Don't Stand Me Down

Okay, c’mon! Three fucking Dexys Midnight Runners albums on this list?!? That is too much!! They have 1 exceptional one hit wonder and the rest is pure shite. We’ve discussed this already, topic fucking closed now alright!

From the reviews I read on this site, I understand there are two other Dexys albums on here, almost certainly SFTYSR and Too-Rye-Ay. This is the best of the three, and I love the other two. This is Rowland's "Tusk", the freak following the hit. I have to rush off to see the Taylor Swift Eras film tonight, so I cannot write an essay about how Rowland absorbs Van Morrison, the Beach Boys, golden age rock n roll and Christ knows what else before surpassing them all, or how he - along with Marvin Gaye - is the master of the chaotic concept album, or his tremendous sense of humour (he doesn’t speak Italian, but he knows a man who does), or his possession of one of the most marvellously distinctive singing voices that yet stays true to his upbringing, or his unique mix of softness and machismo. I can, however, apologise for insulting other reviewers in an early draft of this review. I am sorry that I referred to you as “ cloth-eared, verse-chorus-verse dingleberries”, or “the reason why most music is boring”, and I’m especially sorry to the chap who described this as “pub rock” for calling him “uniquely cretinous”. Forgive me. Hugs!

Another album by these guys? THREE?! Fuck, ok. Oh fucking hell was the singing this annoying before?? Just more dumb English pub rock. Fuck off for crying out loud. 1/5.

No idea how this made the 1001 list.

I used to love this album. I still do, but I used to also. My favorite of Dexy's classic trio and that's saying something. "This Is What She's Like": 12 minutes of rambling conversation and interjection with Kevin steadfastly refusing to answer the question, yet answering it perfectly. Why was this not a giant hit in 1985? Feargal Sharkey was more concise, I guess "Knowledge Of Beauty" (the better title, btw): building to "... if I need strength to take bad on..." is Rowlands best vocal performance in my opinion, stupendous. Almost rivaled here by the latter part of "The Waltz" "One Of Those Things": Fuck Kid Rock, this is how you rip off Warren Zevon "Reminisce Pt II": Lola is by far the better choice Any record where "Well, you know how the English upper classes are thick and ignorant" is sung as a lilting air deserves a solid 5*. A misunderstood masterpiece

This is the preeminent evidence of the British bias in Dimery’s 1001 list. One band member said the best thing about this album “ is that it got released at all.” It did so badly that the band broke up afterwards. I could repeat all the things JKav noted as issues. Instead I’ll focus on the vocals. They are awful. The frustrating part is I think they have OK voices if they would have used them properly. Instead there are intonations, affects, and strange noises throughout. Some of the music is decent, which is another sad aspect of this album. The final arrow of British bias is that inclusion of this album means that all 3 of Dexys Midnight Runners album from their original lifespan are on the 1001 list. Seriously? DMR are so good that 3/3 need to be included. I haven’t found one worthy of listening to yet.

What a stupid voice. What a stupid idea to just chat over the music. What a stupid album.

No, it is not a “neglected masterpiece” or “lost treasure” or “towering achievement”. This was unsuccessful because it just isn’t good enough. Too much talking and not enough singing. The music and songs are there, but overlong and disjointed with the talky bits. Given the brilliance of the previous two Dexy’s Midnight Runners albums, I’m very disappointed with this even if I’m left with one or two ear-worm melodies (just adds to my overall disappointment).

Man, their previous record was so fun, but this just sounds like they are trying to do Elvis Costello, and succeeding even more poorly than he does.

Like finding a Rembrandt in your Grandmother’s garage

Have always heard this highly praised, along with the two other big Dexys records, for very different reasons. But never heard this one. Was initially baffled by all the talking, and the extremely quiet talking and singing at first leading me to turn up the volume ridiculously and getting blasted when the song bursts in. I also thought he was saying she was intermittent at first, which I thought was an odd characteristic for a person to have. But once I've settled into This is What She's Like I am fully on board here. Slow burn, mood, warmth, it's majestic really. I think this is a good set of headphones record for sure.

When one thinks of Dexys Midnight Runners, one thinks of the country bumpkin, fiddle playing romantics at heart who just had that one song that's played at most 80s parties and never be heard from again. Which was what most people expected after 1983. What they didn't understand is that Dexys Midnight Runners are an adaptable bunch, willing to change at a whim to suit the musical ambitions of one Kevin Rowland and it was he who decided to take a radical new approach with their look and sound regardless of what the public wanted. The result is Don't Stand Me Down. Don't Stand Me Down is a work of art. It is a forgotten, oft neglected masterpiece that best encapsulated where they were going and what they were going to do. Surely, the press didn't appreciate it and the band didn't help matters by petering out altogether. But, in time, this album's genius would be acknowledged and rectified. Dexys are already a divisive enough band as it is, but you cannot mistake this for a lesser effort. The definition of a hidden gem.

