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on 21 November 2001
Many people believe Gary numan's career began and ended with "Cars". If you base your opinion on the fickle top 40 charts - this is true; but Gary Numan has been putting out music non-stop to a rabid cult following since 1978. I am a proud member of this cult. His 1985 release, "The Fury" tends to be a "mixed bag" amongst his loyal legion of fans. Many claim it's too "pop" and lightweight, while others, like myself, think it's one of his better albums. Numan keeps his dark writing style in tact with signature tunes such as "Call Out The Dogs," "1. Call Out The Dogs," "Your Fascination," and "God Only Knows." A word of warning - this album is very keyboard heavy. If you're looking for something similar to his recent efforts ("Sacrifice" or "Exile"), this wouldn't be a good place to look. I like this album for its dark lyrics, dark theme, and Blade Runner association.
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on 15 May 2004
Many people believe Gary numan's career began and ended with "Cars". If you base your opinion on the fickle top 40 charts - this is true; but Gary Numan has been putting out music non-stop to a rabid cult following since 1978. I am a proud member of this cult.
His 1985 release, "The Fury" tends to be a "mixed bag" amongst his loyal legion of fans. Many claim it's too "pop" and lightweight, while others, like myself, think it's one of his better albums. Numan keeps his dark writing style in tact with signature tunes such as "Call Out The Dogs," "1. Call Out The Dogs," "Your Fascination," and "God Only Knows." A word of warning - this album is very keyboard heavy. If you're looking for something similar to his recent efforts ("Sacrifice" or "Exile"), this wouldn't be a good place to look. I like this album for its dark lyrics, dark theme, and Blade Runner association.
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on 20 June 2015
Vendor never got this to me. Another underrated '85 effort with God Only Knows and I Still Remember achingly good emotional ballads. What a good songwriter of slow, moody, emotional ballads he is. And throughout the 80s and 90s his annual releases' always had a couple of real emotional beauties on them. Although not as bad as Machine and Soul (in its effort to court musical popularity), this is more of an experimental release, where new technology of the time and a co-producer are used. Doesn't really work - as the cold, digital landscape moved away from the warm, dystopian, analogue sounds of the previous years. It's Gary interfacing with the machines rather than being in control of them, to my ears. Perhaps his last experimental album ever? Dance started the experimental phase and this finished it. From then on it was a case of following trends, not setting them.
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on 6 April 2001
This album is somewhat of a landmark of sorts for Gary. I believe it's the first of his albums to contain completely sequenced drum samples rather than a live drummer, the first to use audio samples from movies (Bladerunner, etc.) and the first to be heavily influenced by funk/rock artists such as Prince. The drums have a distinctive industrial clatter that I'm sure was very influential as was the deep layered synth bass that I think Gary must have stolen from Eno's "Sky Saw". You could probably sum this album up as "industro-funk" as it is a slightly sharper turn in the ever winding evolutionary road of Gary's music. More clinically precise and mechanical than "Warriors" and less cinematically grandiose than "Berserker", "The Fury" is a pivotal and enjoyable recording. "This Disease", "Tricks" and "I Still Remember" are among his best compositions.
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on 10 February 2012
Opinion is divided among fans as to when exactly the rot started to set into Gary Numan's work, but for me this was the one.

By this time Gary was composing solely for the PPG Wave sampler/sequencer and in contrast to previous album `Berserker', here its hard sound is not softened by a human rythmn section or any organic instrumentation. The result is a cold, soul-less affair that, while not necessarily repelling the listener, doesn't exactly draw you in.

It's not all bad though. Numan's peerless songwriting was still intact and there are some great songs on `The Fury', such as the poppy `Your Fascination', the clanking robotic `Creatures' and the sleazy machine-funk of `Tricks'. Add those to the beautiful ballad `I Still Remember', the chilling, claustrophobic `God Only Knows' and the stomping single `Call Out The Dogs' and you've got some excellent material, it's just that it's presented in such a dry, charmless manner.

This was also his first album to include any filler; the drab and uninspired `Pleasure Skin' and tuneless `This Disease' would not be missed if they were accidentally deleted from your I-Pod, and neither would the forgettable single 'Miracles' nor any of the B-sides from the era.

