|1. Mirror In The Bathroom|
|2. Hands Off...She's Mine|
|3. Two Swords|
|4. Twist & Crawl|
|5. Rough Rider|
|6. Click Click|
See all 12 tracks on this disc
|1. Tears Of A Clown|
|2. Ranking Full Stop|
|3. Twist & Crawl [extended]|
|4. Hands Off...She s Mine [extended]|
|5. Stand Down Margaret [Dub]|
|6. Mirror In The Bathroom [Sure Is Pure Mix]|
See all 19 tracks on this disc
|1. Hands Off...She's Mine (DVD Single Video)|
|2. Mirror In The Bathroom (DVD Single Video)|
|3. Best Friend (DVD Single Video)|
|4. Tears Of A Clown [Top Of The Pops - Broadcast on 13th December 1979]|
|5. Tears Of A Clown [Top Of The Pops - Broadcast on 3rd January 1980]|
|6. Hands Off...She's Mine [Top Of The Pops - Broadcast on 22nd February 1980]|
See all 9 tracks on this disc
As the DVD of TV appearances that form part of this comprehensive reissue proves, once you saw The Beat in 1980, all you remembered is how much you loved, feared or fancied Terry Hall, Kevin Rowland and Suggs.
Which is perhaps why only this debut album has found a place in British music’s fickle memory banks. I Just Can’t Stop It, with its delicious claret, white and black pop-art cover and relentless danceability, feels entirely comprised of hit singles (and six of the 12 tracks were, including double A-sides). Its fusion of black and white musical influences and anti-racist defiance makes it as perfect an example of the 2 Tone era as anything by The Specials or Madness.
Because of Bob Sargeant’s tough and simple production and its historic place as the first digitally recorded album, it hasn’t dated. And this despite the presence of anti-Thatcher anthem Stand Down Margaret, which now sounds like one of pop’s most futile gestures.
What quickly undid The Beat, apart from Wakeling’s lack of X factor, was the increasing disconnect between the catchy, carnivalesque music and morbid, self-lacerating lyrical themes. When 1981’s Wha’ppen? and 1982’s Special Beat Service – also deservedly reissued here with a slew of bonus material – failed commercially, The Beat split, with Wakeling and Roger going on to minor US success as General Public, and bassist Cox and guitarist Steele hitting the mother lode alongside Roland Gift as Fine Young Cannibals.
As with the majority of post-punk bands, The Beat’s natural sense of musical adventure and bleak worldview wouldn’t mesh comfortably with 80s pop’s rediscovery of glam aesthetics and upward mobility. But I Just Can’t Stop It remains one of British pop’s most lovable and ebullient albums, and the kind of politicised party album they just don’t make anymore.
Find more music at the BBC This link will take you off Amazon in a new window
This product's forum
Active discussions in related forums
Search Customer Discussions