This does not work for me. The voice bugs me a lot. Hard pass. The redeeming quality of this album is how brief it is. Not for me. Voice doesn't sit right with me, and even if you removed the voice, you'd be left with some mediocre weather channel music.

Is it obnoxious? Yeah. Did I have fun listening to it? Sometimes.

For years, the U.S. Customs and Border Patrol agents have been in pursuit of "Dexy's Midnight Runners". Dexy, the famous amphetemine smuggler from London diversified his operations in 1980, moved to the sanctuary city of Los Angeles and started Dexy's Midnight Runners, LLC. Dexy was great at smuggling things, but in his heart he wanted to be a musician, except he wasn't so great at musician-ing. But, he had an idea... Dexy knew that he only needed a captive audience to listen to his songs about boring stuff. And, the best way to get an audience was to offer smuggling services to immigrants. See, they'd have no choice to listen to him sing as he led them through the night across the border and into California. However, it didn't work. This album, Don't Stand Me Down is based on the revolt that his caravan led against his music. Most of the caravan turned around and headed back down south rather than listening to his music. Dejected, Dexy moved back to the UK and became involved in peddling smut with a song about Eileen. The Brits loved that one and it took to the UK charts but never did much in the U.S. Excited about a potential tool to lower illegal immigration in the U.S., the Customs and Border Patrol have been trying to locate DMR to license their music. The thought being that if Dexy's music was piped through border speakers it'd make those who've travelled thousands of miles to escape poverty, political persecution, gangs and violence for a better life in the U.S. would be compelled to stop, turn around and rethink their choices. So far, Dexy has been mum on his intent to cooperate with the government. However, sources say that one of the sticking points in the recent budget proposal on Speaker Mike Johnson's desk includes a line item under Homeland Security for "DMRs auditory repulsion" and it's understood that "DMR" is in fact Dexy's Midnight Runners... Only time will tell if the U.S. will ever pass a budget and if that budget will include services by the elusive Dexy's Midnight Runners, LLC.

It absolutely boggles my mind that Dexy's Midnight Runners have ALL THREE of their albums on the 1001 Must Hear Albums list. That's a 100% batting average for a band that were barely more than a one hit wonder. 'Come On Eileen' isn't that great and isn't even on this record.   I really don't understand the way some people worship Kevin Rowland. He seems to me to be the King of Bad Decisions. For example, wikipedia suggest that he deliberately chose his strangely affected singing voice in order to be unique. It certainly is that, but also sounds shit. And the choice to radically change the band membership (cutting from ten to four members, one of whom left immediately after recording this album), and changing the sound radically from the previously successful model. Now, nobody would want to stifle a band's artistic growth, but you have to wonder about the choices here. The extended and aimless spoken word passages, the weird kludged together song suites, the lack of singles. It is easy to condemn the mercenary decisions of record companies to not support or promote records, but I have to say, in this case I agree with them. Everything fell apart for Kevin after this record career-wise and personally, and I feel for him. I certainly think the hate he received as a result of his "My Beauty" solo record in the late 90s had a disturbing undercurrent of trans- or homophobia. But in all fairness, it was a sincere but terrible record of naff cover versions, with a challenging choice of cover art. Another example of Kevin not really reading the room, methinks... This is not a lost masterpiece or hidden gem. It's a pretty shit record. Critics may champion it, but, in this case the record company and radio stations and buying public all had it pretty right; it's a crap album, best ignored. Objectively, it's a 1.5 or 2 star record, but I am so incensed by Dimery's audacity in putting it on the list, that I am going to give it 1 star. Fuck you, Dimery.

It's good music. But I'm just not convinced I needed to hear this before I die.

Carried by its occasional catchiness and theatrical elements but brought down by the conversational style of singing.

Ugh - a bunch of mumbling and little song. They sound like they’re going to break out into come on Eileen at every corner but maybe it’s a good thing they don’t, but maybe it could have made this record bettter? Still better than the other Dexy album on the list but that’s not saying much.

The singular genius of Kevin Rowland - I love how he interrupts himself, gives commentary on what he is singing about, lays himself bare. I love the muttered asides, and love that his reach exceeds his grasp - who could possibly achieve everything he has set out to do ? A deep listen.

Really easy to listen, I like it a lot.