If you're a fan, you'll already own at least one copy of `The Fury'. But if you're new to Numan, `The Fury' is hardly a dreadful album but there are way, way better ones. I'd recommend you start somewhere earlier in his catalogue, or with any releases from 1994 onwards.
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on 25 June 2007
I love Gary Numan, but this has never been one of my favourites - though it certainly does have some good moments.
I originally bought this back in the summer of 1985 (on vinyl), & I've always thought the cover photo (a laid-back looking Gary in a lounge suit, with glass of wine, & less make-up than usual) rather betrays the sounds within - it's very much business as usual (& not some laid-back, MOR new direction) & carries on really where Berseker left off.

On the whole these are keyboard-driven songs, some with funky bass (& augmented with female vocals, as per Berserker) and some with atmospheric sax - but Gary's still rather doomy lyrics - he sounds (justifiably) hurt & angered by the apathy of the media, radio stations & the record-buying public in general towards his music.

The main problem is the cluttered 80s production, and that the album lacks a strong central focal point - there is no big hit on here. I believe 3 of the songs were low-charting hits - the best being the moody sax-laden 'I Still Remember', which closed the original album, and sounds much less dated now than 'Call Out the Dogs', for instance. Gary's formula seem to be wearing a bit thin at this point - a change was needed.

The female backing singers become overused & irritating too, as if Gary doesn't feel he can cut it as a singer anymore without them drowning him out on every chorus.
To be fair, if the contemporary catchy & surprisingly good Sharpe/Numan chart hit 'Change Your Mind' had been included here, it could have lifted this whole album up a notch.

As other reviewers have said, the extra tracks added for this release are excellent, & certainly make it worth buying this CD version.
The Blade Runner extracts are interesting too - this is obviously a film that inspired Gary.

This seems to mark a transational period for Gary, where he lacked a genre. It's pre-goth/industrial, & 'new wave' has long since been absorbed into the mainstream.

He was to briefly bounce back chart-wise in fine form however the following year though with the stonking autobiographical hit 'I Can't Stop', though this would be become one of his last original charting hits for years.
He would eventually, after years of unwisely flirting with electronic funk music & alienating me (& I'm sure many other fans), find his feet in new realms - realms which he'd probably inspired in the first place.
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Another nice album by this master of the genre.Similar to Berserker in style only Berserker is a better listen.This is a weird mix of industrial machine drums and bass and funky elements,with female backing vocals and a certain ¨Prince¨ air to some of the songs.Heavily and very personal and processed vocals add the final touch.
What I found the most appealing,though,were the incredible bonus tracks (last 5 songs).Incredibly dark,obscure,sombre,moody industrial songs taken from singles released the same year as the album,which could have marked the direction he was to follow from his Sacrifice album on.Instead,he continued with a string of good albums in this and similar veins.
Advice: tthe bonus tracks alone are worth the price of the abum.
BY OLDESTPUNKINARGENTINA
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on 24 March 2009
Call out the dogs, pleasure skin, god only knows, and especially : Puppets are great songs. The one saying that this lacks imagination should use his own to enter this album. Puppets got the greatest melody/soundscape-line in wave I've ever heard. This is at the same time pop, dark, icy, futuristic, minimal... music with a very strong beat in it. Cinematic, visual and gritty.
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on 7 May 2017
I remember radio I played call out the dogs your fascination and miracles a couple of times they didn't chart it's my least favourite numan albumn and I'm a big numan fan the cover is naff the sound a mess I think he tried to be commercial the best songs call out the dogs miracles and god only knows I prefer machine and no soul
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on 30 August 2003
The fury is the best of the albums in his "ive lost my direction slightly" period. It has the moody feel of I assasin,but a more rock sound, it has the funky/ bluesy side of warriors,Its miles better than Metal rhythm, which was just a very samey album,and i cant play Metal Rhythm all the way through, with out feeling as if he was very disappointed after he had finished making it. Though he does have a dig at radio stations not playing his music on one of the tracks.Maybe aimed at the american market.Its better than Machine and Soul, which has more Machine in it , than Soul in it. If you liked I assasin, you ought to like this too. There are samples of bits of the soundtrack to blade runner in it,some of it could easily BE the sound track to blade runner, its very futuristic/moody sound would fit perfectly in blade runner.If you like numans darker/moody/anti god side, buy Exile and Sacrifice.If you didnt like Outland, his attempt at a "concept " album,good in places, but generally a bit "plastic and manufactured sounding" you will like The Fury
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