Underwater Moonlight

I've listened to this and their debut at least once. But I mustn't have been paying attention the first time, because this is stellar. As it plays, you can hear the process punk and new wave being transmuted into what would become the lo-fi shambolic style of indie rock later in the 1980s. I love how they sound rough around the edges, without ever lacking in purpose or conviction. The whole thing is weird and fantastic. On another listen, I can also see the 1960s psychedelic influences coming through, which I hadn't really thought about before. If this group are a throwback to 1960s rock, they are actually improving on the original. I wouldn't change anything, so 5/5.

it was rly good but then i saw it was 40 songs and then i was like man was that necessary

“What if The Byrds were a punk rock band?” is probably not a question you’ve asked yourself. The good news is: the Soft Boys have already answered it for you…and it’s amazing. Underwater Moonlight is a whirling, psychedelic punk masterpiece. The band here is unbelievably tight, with guitar interplay that outmatches nearly all of their contemporaries (The Feelies ‘Crazy Rhythms’ and Television’s ‘Marquee Moon’ would be similar points of comparison) and a focused, yet off-kilter, sense of urgency to each song. Most importantly, the songwriting and construction here is great from start to finish. You have to “Give it to the Soft Boys” (a deep cut for the Soft Boys fans in the house): Underwater Moonlight hits every mark it takes aim at. It’s one of the best, and possibly most overlooked, “punk” (or post-punk) albums of all time.

Underwater Moonlight is a psych-rock with tones of influence from The Beatles, with note of the sitar throughout. Whilst they haven't had much commercial success, they have been credited as early influencers of the likes of REM. Best: I Wanna Destroy You Worst: Old Pervert NOTE: Spotify had ALL of the reissue tracks on the one album. I only listened to the original 10 songs off the album.

Soft boys go hard

I love Robyn Hitchcock and I love this album. Not sure if I like this album or his first solo album more but this is certainly RH in top form. His songwriting is so immediately identifiable. The lyrics are idiosyncratic and bizarre in such an entertaining and even a dazzling way. But the weirdness in no way feels forced. It feels entirely natural and just part of who he is. I love looking at the world through his eyes. Some of his word choices just amaze me. I also think the humor is balanced perfectly as a sort of undercurrent throughout the album. It never quite bubbles over into laugh out loud moments but you just sort of smile the whole time. He does everything with such a straight face you sort of believe he really is one of his own outlandish characters. Would feel like real capital "A" Art to me if it weren't so much damn fun. I really enjoy the updated psychedelic sound. Very lean and catchy. And his guitar playing is almost as iconic as his lyrics!

I listened to it but have forgotten everything. Can't have been that good.

I mean, I have no idea what I've been listening to, but it's not bad? Didn't listen to all of the bonus tracks, as it takes to album to over two hours and I just don't have that kind of patience currently. I probably won't be listening again, but at least it was decent enough.

Unbelievably good album. I’ll confess, I had no idea Robyn Hitchcock was involved with this band before listening this album. But it’s no surprise when the very first track is a hook-laden pop gem like “I Wanna Destroy You”. From there on out this album is an infectiously good listen brimming equally with the adrenaline rush of punk as with the surreal quirkiness of 60s psychedelia, all anchored by Hitchcock’s peerless pop sensibility. Even as the band quite openly flaunt their influences in every Byrds-like jangle or eccentric witticism, this album manages to sound completely modern. Even more than that, it actually represents the nexus between punk and jangle-pop which would dominate on college radio for the subsequent decade. I always thought that accolade belonged only to Pretenders’ debut, but this album has also stood the test of time. A surprise 5/5 from me… P.D. - Kimberley Rew’s guitar playing on this record is astonishingly good. Amazing record on all fronts.

Walked away not remembering anything I’d listened to - all quite average stuff

seriously, another album where i wonder what makes it so special for it to be on this list. so many albums could have replaced this album. its not even "bad", its just so .... blah

This is what I'm here for. A band I've never heard before from an era I've never really explored that has multiple songs that catch my ear. What a cool album. The sound is pretty modern besides the older singing style. I really enjoyed Kingdom of Love, Insanely Jealous of You, and You'll Have to Go Sideways.

This album has everything I like about rock music in general. It's a wild ride where post-punk riffs, power pop melodies and jangle pop rhythms all coexists in this hazy production that boasts exuberance, a strange sexiness, youthful energy and... fun. Above all this is a fun album, the kind of album that you only want to hear really loud. Also Kingdom of Love is one of my favourite tracks of all-time.

