Culture Club Album: “Kissing to Be Clever [Remaster]”

Let me say first of all that this CD contains only the songs that are listed above from Amazon. That's right. They do not contain "Time(Clock of the Heart)", the dubbed version of "Do you really want to hurt me?" with Papa Weasel, and "Romancing the Alphabet". If we went back to 1989, we could get Kissing to be Clever with "Time (Clock of the Heart)", with all the lyrics from the album on CD. That was when Culture Club was from Epic Records in the USA. We were also able to get "Time" on cassette from a label called 747 Pop. The two additional songs, "Romancing the Alphabet" and "Do you really want to heart me?" with Papa Weasel were released on "Kissing to be Clever" on CASSETTE from Epic Records in the 1980's. You can't get those on "Kissing to be Clever" anymore. Now, starting in the 1990's, Epic is out of the picture and Virgin America is in the picture. They decided to release "Kissing to be Clever" the original way it was relesed on record, with the black cover and no "Time", since "Time" was never originally part of the LP. We also do not get any lyrics with the album. It's a shame, no lyrics, no "Time". As a matter of fact, when I first bought this version of the CD in 1992 from the Virgin America label, it's sad to say you could not find "Time" on any cassete or CD at that time (with exception of pawn shops). Anyway, the album with out "Time" is still a classic. "White Boy" is fun, especially when we hear George rap at the end. But not even that, we all know that beautiful voice. Beside "Do you really want to hurt me?" which is a classic in it's own right, the rockers on this album are "You Know I'm Not Crazy", "White Boys Can't Control It", and "Love Twist" (with Captain Crucial, A.K.A. Amos). You can't dislike George's soulful voice, or that awesome 80's beat from the group. Buy this right now before this goes out of print! It is different from "Colour by Numbers", since it does have a different tone, but it is worth it. Just like "Colour by Numbers", every song is fantastic. Albums don't get better than that. Buy it now!

When Culture Club dominated the charts in the early Eighties, people were so intrigued by Boy George's look and style, that few recognized what an amazing vocalist he really is. For a dude out of the UK, this guy's truly got soul. Like Aretha or Smokey, his voice sounds like the battered heart of a man who's been kicked around by love a few many times. Proof? Listen to his vocal delivery in the still-heartbreaking "Do You Really Want to Hurt Me" or "Time." It's unfortunate that Culture Club has been associated with 1980's cheese, for their talents were largely overlooked. This was a group that had soul, and this fine debut album is here to prove it, even after nearly 20 years since its release.

Employing a diverse mix of musical influences, Culture Club had a unique vision and style that probably wouldn't have been welcomed, or even appreciated, today. In late 1982, the quartet released their debut "Kissing to be Clever," which was originally released on Epic in the United States, and it spawned their first three top ten singles. The band's music was a distinguished blend of old school reggae, 70's soul, and new wave pop set to the gusty voice of singer Boy George, who sounds like a trans-Atlantic Smokey Robinson. A somewhat underrated singer, George's voice often bled with bruised emotion, particularly on the kickoff single "Do You Really Want to Hurt Me?" But other noteworthy tracks include the disco-flavored "Take Control," the calypso bite of "You Know I'm Not Crazy" and the reggae lilt of "Love Control." Credit also must be given to the skilled players (drummer Jon Moss--George's boyfriend at the time, bass player Mikey Craig, and guitarist Roy Hay) whose instrumentation helps make this album such a welcome feast to the ears. "Kissing to Be Clever" has been re-released and digitally remastered, with 4 additional tracks which include the single "Time (Clock of the Heart)," which was not included in the prior Virgin edition. Without the distraction of George's gender bending attire, the music of Culture Club is strong enough to hold up on its own, and this fine debut of an album proves that.

This is the best album the Boy & band ever made. From start to end, nothing but a complete winner. I had forgotten exactly how good this is. White Boy is an awesome song ... just keeps going from there.

The Club has several good greatest collections floating out there ... just come here first (followed by Colour by Numbers). You will not be sorry ... I promise!

As the early 80's rolled on there continued to be a cruel disco freeze-out,to coin a phrase to any artist (especially if they were black) making any kind of soul,funk or R&B during this period. That didn't didn't seem to be the case in England where disco,and especially funk were converging on new wave to create the New Romantic style. It was out of this already crowded scene the Culture Club conquered the world over during 1982 with this album and two singles "Do You Really Want To Hurt Me" and "I'll Tumble 4 Ya". Of course part of that was the same old story of Boy George's image which,sad as it seemed overshadowed anything more than a "they make a good pop single" comment regarding him and the band. Well there's one thing to be said about this album. It was probably their least commercial album in the sense it focused heavily on dance-funk songs as opposed to easy pop all the way around. Boy George,who is a very strong composer as well is greatly inspired by some of the Calypso inspired rhythms and melodies that were a big part of early Motown hits,especially those written by Smokey Robinson. That addition of a kind of modern tropical tinge to the music,the heavy use of conga,steel drums and percussion and Michael Craig's enthusiastic and funky Jamaican bass lines all add up to a kind of soulful caribbean funk/pop. That also might,aside from the racial diversity of the band members have to do with how they got their name. One important way Boy George was important to this music image wise was that, as opposed to having a conventional crossdressers image his "look" also borrowed from ethnicized tradtions such as Asian Kabuki masks as well as shirts and hats that showed an interest in Hebrew cultural standards. Also George's homosexuality and strong involvement with the UK gay disco-funk scene of the late 70's/early 80's gave him that all important connection to the sexual revolution,even though his persona linked him and the band in general more with geniality than overly rebellious behavior. Songs such as "White Boy","You Know I'm Not Crazy","Take Control","Love Twist" and "I'm Afraid Of Me" really send that message home as the band put their musical concentration on rhythmic development as opposed to crafting a mere pop song. A strong naked funk element is also present and interestingly enough for this era the band rely largely on a very rich,organic sound based heavier on horns charts and percussion than on synthesizers. This quality probably leads to the Amazon.com review indicating this album "contains filler material". Well,I say if "filler" is finely played,percussive UK New Romantic funk pop with a strong dance ethic than it's probably some of the best use of "filler" on any album. I know;overuse of a word but it's an important key phrase to how this album is perceived,even by music critics. "Boy Boy" and "White Boys Can't Control It" lean heavier into synthesizers for this album but taken as a whole it's a potent listening experience that actually flows song to song,by the way. Of the four bonus cuts there is a heavy naked funk jam in "Love Is Cold" as well as "Murder Rap Trap",a very surreal reggae/jazz-funk warp with Captain Crucial that has to be the most uncommercial and avante garde piece that this group had been involved in up to this point.Also included of course is the hit "Time (Clock of The Heart)",a single from the same period as this album and the instrumental version retitled "Romance Beyond The Alphabet". Despite what you might think albums can often be a very good place to put a pop artist into a musical perspective as opposed to just being human hit factories. It is true for much 80's music and happilly it's also very true for Culture Club.