I've always held "Come On Eileen" as one of the three quintessential one-hit-wonder songs of the 80's. It is perfect, and so I'm very curious to see what else is going on under the hood. What?! This song isn't even on this album?? Now I'm REALLY curious what they got going on on this album. "This Is What She's Like" is half-sung, half-spoken in the fashion of a lounge singer's approach while conversing with the audience, though the music is less "dark basement" and more "department store overhead speakers," specifically in the furniture section, until the throwback to Come On Eileen at the end where you exit the store to the overly glossy white floor tiles reflecting all of the neon lights of the mall food court as you make your way to get a you-so-deserve-this ice cream shake. I keep hearing "Come On Eileen" in these songs, even the "Werewolves of London" chord patterns of "One Of Those Things". There's something rollicking and simultaneously 50's and 80's in their sound. Though I only know the one song, The Boomtown Rats come to mind. I seriously had to look up if this was some sort artistic attempt to deconstruct "Come On Eileen" and re-write it into other songs. That's when I learned that the once 10-piece band was a four-piece by this, their third album, and that those other members left the group after recording the album. Maybe that influences my headspace some, but Don't Stand Me Down does seem to take the approach of a band who has one last thing to say, not really striving for a 3-minute radio hit or caring to capitulate to marketers or producers, and just doing whatever they feel like. "The Waltz" follows suit as the final swansong, a band's last brilliant flash before accepting their own demise. Passionate, heroic, proud in the face of being ignored, and beautifully sad. I believe it.

A strange, unique and wonderful album. Glad I finally managed to listen to it.

Absolute Gold

Another great DMR album. I like it just as much as the first two DMR albums. score: 10/10.

cool

why is this in here hjahahahaha the most one hit wonder band of all time. Strange dudes tho so the album was fun I guess

10/10 I’ve now heard 3 albums by this band and am absolutely obsessed with each one, but if you put a gun to my head asked for what the band’s name is, I don’t think I’d be able to tell you

I like Dexys Midnight Runners, however this album has never stuck with me. I know a lot of fans consider it a misunderstood masterpiece, and there is good songwriting here, but Dexys seems to do everything they can to sabotage the album, such as songs being far longer than they should be, random pauses, and of course the spoken word segments. There is a good album in here but it's trapped under all these bafflingly poor choices.

I don’t usually question my participation in this project or its legitimacy…actually…who am I kidding, I’ve done nothing but that over the last two years…but the realization that Dexy’s Midnight Runners’ *entire discography* has made this list has me thrown. I’d be mad about it, but in 2.5 hours, I’m on vacation for 9 days and the Dexy’s aren’t going to bring me down.

Nein.

Vocalist went to the Bob Dylan singing school for the deaf

Not surprised it was a failure when released

Very pleasantly surprised by this! Only really knew Come On Eileen by this band. It’s a gorgeous album. Full of personality and feeling. A lot of these songs spoke to me!

Yeah

Linda producción, valorable coherencia entre tema y tema, hermosos de escuchar el violín y el saxo. Las voces, por momentos conversando, muy amenas también. Los temas valorables en su formato largo, en el sentido de que uno como oyente debe comprometerse. Por ejemplo, de ser "This is what she's like" varios temas distintos en vez de uno sólo largo, sería más fácil decir cuál gusta más y cuál menos, más no es ese el objetivo de escuchar música, entonces considero que este disco por momentos propicia la escucha activa y compleja. De todos modos, no todos los temas logran esto y tampoco sé si es el objetivo de los artistas. Por ejemplo, "One of those things" son seis minutos de tres acordes y algunos estribillos acaso atendibles, como una zapada sobreproducto de su época. En cualquier caso, merece una reescucha adonde me gustaría prestarle más atención a las letras.

Come at me.

This was a pretty good album. Their first two albums were definitely more energetic and horn driven, but this one leans heavily into soulful new wave and sophistipop. Even though it’s a full length album, it only has seven songs, so they clearly focused more on the songwriting, and crafting longer, more introspective tracks than what you’d expect from their earlier work.

Loved this. What a great ride. 5*

There's attitude and intent oozing from every single second of this album. I'm not sure I understand all the low scores - this is mesmerising stuff from start to finish so far as I am concerned. (And, yes, that is a complete Werewolves Of London rip-off, you've got me there). Even if I wasn't already a convert, this is exactly the kind of album I would imagine this list should be all about - if it turns out this isn't your bag, you should still hear it at least once in your life. A brilliant, heartfelt, unorthodox pop classic.

Decent album! Some of the tracks were a little bland but the hits really made up for it overall. I’d say it’s 1:1 great:boring tracks

The vocals on this were great, at points if it felt like an intimate conversation.