Am I glad I listened to this? I suppose. Did I enjoy it? Maybe. Will I come back to it? Doubtful.

Ayy now we're back to the early 80s English post punk... This was good, if it had been just the regular album and maybe a couple of the bonus tracks that were enjoyable. The melodies were a little lighter and even funky at times, which I enjoyed. Unfortunately many of them were just repetitive hooks, rehearsals, and excerpts. But I'll rate it on the merit of the actual album.

I had very low expectations going into this, and the actuality of this album is why I love this exercise so much. This album was awesome, and it took legitimately awesome instrumentation to bring out the psychedelic vibes here. This album will definitely be in my rotation going forward. Favorite track: You'll Have to Go Sideways

I approached this album with trepidation. There have been quite a few cult' artists on this list, who generally do not live up the hype of their sycophantic fanboys. "Oh, So And So is a genius! You wouldn't have heard anything he did, but his first album is great, but it was only ever released on wax cylinder in Azerbaijan. I've got a copy, but you wouldn't have heard it. He went mad and lived in a dustbin for 30 years. He had a triumphant return at the Royal Albert Hall where turned his back to the audience and farted into a microphone for a continuous hour before pouring a bucket of eels all over himself! I've got a bootleg, and it's the greatest work of art in the 21st century! But you wouldn't have heard of him." I exaggerate for effect, but Robyn Hitchcock falls a bit into that camp, and he tends to play the part. I had some justified fear going into this record that it was going to be over-praised, under-produced and willfully obscure. Reading that the recording budget was 600 quid didn't fill me with confidence either. But, at first listen, I was pleasantly surprised. Some solid tunes and playing, great harmony singing (although Hitchcock's voice can be idiosyncratic. He hasn't leant into the full-blown annoying bleat of some of his later output). The band can rock, and it sounds way better than it has any right to, given how cheaply it was recorded. After a few more spins, I really started digging it. There are some really solid power pop tunes on here. The lyrics are often surprising in a weird Dylan kind of way. It isn't really of its time; I can see why it wasn't a hit at the time. But if you are recording songs like this, on the dirt cheap, self releasing, and using cover art like that, you really weren't ever expecting to sell a million copies. The deluxe version I listened to had a bunch of bonus tracks (from the Two Halves For the Price of One album compilation thingy) which were also pretty solid, which surprises me because bonus tracks are usually mildly interesting rubbish at best. I would totally listen to this again. But only on wax cylinder. 3.5 stars, rounding up for being a genuine surprise

This isn't half bad you know. Great energy, authentic, really good production, doesn't lean into the annoying aspects of the genre, doesn't outstay its welcome. A pleasant surprise.

I’ve never heard of The Soft Boys before but they’re great. There’s a 60’s influence that runs deep in their music. The songwriting is excellent. “I Wanna Destroy You” stood out to me right away. And “Kingdom of Love” has some great lyrics about a poisonous love. “Insanely Jealous of You” caught me by surprise. The vocals reminded me of The Velvet Underground. The song has a dark, dangerous energy. “Old Pervert” has a rough, distorted guitar in it too. There are two sides to this band - the nostalgic 60’s side (“Queen of Eyes”) and the more experimental forward-thinking side you hear on these two tracks.

This album came out at exactly the wrong time. It’s psychedelic beats and sitar breaks were ten years too late, the indie rock energy and quirky production were ten years too early and the actual release date fell in the middle of a printers strike so the album didn’t get reviewed in Melody Maker and NME. This is a shame, because there’s a lot to enjoy here, with the highlight being the full on rock freak out of Insanely Jealous of You.

I love all of it. A great British rock n roll band captured at the peak of their powers. Sort of a band out of time, in that this kind of almost neo-psychedelic rock was very much out of style. But you can hear them soon after in REM, Camper Van Beethoven, Dream Syndicate, Replacements, Pavement and other 80s bands. The leadoff I Wanna Destroy You and the title track are both perfect peaks to a captivating series of songs that grab you by the ears and do not let go. And they nailed all of the peripherals : killer band name, killer album name, killer cover art. The title tune's melody borrows liberally from Donovan's There is a Mountain but it's in service of a beautiful turn of tune you can't fault them. Robyn Hitchcock is in danger of being forgotten and he's a true genius. This is only one of several five-star albums he's made ... so far. The lead guitar player Kimberley Rew went on to make a mint with Walking On Sunshine. But Underwater Moonlight is when the stars aligned and everything hit.

