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Vermin In Ermine
 
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Vermin In Ermine

3 Oct. 2010 | Format: MP3

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£8.69 to buy (VAT included if applicable)
Also available in CD Format
Song Title
Time
Popularity  
30
1
6:38
30
2
4:02
30
3
5:38
30
4
3:12
30
5
4:25
30
6
7:56
30
7
4:53
30
8
5:37
30
9
5:09
30
10
5:51
30
11
6:05
30
12
6:13
30
13
3:30
30
14
4:37
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Product details

  • Original Release Date: 3 Oct. 2010
  • Release Date: 3 Oct. 2010
  • Label: Some Bizzare
  • Total Length: 1:13:46
  • Genres:
  • ASIN: B0043YE91A
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Bestsellers Rank: 81,994 in Albums (See Top 100 in Albums)

Customer Reviews

4.7 out of 5 stars
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Most Helpful Customer Reviews

17 of 17 people found the following review helpful By chandoi@hotmail.com on 11 Dec. 2001
Format: Audio CD
Why hasn't this album been critiqued? It's definitely one of his most hummable ones. From the 2nd track on, Hell Was Like A City, it's hard not to want to sing along to the repetitive choruses. This album is a prelude to Tears Run Rings, My Hand Over My Heart, The Desperate Hours.
The potpourri of simple instruments used casts the album as a gypsy camp, a campfire, a carnival...and perhaps that's where the magic lies.
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10 of 10 people found the following review helpful By "neddykennett" on 15 Jun. 2004
Format: Audio CD
This album has real heart(not just on the cover) and emotion. After the disbandment of Soft Cell and Marc & The Mambas, Marc Almond re-emerged in 1984 with this paean to the gutter and trash entitled "Vermine In Ermin", backed by the Willing Sinners. Mike Hedges production sparkles and fizzes on songs like "You Have" (listen out for Marc's breathtaking range and the length he holds a note in the middle section), "Gutterhearts", "Hell Was a City" and "Joey Demento". All of these are fast tempo numbers that carry the album along. There are darker songs such as "Shinning Sinners" and "Ugly Head" that tell great stories and paint lurid pictures. Other songs tell stories in a more opulent and dramatic fashion, namely "Tenderness Is A Weakness" and with a hint of country, so does "The Boy Who Came Back". Another standout track would be the twenties burlesque swing of "Pink Shack Blues".
With great vocal performances, blended with windswept pianos, guitars, strings and brass, this is arguably a landmark album in Almond's career.
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8 of 8 people found the following review helpful By A Customer on 4 Oct. 2000
Format: Audio CD
For those who love the trashier side of Marc Almond, this is the album for you. Whilst his later solo albums, like for example "The Stars We Are" are smooth productions, this one is dripping with grime. No happy sing-alongs on this one, but music and lyrics which hit you in the stomach. Marc sings about boys who fail in life, about love and especially about all the dangers and complications of love. I feel the music on this album is closer to the "Marc and the Mamba's" period than to his work in the late 80's. The style of the songs differs greatly. There are fast songs with lots of beat like "You have", almost spoken-word songs like "Shining sinners" and melodious ones like "Tenderness is a weakness". All in all: the album is a must-have for every Marc Almond or Soft Cell fan, and for anyone who likes a bit of drama in his or her life.
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3 of 3 people found the following review helpful By K. Tune VINE VOICE on 16 April 2012
Format: Audio CD Verified Purchase
The cover alone is worth five stars. Almond on a trash can ( in a trash can in the inner sleeve ! ) a big red heart behind him, decked in glitter ( and on the inner sleeve in Ermine just so you get the point ) - never can an artist have been quite so well represented on an album sleeve.

As other reviewers have said, his first solo album ( post Soft Cell solo at any rate ) released, if memory servers the same years as "This Last Night in Sodom" the dark disturbing swan song to the Soft Cell career.

So why is it so wonderful? Well I defy you to find another album that is frankly so original and different. Some sweet ballads admittedly ( You Have ) but we have the mini West Side Story opereatta of "Shining Sinners" a story of straying into the wrong part of town and sticking a knife in the innards of the local gang leader "wearing the entire city garbage dump about his neck and wrists" who nevertheless approvingly tells Marc he "wants to shake his hand for having the guts to walk into my neighbourhood", and then we have the story of Joey Dementos ( hanging out at the rubbish tip, making small talk with the flys ) with its cacophony of tin pan percussion, we have "Split Lip, Cracked Whip, Low Slung, Limp Hung, Thigh Torn, Heart bled, Raw Red Heat Horn" a story of asking for it and getting it ( a story of getting punched in the mouth ) and we have "Pink Shack Blues" - a tale of poverty, five in a bed meant for three and a small boy scalping dollars off tourists for photos.

And that is just the beginning.
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2 of 2 people found the following review helpful By Sordel TOP 500 REVIEWER on 19 Jun. 2010
Format: Audio CD Verified Purchase
Following on from perhaps the zenith of his varied career - the twin summits of This Last Night In Sodom and Torment & Toreros - Almond produced this, his first apparently solo album. Of course, Almond fans will recognise immediately that the personnel on this album are very close to the group previously called the Mambas, so this is really a continuation of the soundworld of Torment & Toreros. This is especially true in the case of Annie Hogan, whose piano is a key element in this important phase of his career. There is a strong acoustic cabaret vibe to the album.

In terms of songs, the album is a mixture of "proper" songs and wild, free-wheeling tracks that sound at least semi-improvised. Amongst the conventional songs, "The Boy Who Came Back" and "Tenderness Is A Weakness" are the highlights, but this side of the album does not provide the best that this album has to offer.

The more improvised tracks here (not to everyone's taste) were an integral part of how Marc wrote at this part of his career and while they don't always come off, when they do they are stunning. "Solo Adultos", driven along by a steam-train of Latin percussion, is a night journey through the Santa Monica underworld as only Almond could depict it. "Joey Demento" has a moody, industrial undercurrent reminiscent of Dave Ball's solo album of the same period. "Pink Shack Blues" is a more fully-written piece but features Almond pushing his voice to the ragged edge and pulling off some great extemporised moments. The instrumentalists provide great support through these loose-limbed vehicles.

The best track on the album to my taste is "Ugly Head", which neatly straddles the gap between written and improvised song.
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