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3.3 out of 5 stars
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3.3 out of 5 stars
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on 8 February 2012
On `Warriors' Gary Numan took the funk elements introduced on previous album `I Assassin' to the next level by throwing saxophone, slap-bass and breathy female backing vocals into the mix alongside his own trademark synths, which understandably alienated some of the faithful when it was first released in 1983.

But underneath the bells and whistles, it was business as usual really as Numan delivered yet another set of quirky, eccentric and memorable songs, which in this case worked especially well live. Showcased on the `comeback' tour that year, these songs were well-performed and exciting (although I was always suspicious of how John Webb had suddenly got so good on sax that he could effortlessly recreate Dick Morrissey's slippery solos note-for-note on stage!) and sat well with the earlier material.

Importantly, Numan did this kind of music really well. This is real, warm, organic funk, not the sequenced cyber-funk that he produced further down the line.

The album has many highlights, such as the morose but hypnotic title-track, the up-tempo jazz-funk of `This Prison Moon', the lazy groove of `Rythmn of The Evening' , the light and airy `The Iceman Comes', and the haunting machine-ballad `Love Is Like Clock Law'. There's also the bombastic `Sister Surprise', which despite the main riff sounding worryingly similar to Spandau Ballet's tuneless `Chant No.1', begins with one of Numan's most atmospheric intros and ends with a brilliant instrumental passage that I wish carried on for much longer.

Typically too, some of the best songs from the recording sessions were left off the original album and relegated to B-side status. Tellingly, these are the songs that feature the most noticeable contributions from guitarist Bill Nelson, who had been hired by Numan as co-producer and artistic foil but left the sessions after the pair failed to hit it off. No matter, they're all included here; `Poetry and Power' is one of my all-time faves, and both parts of `My Car Slides' are no less strong. For your money you also get alternate versions of `Sister Surprise' and `Warriors' plus a session outtake (more of a work-in-progress than a finished track) which I suspect is only really of interest to completists like me!

So, if you can get past the dodgy album cover (I recall taking a serious ribbing from my mates over the daft Mad Max image!) then I think you'll find `Warriors' a very pleasant surprise and well worth investigating. Recommended.
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on 19 October 2014
I was a big Gary Numan fan in 1979, but unfortunately by 1981 he'd slipped off my musical radar. Having said that his 1983 release 'Warriors' is a cracking album. It's not really synth pop - the songs are embellished with fretless bass, saxophone and Bill Nelson's Fripp influenced guitar. Highlights are the post-apocaylptic single 'Warriors', 'This Prison Moon' and bonus tracks 'My Car Slides (1 & 2)'.
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on 28 January 2008
this is one of my favourite albums from numan,its the one i find myself going back to over again,i think its probably the best produced album too,very crisp and clear,almost has a jazz feel to it with sax and heavy bass guitars but still plenty of synths too.
My favourite tracks are The iceman comes and This prison moon,they still remind me of the Warriors tour,great to see they have put the B sides of the singles on this new cd version too,if you like Numan you need this cd.
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on 23 December 2003
Quite simply, brilliant! You could almost hear the collective sneer of old-time Numanoids across the country when this one came out, as Gary showed that musically he was prepared to grow up, even if many of his fans weren't. The Mad-Max image was silly, admittedly, but don't let that fool you: while the image was Numan's olive-branch to the sci-fi heads who had helped make him a star, the music and the lyrics show a man who was no longer prepared to be pigeon-holed. This is jazz-fuelled electronica at its best, with Numan reflecting, but refusing to remain trapped in the past. The real future is beckoning, he seems to be saying, and it may be unknown and hostile; but clearly by this point in his career he couldn't wait to get there. Warriors, The Iceman Comes, The Rhythm of the Evening, all these are personal favourites and I agree with a previous poster who said that I Am Render is underrated. It isn't classic Numan by any means, but it's nowhere near as bad as others would have you believe. This album's not everyone's cup-of-tea, of course, but don't let the philistines put you off. Try it, you might find you like it!
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on 11 March 2003
In 1983, Warriors was released by Numan and toured up and down the country in a 40 date program. The tour was Numan's "comeback" after retiring from live performances in 1981. He'd just spent about a year as a tax exile in America and was to return in a blaze of Mad Max inspired glory. The stage set for the tour was enormous - a two storey mock up of a post apocalyptic bombed out building. Some venues couldn't house the set it was that big.
The album itself was similarly ambitious. Surrounding himself with accomplished musicians including Joe Hubbard (jazz bassist) and Bill Nelson as guitarist and co-producer, the album does showcase some strong musical talent and skilful songwriting. Well produced, Warriors has a raw sound built around powerful drumming, percussive fretless bass and raucous guitar. Whilst definitely being an album of it's time, (how else could it be with all that fretless and slap bass)it does stand up fairly well today. There are some standout tracks - The Iceman Comes, Warriors, The Tick Tock Man, My Centurion and The Rythmn of The Evening. The extra tracks are all good too apart from the "lost" track Nameless and Forgotten, which maybe should have been.
After this album, he released Berserker, famous for the ridiculous white and blue makeup, and the career started to spiral. Some would argue that he didn't release another good album until 1994.
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on 3 September 2003
Too easily dismissed as an also-ran album from Gary Numan's back catalogue, Warriors reveals the man's experimental side and willingness to explore different genres of music. Leaving behind the slick 80s influences of Japan and the new romantics (Dance, I Assassin), Warriors brings a harder rock edge into clash with jazz-funk themes. Legend has it that Gary called in Bill Nelson to handle production of his new musical direction - Bill Nelson himself an established cross-genre artist and producer of artists such as the Skids - but Gary wasn't altogether happy with Bill's traditionally harsh pop sound. After finding that all the finished tracks had been remixed by Gary and a mate one evening, Bill asked for his name to be removed from the production credits. Luckily, Bill left his guitar work intact on the album, and his performance on the title track 'Warriors' is probably one of the most perfect examples of ebow guitar ever committed to tape. Another legend surrounds the cover artwork, showing Gary camping it up as Mad Max, holding a black-laquered baseball bat. Only a year earlier, he had been arrested on his way to meet friends at a park to play baseball, the arresting officer trying to claim his bat was an illegal weapon. Naturally, this was laughed out of the police station and went no further, but the story ran and ran in the press for months. You see, Gary Numan is a true innovator, not just in music but even in getting hauled up on unsubstantiated weapons charges. Hip-hop artists, you're way behind!
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on 11 March 2004
quite simply the best album gazza had released up until that time.I had been waiting ages for this to come out onto cd. i play this to death.in one word SUPERB
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on 5 October 2013
OK, it's not the best thing Numan has ever done but it has atmosphere and individuality and I'm very glad its part of my collection.
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on 15 April 2008
The sharp decline of Numan continues with this muddle- the same tired synth chords are only distinguished from other numan tracks thanks to the bass of hubbard and the sax riffs. Otherwise, tired, out of touch and same old same. The lyrics are bizarre and childish and this album at the time was wildly out of touch with anything. Numan's vocals take a decided plunge for the worse with this release. This was the beginning of the period where Numan made himself a bit of a joke.
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on 1 July 2016
album lead to huge tour back in 1983, extra tracks from b-sides at the time
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