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Disguise In Love


Download links and information about Disguise In Love by John Cooper Clarke. This album was released in 1978 and it belongs to Punk, Pop, Alternative genres. It contains 14 tracks with total duration of 47:16 minutes.

Artist: John Cooper Clarke
Release date: 1978
Genre: Punk, Pop, Alternative
Tracks: 14
Duration: 47:16
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No. Title Length
1. I Don't Want to Be Nice 3:51
2. Psycle Sluts 3:12
3. (I've Got a Brand New) Tracksuit 1:50
4. Teenage Werewolf 3:57
5. Readers Wives 3:12
6. Post-War Glamour Girl 3:33
7. (I Married a) Monster from Outer Space 3:31
8. Salome Maloney 2:07
9. Health Fanatic 5:40
10. Strange Bedfellows 4:09
11. Valley of the Lost Women 4:19
12. The Pest 2:26
13. Gimmix! Play Loud 3:39
14. Kung Fu International (B Side) 1:50



Although John Cooper-Clarke's caustic brand of "talking in tune" initially earned him the label of the new wave George Formby, he soon won recognition as the British punk scene's poet laureate. Following the Innocents EP and the 1978 album Ou Est la Maison de Fromage? (both on Martin Hannett's Rabid Records), Disguise in Love was Clarke's major-label debut. This album finds the Mancunian bard at his adenoidal, alliterative best, delivering some of his more memorable satirical verses. Fixated on the daily, warts-and-all miseries of life in postwar Britain and beyond, Clarke casts a wide misanthropic net, taking on everything from track suits to extraterrestrials. The Invisible Girls (featuring Bill Nelson, Pete Shelley, and Martin Hannett) provide musical backing that complements each poem, from a minimal, heartbeat-style jogging groove ("Health Fanatic") to a cheesy disco pastiche ("Post-War Glamour Girl"). Clarke's performance works well with these arrangements, especially on "(I Married A) Monster from Outer Space" — a story of intergalactic love gone wrong set to sci-fi electronics — and "Readers' Wives," on which lurid observations on D.I.Y. Polaroid porn are adorned with an appropriately kitschy soundtrack. Clarke's ear for the rhythms of everyday language and his galloping, sometimes staccato delivery can be best appreciated on two unaccompanied pieces: "Salome Maloney," an apocalyptic tale of ballroom dancing and death, and "Psycle Sluts 1&2," an amphetamine-paced paean to biker women praised by Frank Zappa as an example of Clarke's "exquisite diction." While it's a testament to Clarke's comic sensibility that these tracks remain laugh-out-loud funny, it's also important to recognize him as an innovator. Just as pop writers like the Merseybeat poets made Clarke's work possible, so Clarke opened the doors for numerous (less-talented) ranters and popular wordsmiths such as Attila the Stockbroker, Joolz, Seething Wells, and Benjamin Zephaniah. [This version of the album contains bonus material.]