Frenetic Melodic and fun

I love it when Kev goes off on one - which he does frequently on Don't Stand Me Down. English upper classes, thick and ignorant, etc. Tell It Like It Is. The idea of a band on a mianstream label being allowed to release a twelve minute bitter soul work out sounds bonkers now. Maybe tbhat was the downfall? Some albums deserve to fail. It doesn't mean that they aren't musical masterpieces.

There’s a meme that does the rounds occasionally, pulled from Family Guy. AFAIK (it’s a meme, who knows how far it’s drifted from its original context?) patriarch Peter explains The Godfather as “insisting upon itself” – a criticism that does a laudable job of sounding comically faux-intellectual while also sort of nailing it. Because yeah, you do want The Godfather to be self-serious. There’s little mirth to be extracted from the mafia (see: Mickey Blue Eyes) – so for the whole enterprise of The Godfather to even stand a chance of working, it has to insist upon itself (see: best director wins and nominations). With that in mind, it’s a bit of a shame that the Dexys of “Don’t stand me down” initially seem to be guilty of insisting upon themselves. Gone is the triumphant buoyancy of “Too Rye Ay” and its anthemic choruses; in its place a mopey-toned, albeit sonically sophisticated, collection of intriguing but ultimately unrewarding, overly esoteric musical essays. It’s a fruitless first listen – no one last wild waltz – but I steady myself, it’s only a first listen. Underwhelmed as I am, it’s an album I’ll return to. And return to. And return to. And return to. Five spins in and I’m comforted to find my favoured collection of wonderfully esoteric, sophisticated musical essays is still holding up. The pastiche elements, spoken word breakouts and musical quotations – some of them self-referential – add to the sense of this being a properly postmodernist, academic piece of work. Gloriously so, I come to conclude. But it is “work”; make no mistake, you have to bring a lot to this record before you start getting something out of it. For me, that’s not a point around which to be critical – I’m happy to put a couple of yards in my side to meet a band who’ve traversed entire landscapes to find themselves on the ground that they stand. But I can, equally, see how a listener might feel short-changed; not everyone can be expected to extend Dexys such grace, nor should they be. (I gather that Kevin Rowland’s efforts in promoting this album on its release wouldn’t have exactly helped manage anyone’s expectations around its contents, too.) Anyway, 8 minutes into “This is what she likes” the band rouses. It’s been a variable, captivating seven minutes previous – we’ve had a spoken word skit, a warbling vocal solo, some signature Celtic-rock-cum-blue-eyed-soul, a bit of piano, a couple of ruminations on poppy ostinatos, harmonies, tempo shifts … lots. Enough that you might be forgiven for thinking there’s not much more left to be done. And yet. For anyone who’s ever struggled to put into words a feeling, it’s familiar territory. There’s not a runway long enough – you’ll keep talking forever, whether mellifluously or tediously, if you need to. But by minute 11 we’re all there. We’re dancing, we’re smiling, we’re sharing something. It’s what she’s like. And it’s clearly, clearly Dexys’ masterpiece.

I really dislike the smug voice of this ass muppet

Just like track 2, "This is What She's Like"...I have nothing meaningful to say about this album. Boring.

Robert Dimery, the fact that you got your first BJ at a Dexys Midnight Runners concert doesn't mean that they deserve to have all three of their albums on the list. "Neglected masterpiece" my ass, fuck off. 0/5.

Can't believe how shit this is. Loads of guys mumbling at start tracks. Minutes of silence. Weird noise vocals. Come on dexys midnight runners

Any musical intrigue generated by this weird-ass album gets immediately dispelled by Kevin Rowland’s rambling, pointless conversations with his band mate in the middle of his songs. It’s not even spoken word poetry; it’s auditory litter. This does not belong.

Terrible stuff really, why is there so much talking!? It's crazy someone decided that was a good idea. They recorded it, listened back to it and said "yeah, love it leave it all on the album". So fucking annoying. Why is this on this list?! 1.5*

Theres a right and a wrong way to do theatrical music, and this definitely does it wrong. Why exactly is this on the list? Especially over a bunch of albums that are both really good and have proven to be super influential.

Some wonderful songs probably a 9 but the great songs carry it

Throw in a kid with a mullet and a crazy family pet and this album cover becomes 'awkward family photos.' But the music inside is really good. There are some deep tracks here that require multiple listens to absorb. Give this one a chance and don't read the negative reviews.

man what a rad album!

Hangulatoooos.

