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Rating:
LA RECENSIONE
PAY ATTENTION: FOR 80s LOVERS ONLY!
Let's be clear: there's no surviving the 80s, and I love Prefab Sprout. I wore out my cassette of "Steve McQueen" back then only to rebuy it on CD a few years ago, seized by nostalgia, and for me, it remains a "must-have" forever.
That said, I can immediately say that this "new" album is not dated, no no, it is VERY DATED! And that's why I really like it! In essence, it's 100% Prefab Sprout, what more could we want? But wait, aren't the 80s trendy again?!
You just need to play "Let There Be Music" the first track, to be instantly catapulted into 1986, or thereabouts, synth-pop almost dance on full blast, how cool! I almost want to bring out that black cloth jacket (horrible) with that "discreet" shoulder padding and cowboy boots, what a laugh! But where had this album been, which is indeed from 1992 (both in writing, already dated then - and in recording), in a closet in the wardrobe, like my old cloth jacket?!
Fact is that it's beautiful, the songs are great, Paddy is a superb songwriter and has great class. The elegance in the melodies is everywhere on this album, the songs talk about religion and, needless to say, love for music, but something is missing, unfortunately, namely the magnificent harmonies of Wendy Smith, darn it...
Patience, but these are the POP (yes, definitely uppercase!) albums worth listening to! But you decide! Meanwhile, I thank Paddy for bringing this out!
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Summary by Bot
The review celebrates Prefab Sprout's 1992 album 'Let's Change The World With Music' as a distinctly dated but charming pop record full of 80s synth-pop flair. The reviewer admires Paddy McAloon's songwriting and elegant melodies, though misses Wendy Smith's harmonies. Ultimately, it's a nostalgic gem for pop and 80s fans, praised for its timeless class despite its obvious era-specific sound.Tracklist Videos
Prefab Sprout
Prefab Sprout are an English pop group led by songwriter Paddy (Patrick) McAloon, praised in the reviews for literate lyrics and meticulous, melodically rich arrangements. Their best-known album in this set, Steve McQueen, is repeatedly framed as a post-Beatles-era pop landmark, while Jordan: The Comeback is discussed as an ambitious concept-leaning work. Later-era releases are portrayed as shaped by lineup changes and McAloon’s solo-leaning continuation of the name.12 Reviews
Other reviews
By Abraham
The album sounds clean, but it sounds bare: it was never arranged, produced, finished. It’s raw stone.
An abortion that is no more, an aftertaste that becomes sweet and tries to claim a space there, in the early ’90s.
