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Rid Of Me CD

Price: £6.37 & FREE Delivery in the UK on orders over £20. Details
Includes FREE MP3 version of this album.
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Amazon's PJ Harvey Store


Image of album by PJ Harvey


Image of PJ Harvey


“Take me back to England
& the grey, damp filthiness of ages
fog rolling down behind the mountains
& on the graveyards, and dead sea-captains.”
PJ Harvey, The Last Living Rose

PJ Harvey’s new album was recorded in a 19th Century church in Dorset, on a cliff-top overlooking the sea. It was created with a cast of musicians including such long-standing ... Read more in Amazon's PJ Harvey Store

Visit Amazon's PJ Harvey Store
for 35 albums, 30 photos, discussions, and more.

Frequently Bought Together

Rid Of Me + Dry + To Bring You My Love
Price For All Three: £21.47

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Product details

  • Audio CD (4 May 1993)
  • Number of Discs: 1
  • Format: CD
  • Label: Universal / Island
  • ASIN: B000001DYD
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (17 customer reviews)
  • Amazon Bestsellers Rank: 18,894 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
  1. Rid Of Me 4:28£0.99  Buy MP3 
  2. Missed 4:25£0.79  Buy MP3 
  3. Legs 3:40£0.79  Buy MP3 
  4. Rub 'Till It Bleeds 5:02£0.79  Buy MP3 
  5. Hook 3:57£0.79  Buy MP3 
  6. Man-Size (Sextet) 2:18£0.79  Buy MP3 
  7. Highway '61 Revisited 2:57£0.79  Buy MP3 
  8. 50 Ft Queenie 2:23£0.79  Buy MP3 
  9. Yuri-G 3:28£0.79  Buy MP3 
10. Man-Size 3:16£0.79  Buy MP3 
11. Dry 3:23£0.59  Buy MP3 
12. Me-Jane 2:42£0.59  Buy MP3 
13. Snake 1:36£0.79  Buy MP3 
14. Ecstasy 4:26£0.59  Buy MP3 

Product Description


PJ Harvey's second and most ferocious album finds her claiming images of sexuality, whether they're of a "hysterical" female (the obsessive title track and the indelible accusation "you leave me dry") or male "dominance" ("Man-Size", which also appears in an atonal arrangement with a string sextet, and the feral rockabilly size-brag of "50-Ft Queenie"). Recorded to play up the stark dynamic contrasts of Harvey's early trio, it's as harsh and abrasive as the gutter blues whose vocal style Harvey cops. And she demands a place for herself at the table of great songwriters--a hellfire take on Dylan's "Highway 61 Revisited" fits neatly alongside her own work. --Douglas Wolk

BBC Review

Polly Jean Harvey’s biggest albums may have followed in its wake – 1995’s To Bring You My Love was a year-end number one almost across the board, and 2000’s Stories From the City, Stories From the Sea was an overdue Mercury Prize triumph – but this striking second LP remains one of the Dorset-born singer’s most-loved releases.

But it’s an awkward record to pour one’s affections over; a snarling affair that barks and lashes out like a beast cornered. The artwork is striking, an apparently topless Harvey flicking a head of entrails-alike hair from, presumably, a bathroom body of water, and the music contained within the packaging is equally as memorable. Largely recorded alongside celebrated engineer Steve Albini, who allows each compositional element space to flex and flail, it’s a collection of songs so close to the bone of subject matter that to cut them would simply blunt the blade.

Amazingly, Rid of Me represented Harvey’s first album for a major label – nowadays, such a risk on a relatively underground artist, whose material is hardly suited to significant radio rotation, is unheard of. But Island’s confidence in their new signing was vindicated when Rid of Me debuted at three on the domestic albums chart, paving the way for Harvey’s future albums to become hits. Also, her rising profile enabled a handful of angst-ridden female songwriters to emerge to prominence, not least Canadian vocalist Alanis Morrissette, whose worldwide smash Jagged Little Pill took its share of cues from Harvey’s bare-all performances.

From which Man-Size Sextet – the one track not recorded with Albini – and 50ft Queenie were selected as singles, though neither possesses the attractive warmth of later cuts like Down By the Water and Good Fortune. But that’s the point, really: Rid of Me isn’t intended as an easy listen. It’s a deeply personal experience, one that presents lyrical catharsis to the fore beside barren arrangements (the album was the last to feature the trio of Harvey, Rob Ellis and Steven Vaughan) to stir the soul like few records of its kind. Even several years on, Harvey’s much-imitated style sounds remarkably fresh, her passion complemented by some enthrallingly naked musicianship.

