Bronski Beat ‎– Truthdare Doubledare

Label:
MCA Records ‎– MCAD-5751
Format:
CD, Album
Country:
Released:
Genre:
Style:

Companies, etc.

Credits

Notes

Manufactured in Japan for MCA Records, Inc., 70 Universal City Plaza, Universal City, California—U.S.A.

©1986 London Records Ltd. ℗1986 London Records Ltd.

Matrix code is loosely-stamped dot matrix as typical for early Nippon Columbia/DENON pressings.

Barcode and Other Identifiers

  • Barcode (Text): 0 76732-5751-2 3
  • Barcode (Scanned): 0076732575123
  • Matrix / Runout (Stamped): MCAD-5751 1A1 68
  • Other: JVC-511

Other Versions (5 of 41) View All

Cat# Artist Title (Format) Label Cat# Country Year
828 010-2, none Bronski Beat Truthdare Doubledare(CD, Album) London Records, Forbidden Fruit 828 010-2, none UK & Europe 1986 Sell This Version
MSC.327 Bronski Beat Truthdare Doubledare(Cass, Album, Unofficial) Musicals MSC.327 Thailand Unknown Sell This Version
828 010 / 1, 828010-1 Bronski Beat Truthdare Doubledare(LP, Album, TP) London Records, London Records 828 010 / 1, 828010-1 Greece 1986 Sell This Version
828 010-2 Bronski Beat Truthdare Doubledare(CD, Album) Metronome 828 010-2 Germany 1986 Sell This Version
828 010-4 Bronski Beat Truthdare Doubledare(Cass, Album) London Records 828 010-4 Australia 1986 Sell This Version

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postpunkmonk

postpunkmonk

January 30, 2008
edited over 6 years ago

I was initially less than enamored by Bronski Beat's emergence into the world. In a nutshell, I really HATED Jimmy Somerville's falsetto singing! No matter how I might like the music [what I heard then was not ultra compelling] I didn't want to know. Imagine my surprise when Somerville ditched the band and he was replaced by a singer I could stand. Moreover, the song that cought my ear, "Hit That Perfect Beat" was a super hi-nrg stomper that was breathtaking in its BPM, yet it offered a great synth guitar solo [it sounded like a single sampled plucked string with some sweet pitch bending] that contrasted with the grain of the beat. Excellent!

So I got the album and found it to be a varied program of music that mostly succeeded. The other single "C'Mon C'Mon" was a McLaren-eqsue blend of Afro hi-life pop and Appalachian fiddle. Best of all was the crystalline ballad "We Know How It Feels" featuring some great vocal arrangements. The only track here that let me down was "In My Dreams" which sounded far too much like a Howard Jones track for my liking! Overall, a strong album. Too bad this lineup of the group broke up after this.

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