I listened to this a lot as a fiery teenager, and i bought it again for the sax solo in the middle of 'Will You.'
Now, as a 35, sorry 36 year old, i found it stressful and noisy and frankly a amateurish. The sax solo still makes me weak at the knees. But the rest of the album (exception possibly eighth day) should really be left where it was.


An outstounding crossover between punk and modern romance   November 3, 2000
15 out of 36 found this review helpful

The grounbreaking soundtrack to the rewriting of the classical working class band makes good music fairytail ( complete with sour ending). The central dynamic relationship between O'Connor's character and that of the manager played by Phil Daniels (with an obvious reference to the character played by the same actor in the truly musical classic Quaraphenia) displays the quintessential dichotomy between musical integrity and commercial success. O'Connor's songs display a post-punk political awareness which is set against the anti Thatcherite climate of the ealry eighties. However, this growing sense of unease about the post-industrial future of Britain is set against the manager's desire to follow a proto-Thatcherite capitalist dream. The harsh anxiety of most of the songs is tempered by the love song 'Will You'; however even this nod at classical 'pop' music is characteristically downbeat, describing as it does the doomed start of a merely sexual relationship, mirroring the one played out by the two protaganists of the film;. This album encapsulates the zeitgeist of the early eighties when the country was undergoing the first stages of The Thatcher enema and the music switched from the raw edged vibrancy of the Pistols to the emasculated postouring of Spandau Ballet. The bathetic decline of the band described in the film and the album is a perfect arc of how popular music was to descend from the dizzy heights of the late seventies into the early eighties; a flame not rekindled until rap music reared it's ugly head.