Three Dexys albums, three 5s from me! (And the fact they seem to infuriate a certain subsection of weenies doing the project is just sprinkles, as far as I'm concerned, heh 🍧) I was introduced to “This is What She’s Like” when the full video was played in the chillout tent of a festival I was at - it’s such a weird artifact, I instantly fell in love with it… Highly recommend you watch it if you haven't seen it before - it helps but all the pre- and mid-song chatting into context. Fave track - as well as the aforementioned, "One of Those Things" and "I Love You (Listen to This)" are both standouts. But really, this is a vibes album - do the whole thing.

Astonishing - one of my favourite albums.

This was so much fun I adore this album. This is the favorite album yet. I love how it’s just a series of conversations between friends about various topics, but all of them are deeper than they seem, at least in my opinion. Love this album!

Bit surprised this is on the list. It’s a great album, but without any great songs, it’s a great album for people far down the Dexys rabbit hole. And that’s me. I can’t see it winning any new converts.

the english know their music

Wow! At first I was annoyed, but the more I listened the more I got into it. These guys offered their own unique twist on 80s rock. I don't think I've ever heared anything like this before. Ending of This Is What She’s Like is simply fantastic. Most of the album is catchy, melodic, joyful and quirky. Will definitely return to it. Also it's cool to have Vincent Crane as a session piano player here. Check his previous bands' (Atomic Rooster) first two album (should have been on this list too), this guy is a beast.

Fun, creative, and different. It was such a fun listen. I really liked the talking parts and how the conversations were part of the songs, it felt fresh and new to me. I haven’t really heard anything like it before, and it made the listening experience really enjoyable. I also loved how playful the whole album felt. From the music to the lyrics, everything felt creative and fun.

One of many unexpected twists in an admirably uncompromising career. It does not conform to the norms of a pop album and it’s pretentious, but it is a boldly strong piece of art from an important artist.

A surprisingly nice album, even without Eileen.

I couldn't tell you why, but I like this. Something is pulling me in and I'm embracing it. Made for really good driving music. I love that bizarre vocal style of his; it really works for me. I'm curious to hear more, especially something more upbeat - I'm assuming they've got other upbeat songs.

I happen to love the vocalist of this band. However, they are - sadly - a victim of their success. I hear COE in every song. I enjoyed the tongue-in-cheek nature of this album so much that they just eked out an extra star.

Don’t Stand Me Down I used to really like this album but haven’t listened in at least 15 years. I can totally see how it is a bit marmite, a bit like Kevin Rowland himself. And I suppose liking or disliking it will depend on your appetite for 12 minute part spoken word conversations, clear musical nicks, oddly crooned vocals and a slightly meandering spirit. Somehow though that all works for me, and I don’t get a sense of deliberate and performative eccentricity, more a sense of a distinctive and interesting voice making an album full of ideas and moments that sidestepped expectations and commercial imperatives post Come On Eileen. This is What She’s Like is probably the key track, and it either encapsulates what’s great about the band and this record or it sums up all there is to dislike about them. I’m of course on the side of liking it, from the conversational sections to the exuberant blue-eyed soul and celtic-soul fiddle led sections, it’s a great engaging and esoteric listen. With Dexy’s in general, there is a lot more to them under the surface than they get often get credit for I think, there’s a lot of craft and skill in their arranging, Knowledge in Beauty and The Waltz show this, with some great little parts on mandolin, lap steel and fiddle, and both these track create a great and slightly doleful country tinged atmosphere, a little like Nashville Skyline. One of Those Things shamelessly steals from Werewolves of London, and I think they retrospectively added Zevon as a songwriter, but I like the idea of nicking the riff and then saying all songs sound the same. And then I just generally enjoy their pop/rocksoul/irish/country blend, evident on stuff like Listen to This. While I don’t think it’s necessarily the great lost masterpiece that many critics seem to think it is, I do think it’s an excellent, quirky, engaging singular listen, full of wit, charm and a unique sensibility that does start to burrow into your consciousness after a while. ⏱️⏱️⏱️⏱️ Playlist submission: This is What She’s Like