Prog’s whimsy, the Byrds’ guitar chime, the clangor and glorious aggression of post-punk, earworm melodies, check check check, I think I have a bingo! Never heard them before, wasn’t sure about the Stone Roses comparisons until “Queen of Eyes”, which is a two-minute prècis of the later band’s Olympian debut; and the song that comes after it is odder and even better.

The lyrics in this are just my thing! Surreal, dark and creative all around.

Unhinged but beautiful and charming. Enough poprock sensibilities to keep the audience engaged as they dive off the lyrical deep end.

I didn't knew that band before and wow, it's pure genius. Power jangle pop meets post-punk with a little spicy psychedelia here and there. This record is now on my wantlist. Thank you, goodbye!

The Soft Boys were named after me. As a child I was such a shy little thing, wouldn't say boo to a goose. The Soft Boys used to play rugby in the fields behind our house and one day they asked me to play. They beat the living daylights out of me that day. I was broken and bloodied. I could barely walk. The Soft Boys challenged me to get an erection and I couldn't. They admired that, quit playing rugby and formed a band.

Hugely influential on the early 90s British indie scene. Underrated at the time of its release but deserving of respect.

noice

I knew I’d love this one from the first few chords! Perfectly walks the line between being weird and accessible. Way ahead of their time. Favorite tracks are “I Wanna Destroy You” and “Positive Vibrations”.

Awesome psych stuff

Such a fun album! Great production and great songs.

Great New Wave - post punk psyc rock. Glad this came up!

I'm a big fan of Robyn Hitchcock on occasion. Naturally, while my friends all blasted "Nevermind" on repeat I was obsessed with "Perspex Island"; Bingo Hand Job at the Borderline is probably my answer to the "any gig + time machine" icebreaker. He's Syd Barret with better tunes, a one-man, weirder REM who is always witty and excellent live. This album deserves its cult classic reputation and was a blast to hear again.

A big influence on bands like R.E.M., The Replacements & The Stone Roses and really the entire college/indie rock of the 1980s & beyond. A psychedelic near masterpiece that sounds like it was inspired by The Beatles, The Byrds, Pink Floyd's Syd Barett while having their own very unique one-of-a-kind style. Nothing sounded quite like it when it came out in 1980 and nothing has since. When the band broke up in 1981 lead singer Robyn Hitchcock went on to have a well-respected career first with The Egyptians & then as a solo artist while guitarist Kimberley Rew joined Katrina & the Waves and wrote 'Walking on Sunshine' for them a truly awful song that made many people pray for deafness or even worse.

The reason The Viagra Boys exist. Well, I did not expect that. Thought it was going to be some 80s soft nonce music, but there you go. Well done.

A highly enjoyable neo psychedelia album. It sounds like something from the late 1960s with a fresher sound. It's also clear how this album influenced the later neo psychedelic albums, even many bands in the 1990s. The songwriting and production are excellent. There are clear influences of The Beatles, The Byrds, Pink Floyd-Syd Barrett, even the Velvet Underground. Very good record. I've listened to it many years ago but I didn't remember it was this good.

The only things I recognize from this album are the names Soft Boys and Robyn Hitchcock, and the opening track which Uncle Tupelo covered but I never could have told you who played the original. That song sounds like punk to me, like something the Stooges would have written. The rest of this sounds like a mix between Elvis Costello and early R.E.M. It also kind of reminds me of the only Hawkwind song I'm really familiar with ("Silver Machine.") The Apple Music description of this ("The sound of the Soft Boys is the sound of 80s college rock before its time") is pretty spot-on. These guys missed MTV by just a few years. This music would have fit right in with the early videos I remember. I really like track 6 ("Tonight.") It's kind of funny that the same dude who wrote "Walking on Sunshine" also co-wrote "Old Pervert."

This was strange and different especially for 1980 so it was ahead of its time or 12 years too late? It's unique I'll give it that. I didn't stick around for 1.5 hours of bonus tracks though

Heard this album about a year ago, don't care for it. Today, I'm thinking this is pretty great. I really enjoyed it and can't wait to hear it again. 3.5

Mediocre Brit pop rock

Mixed bag for me, this. Very good guitar work throughout, but the vocals are putting me off. In the more melodic songs the harmonies sound quite dated, and I'm just not digging the loose style of the lead vocal in general. In summary, it just falls short of 4 stars.

