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Product details

  • Audio CD
  • Number of Discs: 1
  • Label: unknown
  • ASIN: B00004T0NA
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Bestsellers Rank: 51,792 in Music (See Top 100 in Music)

Customer Reviews

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Most Helpful Customer Reviews

15 of 16 people found the following review helpful By Jason Parkes #1 HALL OF FAME on 6 Sep 2001
Format: Audio CD
The Birthday Party progressed from their Boys Next Door roots, through their relocation to London from Australia- and exposure to such bands as The Pop Group & The Fall. Their initial releases were patchy in parts- but their were many classics ('Mr Clarinet'; 'Figure of Fun'; 'The Friend Catcher'; 'Nick the Stripper'). Portent of what to come...
The classic, if pigeonholing single, 'Blast off'/'Release the Bats' bookends this reissue. The former is a Roland S. Howard slab of violent noise- possibly more raucous than The Stooges (forget The Strokes!). 'Release the Bats' might have been an ironic piss-take of The Cramps; the word 'gothic' would now be used in connection with Cave et al (which they sometimes deseerved!). 'She's Hit' is a mellow, cruel opener; Mick Harvey's drums grating like the misogynist lyrics. 'Dead Joe' crashes out of the gloom, co-written with Anita Lane, we are given another car crash classic a la Bowie or The Normal (via JG Ballard). Though Cave's father died in such a way; so this is an important song. The 2nd version is even nastier!(& features Magazine's Barry Adamson- as Tracy Pew was incarcerated). Howard's 'Dim Locator' is great- there is a popsong hidden here; likewise his 'Several Sins'- which is closer to his work with Crime & The City Solution & These Immortal Souls. 'Hamlet' is a re-casting of the vengeful Danish Prince to a Faulkneresque white trash ghetto (very 'And the Ass saw the Angel'). Mick Harvey's switch to drums (replacing Phill Calvert) moves The BP's sound closer to the final e.p.'s. 'Big Jesus Trash Can'predicts later songs such as 'Fears of Gun' & 'Swampland'. The nastiest blues, with the nastiest feedback. The Birthday Party sound like they're on fire...
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1 of 1 people found the following review helpful By S. J. Webbon on 24 Oct 2012
Format: Vinyl
4AD have re-issued JunkYard in a special vinyl edition. Apart from the 12" LP, the package also contains a bonus 7" of the single 'Release The Bats' and 'Blast Off'. Additionally it includes a CD of all 12 tracks, so that buyers can also access the music digitally. The album has been mastered from the Henry Rollins 2000 re-master, previously unavailable in Europe (see Mick Harvey's comments below) while the single is a new, 2012 master taken from the original studio analogue tapes.

Mick Harvey (The Birthday Party) interviewed for The Quietus
I think it's a great record, really. We did some weird things with the way we put it together and mastered it: we put the songs really close together so there were hardly any gaps; we put loads of treble on it and that crazy cover which I've never really liked. I'm sure it's a great cover but I'm not sure it represents the album all that well. But the actual contents of the album are really amazing and they're a very special set of recordings and that's what really stands up; most people don't look at the cover these days, they just play the music. Henry Rollins did a re-master of it and made the songs have longer gaps between them. There are re-mastered versions of it here in Australia that make it sound a bit more normal and probably more powerful and less of that messing with people's heads. In the end it's down to the songs and it's pretty strong material.

And more reviews...
The Party's second and final full studio album was perhaps its scuzzy masterpiece, its art / psych / blues / punk fusion taken to at times outrageous heights. Ned Raggett - [...]

Blazing hard and blindingly bright, The Birthday Party were a magnesium strip of rock & roll intensity destined to burn out rather than hang around for the long haul and in Junkyard the band achieved its high watermark as a quintet. - Julian Marszalek, The Quietus - 30 April 2012
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1 of 1 people found the following review helpful By Dr. Delvis Memphistopheles TOP 500 REVIEWERVINE VOICE on 26 Feb 2010
Format: Audio CD
Ed "Big Daddy" Roth cover finally put an undergound art movement on the map and kicked off a new stylistic revolution, way back in 1982; lowbrow. Whilst serious paint splatterers were dripping their inks over the art world in the 50's/60's, gaining backslaps across Western galleries, customisers, the true frontiersmen artists, remained ignored and neglected. Traditionally "uneducated" in the artistic canon, stretching back to the big fellow being; nailed, stewed and screwed, they concentrated on the artefacts of the present. This underground movement, grew in response to the drippers.

The cover of the Gasser riding in his rod across the stage, was a resurrection of proto punk art.

Inside the grooves, Nick brushes aside the red velvet curtains to introduce a world of violent early 80's abandon, a world without personal limits. Led to a seeping wailing jazz noir world consisting of deep non law abiding obsessions. Each seemingly grounded on a sexual release coupled to a little bit of psychic death. Lyrically he provides a glass panel view gape into a world of distorted pain. So along with the vision was another musical backdrop spinning with anarchistic twirling fragments of guitar supplied by Rowland. All was smothered in shards of 10mls of sucked up blood ...as he provides a welcome flashing light to the JG Ballard rubberneck, head swivelled to the eternal car crash; Dead Joe.

Talcum powdered notions of prone beauty are a preening preoccupation within the lyrics such as She's Hit. It all ends in a purple lined coffin brimming over with eternal feelings of love, power and loss already mouldering, with a 12 inch gold blade. As the necrophiliac life stare gazes outwardly, the body is bathed in a sense of swirling nihilism. Come on and kiss me black.
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