"Dexys Midnight Runners," a band known for their distinctive blend of soul, pop, and Celtic folk influences, released "Don't Stand Me Down" in 1985. This album marked a departure from their previous hits like "Come On Eileen," embracing a more experimental and introspective direction. Here's an in-depth review of the album, focusing on lyrics, music, production, themes, and influence. ### Lyrics: The lyrics of "Don't Stand Me Down" are deeply introspective and poetic, reflecting frontman Kevin Rowland's personal journey and philosophical musings. Tracks like "The Occasional Flicker" and "One of Those Things" delve into themes of love, identity, and self-reflection with profound sincerity. Rowland's lyrical prowess shines through in his ability to convey complex emotions with vivid imagery and introspective storytelling. ### Music: Musically, "Don't Stand Me Down" is a departure from the band's previous work, incorporating elements of jazz, soul, and folk into their signature sound. The album features intricate arrangements, with layers of horns, strings, and keyboards weaving together to create a rich tapestry of sound. Tracks like "This Is What She's Like" and "Knowledge of Beauty" showcase the band's versatility, blending genres seamlessly to create a sound that is both unique and compelling. ### Production: The production of "Don't Stand Me Down" is polished and sophisticated, with meticulous attention to detail evident throughout the album. Producer Alan Winstanley masterfully captures the band's dynamic performances, allowing each instrument to shine while maintaining a cohesive sound. The lush arrangements and intricate production techniques contribute to the album's overall sense of depth and complexity, elevating it beyond mere pop music into the realm of artistry. ### Themes: Thematically, "Don't Stand Me Down" explores a wide range of topics, from love and relationships to existentialism and spirituality. The album's title track, "Don't Stand Me Down," confronts issues of identity and self-worth, while songs like "The Waltz" and "Reminisce Part Two" reflect on the passage of time and the nature of memory. Throughout the album, there is a sense of searching and introspection, as Rowland grapples with life's big questions in his quest for meaning and understanding. ### Influence: "Don't Stand Me Down" had a significant influence on subsequent generations of musicians, inspiring artists across genres with its bold experimentation and emotional depth. The album's eclectic blend of musical styles and its willingness to push boundaries paved the way for alternative and indie artists in the years to come. Additionally, Rowland's introspective lyrics and passionate delivery have left an indelible mark on the singer-songwriter tradition, influencing artists from Jeff Buckley to Florence Welch. ### Pros: 1. **Lyrical Depth:** The album's introspective lyrics are thought-provoking and emotionally resonant, inviting listeners to delve into the complexities of the human experience. 2. **Musical Versatility:** "Don't Stand Me Down" showcases the band's ability to seamlessly blend genres, resulting in a sound that is both unique and compelling. 3. **Sophisticated Production:** The album's polished production and meticulous attention to detail contribute to its overall sense of depth and complexity, elevating it beyond mere pop music into the realm of artistry. ### Cons: 1. **Challenging Listen:** The album's experimental nature and introspective themes may be off-putting to listeners expecting more straightforward pop hits. 2. **Lengthy Tracks:** Some tracks on the album, such as the 12-minute "This Is What She's Like," may test the patience of more casual listeners. 3. **Limited Commercial Success:** Despite critical acclaim, "Don't Stand Me Down" did not achieve the same level of commercial success as the band's previous albums, which may have limited its impact at the time of its release. In conclusion, "Don't Stand Me Down" is a bold and ambitious album that showcases Dexys Midnight Runners at the peak of their creative powers. With its introspective lyrics, innovative musical arrangements, and sophisticated production, the album remains a testament to the band's artistic vision and enduring influence. While it may not have achieved the same level of commercial success as their previous work, its impact on subsequent generations of musicians is undeniable, cementing its status as a classic of the genre.

Really enjoyed this. Better than people give it credit for

-his voice reminds me of someone I can’t place but it’s so whiney, I don’t like -the musicality of the occasional flicker -one of those things is giving werewolves of London / all summer long right??? -I really love the instruments, from the strings to the keys, both piano and organ, and the occasional brass -it’s giving a little bit of talking heads vocal wise -the guitar is understated and I love it

I wanted to hate this one. I think the general affect of the people in the band is that they think they're better than you and that they couldn't be bothered to stop their sidebar conversation to record an album. I don't think I could stand to be in a room with these people for more than five minutes before wanting to smash my head against a wall. Unfortunately for me, they're really talented and damn good musicians. I said out loud 'Oh you fuckers' half way through This is What She's Like when I realized how good they were. I hate it.

At first listen I was sure I was going to give this 2 stars. I know a little about Dexys Midnight Runners and how Kevin Rowland would constantly change their sound and their look seemingly every other month. I also knew they were more popular across the pond in their native land but they’re just a one hit wonder to me. As it turns out I was out and about for work in my car a lot and absentmindedly listened to the album 3 times in a row and it grew on me. “Knowledge of Beauty”, “One of Those Things”, “Reminisce Part 2”, and especially “The Waltz” have ended up on my Spotify Liked List.

Listen To This musiquita parecida a LHR.

This album takes it's time. "This is What She's Like" doesn't sound like a drag even at 12 minutes in length. Includes a variety of genres and elements. A pleasant surprise for an album from right in the middle of the 80s.