Did not enjoy the first 4 songs. Then the album goes into a different direction. "Insanely Jealous of You" sounds like a Lou Reed/Velvet Underground song, I like it. The rest are just ok to me, I definitely hear some early proto-punk/Iggy pop-like structures on "He's a Reptile" as well. Beyond that, it's ok.

After listening to this album, I don't think I see the similarities between classical and neo-psychedelic. This sounded like a standard UK rock album from the 80s more than any type of psychedelic genre album. Still not bad though. Fav song: kingdom of love

I listened to it once and was unimpressed. But something made me hold off on reviewing and listen to it another day. It got better, and I can see how it must have been an interesting crossroads between punk and 80s popular music, but I don't think there's really anything to return to after Track 1.

mediocre alt nice rock catchy punk nice yhyh but minus points cos it’s not good enough to be that long

Another addition to the growing list of anonymous British albums that seem to only be on the list because the guy who made the list probably liked them in High School. Not bad, just why?

This felt like the opposite of a greatest hits album. My favorite part was the end I had been looking forward to it for over 2 hours.

I listened then immediately forgot

Sounds like the precursor of a band that is not for me.

p455. 1980. 2 stars. The sound of musicians that were born 10 years too late and wish the 60s had never ended. This sounds like an album of 13th Floor Elevators, Byrds and Ziggy Stardust outtakes, only without the talent. Listening to it you'd have thought that punk never happened. Quite good guitar playing, though it frequently strays in 70s wankage. It's OK, but nothing special - no idea why this is on the list.

Although it does feel like it has this mix of The Byrds and Syd Barrett (that everybody talks about) as a major influence, the album never really pulls through and becomes very repetitive, very fast. It has some cool ideas, but they were already being executed by better post-punk bands.

Didnt like insanely jealous of you or old pervert.

Eh nothing special, in fact it's kind of bland. Has some pretty late 60s rock sound to it compared to when it was released. 5/10.

I recognize a few of these songs from the 80s ie Underwater moonlight and I got the hots but they really didn’t do much for me back then and they certainly don’t excite me now either. Just not my jam, Waaay to long so I couldn’t get thru it all.

I didn't listen to it completely because it was way too long, and the songs didn't catch my interest in order to spend 2 hours listening to them.

Remember them at the time and not bad, but now sounds like a pretty bad attempt at copying the psychedelic greats.

Best Song: Insanely Jealous of You. An actually intense song that concludes in an interesting crescendo. Worst Song: I Got the Hots. Sounds like a sociopathic, wannabe cowboy learning how to play scales on guitar. Overall: Wholly boring, with the audacity to think I want to listen to 40 songs of very nearly the same song repeating. Would fit well in a book called "1001 Albums It's Totally Fine to Miss Before You Die."

Wow--loved it! Years ago a friend told me I had to get Robyn Hitchock's "Eye" which I did and loved immediately (and which should be on this list) but I never got into more of Hitchcock other than trying his run with the Egyptians which I didn't dig. But this is awesome. "I Wanna Destroy You" is anthem-level greatness and, per usual, there's the one song that kind of ruins the run. Here it's "Old Pervert" which I'll forgive because the rest is so solid.

The generator has atoned for its sins with the first album. This is a really fun jangle pop album (is there such thing as an unfun jangle pop album?). If this project does one thing its get me into psych rock, because these last two albums have been incredibly fun (is that rlly the word for peggy suicide? (no, not in the slightest)) psych albums. The riffs present throughout the album are amazing. I am also getting a lot of long albums. Meh, i don't have to listen to the full extended edition, that would be a fools game. Though these vocals are really good, they remind me of the flaming lips (ignore the fact that i have heard 1 flaming lips album and i didn't like it (though i did like what ive heard off yoshimi battles the pink robots, or whatever its called)). The bass guitar in this is really good. It feels like i can barely hear the drums though. to be honest this feels like a whole album of I Want You (She's So Heavy) by The Beatles. The issue with this record is less so that the music is bad, and more that it overstays its welcome quite a bit. Oh my god, yes the rym version is only 9 tracks, the youtube version has like 31 extra songs (how did somebody think that was a good idea?), thats the length of the standard will wood album!! Holy shit these guys are good at making a groovy guitar segment. oh my god this is the whole track What kind of magic does this generator have? It's showing me peak after peak, lets hope its the same tomorrow. Hold on, i think theres a thrift store in my city named after this album's best track. In other news the queen of eyes is really good. i like the harmonies, it reminds me of Camper Van Beethoven. overall if i havent made it apparent i really liked this album.

