "Kingdom Chairs," vocalist Sean Dickson tries to imitate the snarl of a '60s garage rocker; unfortunately, he isn't convincing, and the group sounds anemic, unable to unleash the raw power necessary to make the song crackle. The Soup Dragons aim for the punk-pop of the Buzzcocks on "Great Empty Space," but the lyrics fail to make an impact. The band cranks up the amps even louder on "Passion Protein," veering closely to heavy metal, and they seem as if they're trying too hard to show that they're not a wimpy new wave act. The Soup Dragons are far more effective when they're gorging themselves on bubblegum like the sweet jangle pop of "Soft As Your Face" and "Turning Stone." The Soup Dragons bite off more than they can chew on This Is Our Art; nevertheless, "Soft As Your Face" and "Turning Stone" melt in the mouth like the most delicious candy. © Michael Sutton /TiVo