Very good. First time and I loved it.

I really like the general style and vibe. Not as good as some of their other albums to me.

Pretty good. I expected it to be a drag as I only really know one hit from this band, but I was pleasantly surprised.

I am kind of surprised this isn't more famous album. I like it better than their previous work, but had not heard anything off it.

The kind of thing I'd be stoked to hear in a bar somewhere...

Never heard of them, the cover is intriguing and can't wait I guess to listen to it. First song, slow start, but his voice made it less slow. I like new waveness here. His way of singing is weird, in a good way I suppose. He has vocals, not good, but still. He's talking now with others, it's somehow fun. Background melody is nostalgic because of that instrument. Why did he talk so much. Back to his vocals. He's so British while saying "burning". Instrumental break is funky to me. Long outro, however, fun in a way. Ohh a transition. Second song, it's talking, but no music behind it, also 12 MINUTES? Better not be talking all this time. The talking was a intro to the song, he has a soft Elvis Presley voice now. I'm loving this song better than the last one. I think it'll get faster at some point. YES I WAS RIGHT, beat instruments and melody came back fast. He's vocalising a lot and I like that. The overall vibe is veery interesting and makes me love the genre even more. He's just vocaling now, but harder. Talking came back, idk if it has a meaning, I just know it's about a girl. Beat stopped and I'm halfway through. Piano playing, choir like singing, it got slow basically, OOH the beat drop was unexpected. It's even faster now and he sings like that too, the choir is in the background now. Another sudden stop, violin like thing was playing, and THEN BEAT DROPPED AGAIN AND NOW PIANO IS PLAYING WITH OTHER INSTRUMENTS. This is not one song tbh. Talking came back, and the melody behind it is sooo fun. It's not repetitive at the end, I thought at first, but it changes the constant beat instrument in between. Outro is long, but necessarily long. LOVEED EVERYTHING HERE. Third song, slow piano start, the beat came in, a guitar I hear(not sure), some more instruments, and lastly his soft voice. I thought there would be beat drop, but it's better this way, slow and steady. Gibberish singing now. This is the kind of song to slow-dance with someone. Slow violin came in now. The overall vibe is veeery different from the last song, and that makes it better tbh, the diversity. Outro is mostly piano, basically loved this as much as possible. 4th song, it's guitar and the beat, and him talking for now. It's monotonous and the same vibe at the start, and he mixes singing and talking, one after the other. Vibe stayed the same, so I didn't like the repetitiveness, but it was okay song, second one is unmatched I guess. Outro was loud, otherwise nothing much. 5th song, talkiiing. There are different instruments here, don't know that names of, a piano I hear now. It's a rather short song. Only talking it will be I guess. Vocals came in. I'm low key bored by this, beat got louder and he's vocalising more. Not bad, outro made it better. 6th song, finallyyy some fast music. This one is short too compared to others. Much better than the last two songs I think. It got slow and fast in a second. The constant beat makes it better. I hear jazz too in the background, and the piano is pianoing. Outro was nice too. 7th song, 8 fucking minutes. The name suggests some goodness. It's slow and soft for now. There is a violin, and a tu tu TU beat. It's annoyingly slow rn, must be progressive. It's still slow(I don't like labelling songs like this, but it's what it's). Another instrument came in, which I weirdly like. It is slower now I think, I do like it a little tho, it just shouldn't be this long. I'm kinda bored, but I also would use this vibe to be chill and not think about anything, so that's something. Outro is jazzy and I guess that's it, Imma review it not all together. Second song was veeery good and because of that I was gonna rate it 4 stars, but then I thought 3 stars would be better, however this is a grower album I think, so I'll stick with 4 stats, dunno if I would listen to this again, but it's giving in its way.

Great

A fun album! I can imagine that a lot of people probably won't find it as enjoyable as I did, but I don't know, it kept a smile on my face... it kept my head nodding to the beat... it sampled Werewolves of London.... what else could I want

Where has this album been all my life? It’s brilliant. I’ll dock it a little for that one song that goes on too long, but even that has enough turns in it that you think you’ve gone on to a new song when surprise! it’s still the same one.

Only knew Come on Eileen by these guys. This album is pretty long and drags on with quite a bit of talking, but it did grow on me. The longer I listened to more I liked it, good stuff.

The notorious THIRD DEXY'S MIDNIGHT RUNNERS ALBUM on the list. Actually this is pretty great, the Irish seem to have a real knack for American soul music and I'd rather hear these guys' interpolation of Werewolves of London than that fucking Kid Rock mashup.