Really great, I loved this and I listened to about 2 hours of the extended mix! I'm going to revisit this again.

I was leary of this one going in but they quickly won me over. You can easily hear the influence this album had on so many other groups. This one is going into my rotation.

This one surprised me. I rarely listen to one of these twice in a row. It really hit a good spot for me. I look forward to a third listen.

## In-Depth Review of *Underwater Moonlight* by The Soft Boys *Underwater Moonlight*, released in 1980, stands as The Soft Boys’ magnum opus—a record that bridges the gap between 1960s psychedelia and the emerging alternative and college rock scenes of the 1980s. Though initially overlooked, its reputation has grown, and it is now regarded as a cornerstone of neo-psychedelia and a key influence on bands like R.E.M.[4][5]. --- **Lyrics** Robyn Hitchcock’s lyrics on *Underwater Moonlight* are surreal, eccentric, and often laced with dark humor and grotesque imagery. The album opens with “I Wanna Destroy You,” a deceptively catchy anti-war anthem that skewers media manipulation and the cyclical nature of violence: > “A pox upon the media / And everything you read / They tell you your opinions / And they're very good indeed”[6]. This song, like many on the album, juxtaposes melodic hooks with biting, sometimes disturbing content. “Kingdom of Love” turns a love song into a bizarre entomological metaphor, with lines like: > “You’ve been laying eggs under my skin / Now they’re hatching out under my chin / Now there’s tiny insects showing through / And all them tiny insects look like you”[6]. Elsewhere, Hitchcock’s lyrics veer between the absurd and the poignant. “Positive Vibrations” takes a satirical swipe at hippie optimism, while “Insanely Jealous” explores obsession and paranoia with a fevered intensity. The title track, “Underwater Moonlight,” is a surreal narrative about statues coming to life, blending whimsy with melancholy: > “He was white and she was white as only statues are / Fifty years they stood there looking stupid by a jar / One night in mid-August when the moonlight got too strong / They climbed off their pedestal and then they sang this song”[6]. The lyrics across the album are consistently inventive, if sometimes alienating in their strangeness. Hitchcock’s wordplay and imagery are reminiscent of Syd Barrett, but with a more acerbic, post-punk edge[2][3]. --- **Music** Musically, *Underwater Moonlight* is a vibrant amalgam of jangly guitar pop, psychedelic flourishes, and punk energy. The band draws from a wide range of influences: - **Guitar Work**: Kimberley Rew’s guitar is central to the album’s sound—sharp, melodic, and inventive, channeling the spirit of Roger McGuinn, Keith Richards, and Jimi Hendrix[2]. The interplay between Rew and Hitchcock creates a dynamic, textured backdrop for the songs. - **Vocal Harmonies**: The Soft Boys’ three-part harmonies recall the Beach Boys and The Byrds, adding a lushness to tracks like “Queen of Eyes” and “I Wanna Destroy You”[2][5]. - **Rhythm Section**: The bass and drums are tight and propulsive, grounding the more whimsical elements in solid rock and roll tradition. - **Eclecticism**: The album traverses genres—surf-pop (“Positive Vibrations”), blues (“I Got the Hots”), music-hall pastiche (“Insanely Jealous”), and even hints of ska and raga in the title track[2][1]. The arrangements are playful yet precise, never descending into self-indulgence. Unlike their debut, *A Can of Bees*, the band reins in their more chaotic tendencies, allowing the melodies and hooks to shine through[1][5]. --- **Production** The album was recorded on a shoestring budget—just £600—using 4- and 8-track equipment at Spaceward Studios in Cambridge and Alaska/James Morgan studios in London[4]. The production, handled by Pat Collier and Spaceward staff, is raw but effective. There’s a clarity to the mix that highlights the intricate guitar work and vocal harmonies, while preserving a sense of immediacy and energy. - **Lo-Fi Charm**: The limited resources lend the album a lo-fi charm without sacrificing musical detail. The sound is punchy and direct, with minimal studio trickery[4]. - **Instrumental Variety**: Occasional violin, sitar, and sci-fi keyboards expand the sonic palette, but these touches are used sparingly and tastefully[1][2]. The production avoids the excessive polish of late-70s rock, instead