Crocodiles [Bonus Tracks] [Remaster]

Performer: Echo & the Bunnymen
Engineer: John Brierly; Hugh Jones; Rod Houison
Producer: Chameleons; David Balfe; Ian Broudie; Bill Drummond; Andy Zax (Reissue); Bill Inglot (Reissue)
Distributor: WEA (Distributor)

Notes: Echo & The Bunnymen: Ian McCulloch (vocals, guitar); Will Sergeant (guitar); Les Pattinson (bass); Pete De Freitas (drums). Additional personnel: David Balfe (keyboards). Recorded at Rockfield Studios, Monmouth, England. Originally released on Sire (6096). Includes liner notes by Max Bell. Personnel: Ian McCulloch (vocals, guitar); Will Sergeant (guitar); David Balfe (keyboards); Pete de Freitas (drums). Audio Remasterers: Dan Hersch; Bill Inglot. Liner Note Author: Max Bell. Recording information: Cargo Studios, Rochdale; Eden; Pavillion Gardens, Buxton UK; Rockfield Studios, Monmouth, Wales. Photographers: Roy Tee; Harry Goodwin. Emerging from Liverpool, England in 1980, Echo and the Bunnymen were hailed as the vanguard of a new psychedelic-rock movement. While vocalist Ian McCulloch's cryptic lyrics and Will Sergeant's colorful guitar arrangements do evoke the dark, brooding intensity of '60s groups like the Doors, Echo and the Bunnymen owed more to English post-punk than '60s rock. Featuring songs that range from the supercharged three-chord garage rock of "Do It Clean" and the crashing album opener, "Going Up," to the hazy neo-psychedelia of "Villiers Terrace" and "Pictures on My Wall," CROCODILES is a remarkably good debut, one that established Echo and the Bunnymen as one of most creative and charismatic English rock bands of the '80s. The American edition of CROCODILES also boasts the single "Rescue," a dramatic, melodic track that layers McCulloch's gritty rhythm guitar over Sergeant's chiming lead and producer David Balfe's subtle keyboard work to create one of the definitive U.K. singles of the post punk era. While Echo and the Bunnymen would later become modern-rock icons, CROCODILES captures them in all their raw, ragged glory, trying to emulate the work of their heroes David Bowie and the Velvet Underground but instead creating music of startling originality. Inspired by psychedelia, sure. Bit of Jim Morrison in the vocals? OK, it's there. But for all the references and connections that can be drawn (and they can), one listen to Echo's brilliant, often harrowing debut album and it's clear when a unique, special band presents itself. Beginning with the dramatic, building climb of "Going Up," Crocodiles at once showcases four individual players sure of their own gifts and their ability to bring it all together to make things more than the sum of their parts. Will Sergeant in particular is a revelation -- arguably only Johnny Marr and Vini Reilly were better English guitarists from the '80s, eschewing typical guitar-wank overload showboating in favor of delicacy, shades, and inventive, unexpected melodies. More than many before or since, he plays the electric guitar as just that, electric not acoustic, dedicated to finding out what can be done with it while never using it as an excuse to bend frets. His highlights are legion, whether it's the hooky opening chime of "Rescue" or the exchanges of sound and silence in "Happy Death Men." Meanwhile, the Pattinson/De Freitas rhythm section stakes its own claim for greatness, the former's bass driving yet almost seductive, the latter's percussion constantly shifting rhythms and styles while never leaving the central beat of the song to die. "Pride" is one standout moment of many, Pattinson's high notes and De Freitas' interjections on what sound like chimes or blocks are inspired touches. Then there's McCulloch himself, and while the imagery can be cryptic, the delivery soars, even while his semi-wail conjures up, as on the nervy, edgy picture of addiction "Villiers Terrace," "People rolling round on the carpet/Mixing up the medicine." Brisk, wasting not a note, and burning with barely controlled energy, Crocodiles remains a deserved classic. [The 2004 expanded edition of Crocodiles restores the original U.K. running order, bumping "Do It Clean" down to the bonus track section. The Shine So Hard EP is the highlight of this very worthwhile section with excellent live versions of "Zimbo" and "Over the Wall." Also included are early versions of "Villiers Terrace," "Pride," and "Simple Stuff," as well as the McCullough/Julian Cope collaboration "Read It in Books.] ~ Ned Raggett & Tim Sendra

Entertainment Weekly (3/5/04, p.68) - "While lead moper Ian McCulloch channels Jim Morrison on morphine, the rest of the quartet cranks out spiky post-punk riffs sharp enough to draw blood." - Rating: A- Q (8/02, p.71) - "The first post-punk psychedelic album. CROCODILES is all lysergic blots of guitar and pulsating keyboards..." NME (Magazine) (9/25/93, p.19) - Ranked #28 in NME's list of The 50 Greatest Albums Of The '80s.

Along with Teardrop Explodes and Wah! Heat, Echo & the Bunnymen were part of the early-1980s Liverpool scene that was somewhat misleadingly dubbed "neo-psychedelic." While the Bunnymen bore elements of the Doors' dark, mysterious sound and decidedly abstract lyrics, punk played as much of a role in the development of the band's music as anything else. What marks their sound more than anything else, though, is a soaring, anthemic quality that can be quite affecting. After a lengthy hiatus, the band reunited in the early 2000s to tour and record.

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