I don't know what it says about me that I liked Dexys' least liked album, but I enjoyed this quite a bit. This album is more polished than the band's first two albums, but it's still soulful, catchy, charming and surprisingly creative. I especially appreciated the use of mandolin and steel guitar. This was a really pleasant listen, and a much smarter, more nuanced work than people are allowing it to be. I started out grumbling that Dexys made the list 3 times, but now I'm giving this a 4. Fave Songs: The Waltz, The Occasional Flicker, Listen to This, This Is What She's Like, Knowledge of Beauty

Very good! Never heard other songs by them than Ilene. I enjoyed this.

Track boundaries've got no real meaning in a lush enough environment. Strings, ever an arranger crutch, are structural instead of saccharine. Fundamentally, though, Dexys are a pop band recording a great pop album. Just enough stretch to keep things interesting.

Fascinating. Gorgeous production. Really interesting tracks. Not sure it's one I'll ever be able to listen to obsessively. But I'm going to keep trying.

Great sounding album. In the USA they are known as a "One-Hit Wonder" because the only song anyone knows is "Come on Eileen". They are so much more than just that one song. This is outstanding. 4/5

Listen To This musiquita parecida a LHR.

Listen To This musiquita parecida a LHR.

Surprisingly decent. Unsurprisingly pretentious

It is ok…just ok. One of Those Things does sound like Werewolves of London

9 albums to go. But a third Dexy’s? Was the guy who put this list together in the band? I consulted chat: You’re not wrong to be baffled — three Dexy’s albums in that book does feel like a practical joke played on anyone who’s ever thought, “Yeah, one was probably enough.” Here’s the best possible justification — not a defence, just an explanation of how this happened. ⸻ The short answer The 1001 Albums You Must Hear Before You Die doesn’t just reward greatness. It rewards narrative significance, genre disruption, and critical reappraisal — sometimes to an eye-rolling degree. Dexy’s tick all three boxes. ⸻ The long, reluctant explanation 1. Searching for the Young Soul Rebels (1980) This is the one that actually earns its place. • Fuses punk urgency with Northern Soul and R&B • Politically charged, working-class, confrontational • Sounded nothing like its peers at the time Verdict: Fine. Fair. No argument. ⸻ 2. Too-Rye-Ay (1982) This is where things get… generous. • Hugely influential in image (Dungarees! Fiddles!) • Spawned one of the most unavoidable singles in pop history • Represents a hard pivot from soul-punk to Celtic pop romanticism The problem: Its inclusion is less about album depth and more about “this moment mattered culturally”. Verdict: Dubious, but you can see the editorial logic squinting. ⸻ 3. Don’t Stand Me Down (1985) This is the critic’s pet. • Initially ignored, later reappraised • Kevin Rowland’s emotionally naked, rambling, almost anti-commercial vision • Now framed as a “misunderstood masterpiece” Translation: It failed, therefore it was brave, therefore it must be important. Verdict: This is the most contentious one — it’s here because critics love a redemption arc. ⸻ Why this feels so wrong Because the book often behaves like: “Influential + British + awkward + critically rehabilitated = mandatory inclusion” Which is how you end up with: • Three Dexy’s albums • While genuinely towering artists get one (or none) • And whole genres get tokenistic coverage ⸻ The real, unspoken reason The book has always had a UK-centric, rock-journalist bias, especially toward: • Post-punk adjacent acts • Artists who “took risks” • Albums that allow critics to feel clever for liking them Dexy’s are catnip for that mindset. ⸻ Final ruling ⚖️ • 1 album? Absolutely. • 2 albums? Questionable. • 3 albums? Editorial indulgence bordering on parody. If the list were rebuilt today with stricter standards, Too-Rye-Ay or Don’t Stand Me Down would be the first to go — and no one outside a Mojo roundtable would lose sleep.

Oh my god why is every song either a spoken word interlude or 10 minutes, pick a lane.

Reading reviews I also agree that the fact that all three of the band's albums being on the list is a bit ridiculous. I'm hoping this one is the worst of the three though, shame I got it first. This album is just deeply okay, not horrendous but not something I'd ever listen to again. Would have been happy giving it a three but it sounds unfinished in many places, the gaps in the middle of 7+min tracks give off the air of being still in the editing process.

Didn't need more Dexys tbh. Weirdly feted by some sections in the UK, but between Kevin's drone and *that* bastard song you hear at ever wedding, it's baffling they made this list once.

Not my thing musically and I don't dig the vocals for an entire album. Come On Eileen is fun at parties but it's not on this album. Not completely bad, but for me, definitely not "must hear before you die".