capturing the band’s live energy and eccentricity. --- **Themes** *Underwater Moonlight* is thematically rich, blending personal neuroses with social commentary and surreal storytelling. - **Alienation & Paranoia**: Songs like “Insanely Jealous” and “I Wanna Destroy You” tap into feelings of mistrust, obsession, and alienation—reflecting both personal and societal anxieties[6]. - **Surrealism & Absurdity**: Hitchcock’s lyrics often veer into the absurd, using surreal imagery to explore love, identity, and mortality (“Kingdom of Love,” “Underwater Moonlight”)[6]. - **Satire & Irony**: There’s a persistent sense of irony and dark humor, whether mocking the media, hippie platitudes, or romantic clichés[3][5]. - **Nostalgia & Subversion**: The band pays homage to 1960s pop and psychedelia, but always with a subversive twist—undercutting nostalgia with eccentricity and wit[1][2]. These themes are unified by Hitchcock’s distinctive voice—both literally and lyrically—which oscillates between detached observation and emotional intensity. --- **Influence** Though a commercial failure upon release, *Underwater Moonlight* has become a touchstone for alternative and indie musicians. Its influence can be traced through: - **Neo-Psychedelia**: The album is credited as a foundational text for the neo-psychedelia movement of the 1980s and beyond[4]. - **College Rock & Jangle Pop**: Bands like R.E.M., The Replacements, and The Church have cited The Soft Boys as an influence, particularly for their jangly guitars and melodic sensibility[4][5]. - **Indie Eccentricity**: The album’s blend of pop craftsmanship and eccentricity paved the way for later acts like The Flaming Lips and Ween, who similarly balance weirdness with accessibility[3]. Robyn Hitchcock’s own solo career, as well as Kimberley Rew’s later success with Katrina and the Waves, further testify to the band’s lasting impact[3]. --- ## Pros and Cons | Pros | Cons | |----------------------------------------------------------------------------------------|--------------------------------------------------------------------------------------| | Inventive, surreal lyrics that reward close listening | Hitchcock’s lyrical eccentricity can be alienating or off-putting for some listeners | | Brilliant guitar work and vocal harmonies, blending multiple influences seamlessly | Production is lo-fi and may sound dated or rough to modern ears | | Melodic, catchy songwriting that stands up to repeated plays | Some tracks may feel like pastiche or overly derivative to certain listeners | | Fearless genre-mixing: pop, punk, psychedelia, blues, and more | The album’s eclecticism can make it feel uneven or lacking cohesion at times | | Satirical, darkly humorous take on love, war, and society | Initial commercial failure; not immediately accessible or radio-friendly | | Influential blueprint for neo-psychedelia, jangle pop, and alternative rock | | --- ## Conclusion *Underwater Moonlight* is a singular achievement—a record that synthesizes the best of 1960s pop and psychedelia with the energy and attitude of post-punk. Robyn Hitchcock’s lyrics are by turns unsettling, hilarious, and profound, delivered atop a bed of jangly guitars, tight rhythms, and lush harmonies. The production, though modest, captures the band’s vitality and inventiveness. While its quirks and eccentricities may not be to everyone’s taste, the album’s melodic strength, lyrical depth, and fearless eclecticism have ensured its status as a cult classic and a pivotal influence on alternative music. For listeners willing to embrace its oddities, *Underwater Moonlight* offers a rewarding, endlessly fascinating experience—one that continues to resonate decades after its release.

How is this the first time I have heard this album? I mean I took on this 1001 album challenge to potentially expose myself to some music I might have previously not heard or written off, but this record is something I feel like I should have been exposed to LONG LONG AGO. Why? It is hard for me to place what genre I would put it in. It isn't punk, it isn't new wave, it isn't jangle pop. I can't define it but I am happy to have found it.

Love this so much, forty years later. So much weirdness, so much pop. Such great guitars.

Loved it then, love it now. Good reminder to listen to the whole album. I don't think this is a nostalgia rating but I guess the Gen Z daughter is the test.