A tough listen then, even at its comparative prettiest, but an essential one that demands your attention from beginning to end. --Mike Diver

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Customer Reviews

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Most Helpful Customer Reviews

34 of 35 people found the following review helpful By A Customer on 28 Feb. 2004
Format: Audio CD
Yes, that's right. Rid of Me has to be one of the hardest-rocking, most kick-ass, most anti-pop records I've ever heard. It is an absolute masterpiece of bile and anger, violence and hate. It's so extreme that it feels less like a rock album than a volcanic exorcism of personal demons. Rarely have I heard so much rage and power harnessed onto tape. It is truly exhilarating.
Rid of Me is PJ Harvey's second album, released just a year after her critically acclaimed 1992 debut Dry. Whereas Dry sounded naïve, youthful and almost innocent, the follow-up has a much harder edge to it. The sound is brutally raw, the lyrics are more bitter and wise, the anger is sharper and more pointed. It's a more thrillingly extreme affair all round. Steve Albini's in-your-room production is absolutely perfect for bringing out this nasty side of PJ. He's worked with Pixies and Nirvana; in an interview at the time, PJ explained that she wanted Albini to record them like a live band, so that you could feel the instruments pounding away before you with every hacking guitar riff and thunderous drum kick.
The shocking title track is a Fatal Attraction-style revenge fantasy about a scorned, obsessed lover tormenting her old flame. It starts slowly as a barely audible whisper before exploding into noise at the chorus ("Don't you wish you never never met her!") and building to an unforgettable climax of "Lick my legs I'm on fire, lick my legs I'm desire"), repeated over and over like an unholy mantra. 50Ft Queenie is a sneering, mocking cock-rock parody with a laugh-out-loud chorus of "Hey I'm the king of the world, you oughta hear my song/You come and measure me, I'm 20 inches long". The shrieking two-minute explosion of Snake tells the story of Adam and Eve from a fierce new perspective.
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20 of 21 people found the following review helpful By A Customer on 18 Jan. 2002
Format: Audio CD
This is the blues! The blues plugged straight back into the electrifying jolt of it's originators, by-passing the soulless, staid, and indulgent meanderings of Clapton and his ilk. The blues made vital again.
Produced by underground hero Steve Alibini, who would later produce Nirvana' 'In Utero', Polly's voice and the guitars are pushed right to the front of the mix in a feral howl. The guitar parts are superb, the slide playing in particular used to strking effect as it had been decades earlier by Elmore James.
The music, all anguish, heartache and obsession, is for the most part echoed by the lyrics, but there's also a dark humour at work here, which too often goes ignored in (male) critics rush to stereotype PJ as the hysterical woman.
Purely and simply a fantastic album, and one that reclaimed a legacy for too long despoiled.
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16 of 17 people found the following review helpful By r.c.olson@bigfoot.com on 2 July 2001
Format: Audio CD
This is currently my favourite PJ Harvey album, though I think that says more about my current state of mind than the consistently high quality of all of Polly's recordings, my advice is to buy them all really. I think the line "I might as well be dead, but I could kill you instead" sums up Rid Of Me to me, the fine line between unbearable heartbreak and murderous hatred. This is music which is equally enjoyable whilst viciously stabbing pins into a voodoo doll, or exhaustedly crying yourself to sleep again. Polly understands the fine line between love and hate; "Did I tell you you're divine?" and "you snake, you dog, you flithy liar". This is frankly an essential album for anyone who has ever been hurt, in other words an essential album for everybody. Buy this, you will not regret it
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1 of 1 people found the following review helpful By Mrs. E. Bambridge-sutton on 31 Mar. 2014
Format: Audio CD
After I had listened to the album succeeding this one, the lukewarm To Bring You My Love (which I loved initially but slowly grew to realise it is actually fairly dull), I decided to move backwards in time to one of Polly's more "raw" albums, as called so by many critics. And oh, i was not disappointed.
The album opens with the spectacular title track, which begins with the line "Tie yourself to me". A creepy but spectacular song, which ends with a voice screaming "lick my legs, I'm on fire". Although nothing throughout the rest of the album reaches the unhinged brillance of the title track (which supposedly caused a music journalist to crash her car), the album is filled with some great raw punk songs like "Snake", "Legs" and the string-led "Man Size Sextet" (which is somehow a punk song even with strings, although there is a guitar-based version minus the "sextet" part later in the album), as well as more conventional hard rock songs like "Missed", "Dry" and "Yuri-G".
My favourite song on the album is prehaps the heavy, femenist rocker "Rub Till it Bleeds", which features some of the coolest, most ominious guitar at the beginning, then explodes into a flood of defiance, as Harvey howls "can you believe me, I'm calling you weak?". A truly inspiring song, if you can ignore the sexual overtones.
This album isn't without it's faults, though. I find "Legs" to be fairly boring, and the cover of Bob Dylan's "Highway 61 Revisited" does not do the original justice. The album redeems itself, though, pulling out a string of great songs in the second half which ends with the four minute "Ecstacy".
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