Love Is the Law

Editorial Reviews

All Music Guide - Vince Ripol
While overshadowed by their Minneapolis contemporaries the Replacements and Prince, the Suburbs still managed to leave their distinct mark on the musical landscape of the early '80s, as evidenced by their masterful 1983 effort Love Is the Law. The band must have been paying attention when 1981's double-length Credit in Heaven was heralded as a slightly overlong classic, because Love Is the Law concentrates their alternative dance-rock into a single-length showcase of their strengths. Drummer Hugo Klaers and bassist Michael Halliday force the frenetic tempos favored by the group, and Chan Poling keeps pace with his versatility on piano and synthesizer. Bruce C. Allen's ...
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Editorial Reviews

All Music Guide - Vince Ripol
While overshadowed by their Minneapolis contemporaries the Replacements and Prince, the Suburbs still managed to leave their distinct mark on the musical landscape of the early '80s, as evidenced by their masterful 1983 effort Love Is the Law. The band must have been paying attention when 1981's double-length Credit in Heaven was heralded as a slightly overlong classic, because Love Is the Law concentrates their alternative dance-rock into a single-length showcase of their strengths. Drummer Hugo Klaers and bassist Michael Halliday force the frenetic tempos favored by the group, and Chan Poling keeps pace with his versatility on piano and synthesizer. Bruce C. Allen's jittery guitar complements the nervous, cynical desperation of vocalist Blaine John "Beej" Chaney, who also contributes "beejtar." The opening rumble of the title track is immediately hooked with bright, lively horns, which reappear throughout the album to help release tension. Along with Poling's opportune keyboard effects and Chaney's exaggerated vocals, the guest horns accentuate a fun-loving spirit generally belied by titles such as "Hell A" and "Perfect Communist." Fun and fury merge on the infectious disco rockabilly of "Rattle My Bones," in which a horny, homeward-bound motorist shifts from impatient restraint to rowdy celebration. Some of Chaney's potentially disturbing episodes are offset by his mannerisms, like the Stan Ridgway approximation that makes "Crazy Job" seem more satirical than psychotic. In general, Love Is the Law is harder and tighter than previous releases, and even the most intense tracks produce lingering melodies in the wake of relentless rock & roll. The Suburbs may not have equaled the success or longevity of other Minneapolis musicians from the 1980s, but Love Is the Law holds its own against the more celebrated albums of its time.
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Product Details

  • Release Date: 11/19/2013
  • Label: Suburbs Music
  • UPC: 802177136021
  • Catalog Number: 1984
  • Sales rank: 127,941

Tracks

Disc 1
  1. 1 Love Is the Law (4:44)
  2. 2 Monster Man (3:18)
  3. 3 Rattle My Bones (3:28)
  4. 4 Skin (4:24)
  5. 5 Accept Me Baby (3:47)
  6. 6 Hell a (4:32)
  7. 7 Perfect Communist (5:07)
  8. 8 Rainy Day (5:02)
  9. 9 Crazy Job (5:07)
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Album Credits

Performance Credits
The Suburbs Primary Artist
Blaine John Chaney Vocals
Bruce Allen Guitar
Tom Burnevik Saxophone, Alto Saxophone
Michael Halliday Bass
Hugo Klaers Drums
Chan Poling Keyboards, Vocals
Terri Paul Background Vocals
Scott Snyder Trumpet
Technical Credits
The Suburbs Back Cover
Blaine John Chaney Contributor
Bruce Allen Art Direction
Steven Greenberg Producer, Engineer
Howie Weinberg Mastering
Paul Stark Producer, Engineer
Edouard Manet Cover Painting
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