Wow this album just rocks. Great guitar work and goddamn is this singer pissed at someone, the lyrics are pretty crazy

This was extremely enjoyable

Awesome. Has a modern lovers-esque edginess that fits smoothly relaxed vocals and weird off-kilter lyrics. Instrumentation is varied and well-done. Love giving 5 stars to a band/album I've never heard of. That's the best case scenario for this program!

Pretty catchy.

A tightly-packed, effortless blend of psychedelic, post-punk, jangle pop - immensely enjoyable!

Yeah. This is really good and will hit you in just the right spots. Feeling like a lost gem of early alternative, this is just the right mix of jangley psychedelic pop, punk aesthetics, with the outright bizarre.

I rather enjoyed this. Very British, but the influence on later American acts can be felt. I usually don’t listen to the bonus tracks on these things, but I opted to do so today.

This is the right mix of punk and power pop. Great record, listened to it a few times.

This album is like a step before all the music that inspired nirvana such as the pixies but then it still keeps a strong fondness for the 60’s. That’s what’s important about this album, every single song is at least decent, I wanna destroy you is the best but the album is consistent, even the track ‘old pervert’ is entertaining 5/5

the terribly underrated boys who made a perfect album

"You've been layin' eggs under my skin Now they're hatching out under my chin Now there's tiny insects showin' through And all them tiny insects look like you"

What a nice surprise, some early post-punk/jangle-pop that i've never even heard about. Was a blast the whole way through, was sad when it ended. Though that last track especially was a banger.

I actually really enjoyed this. Lots of similarities to Pixies, which is one of my all time favourite bands. You can tell how The Soft Boys influenced them.

I'd never heard of this band or album and thoroughly enjoyed getting introduced to them

- I had to go back and check the release year ... so forward looking, so good. -

Odd and eccentric pop genius from Robyn Hitchcock and company. The first album has its moments, but this album delivers on the promise. An excellent and purely original punk rock take on Syd Barrett-era Pink Floyd weirdness.

Really good, and I'd like to check out more Soft Boys. I never heard of them before. The version on spotify is 40 song long. Why can't I just have the 10 track release as original, instead of every ultra low fi recording they could dig up to put on this special variant.

This was surprising and amazing.

An album I'd never heard of before, and I loved it

Absolutely loved this one. Never heard of them before and it was a real revelation. Can see that so many bands were influenced by them!

A lighthearted missing link between punk and indie rock. Wonderful guitar sounds, clever lyrical concepts, psychedelic dynamics. Lovely!

Great alternative rock that is melodic with cool guitar riffs.

Robyn Hitchcock’s surrealist psychedelic masterpiece. Still an underrated gem.

The Soft Boys really feel lost in time. But was this album released too late for the 60s psychedelic movement? Or too early for 90s indie rock? It exists somewhere in between but not along the usual evolution of rock music in the intervening decades. Instead, it opts to revive the Byrds and the Beatles while injecting it with experiments from a future beyond 1980. It's punk, new wave, classic rock, and psychedelia all rolled into one. At many points, it reminded of Velvet Underground, if they'd gotten their start in the early 80s. The more I listen, the more I love this. What a hidden gem this album is!

I enjoyed this one a lot. It’s just really good I don’t know what to say about it

I never heard The Soft Boys before but man I really liked this record

I listened to the entire 2.5 hour remaster of this album, never having heard anything by them before except I Wanna Destroy You. I could hear so many artists that were inspired by them in this album and it was such a treat. Love the bass lines.

Honestly this album is sick. Something about it just really speaks to me.

This album was very good. Unusual lyrics accompanied by really quite soft music. Sound in both musical and vocal quality. At times it was a bit Jaggeresque vocally and other tracks traces of The Stranglers were evident. I listened to the whole 2 hours in one hit which I didn't think I would be able to prior to listening. A hybrid between blues and new wave in my opinion and it worked 👍

Underwater Moonlight is a perfect album. From the cover to the sequencing, from lyrics to production… Everything makes sense.

Fantastic, really unexpected album.

You gotta read Kunetz's review

Nothin better than gettin soft with the boys

This is why I love this album thing. I’d never heard of this band before but this might be one of my new favorite albums (all 2 hrs of it). It starts off as pretty standard post-punk stuff. Wait, that’s a major key. Wait, that’s psychedelic with some sitar thrown in. Surf rock? Blues? Jangly Byrds-inspired songs? So so cool and extremely listenable.