Gone is the Gothy 'Doors' style from the first two release and that of the former 'Southern Death Cult' sound from which 'The Cult' derived, here they have almost completely jumped ship and joined the Hard Rock / Metal genre that was prevalent back in 1987. Thankfully they have done themselves credit and gone for a stripped down, raw 'AC/DC' approach that continued to serve them well long after 'Electric'. In all honesty this is better than the majority of AC/DC's work during the 80's and while it's simplistic it's catchy, well performed and excellently produced.

'Wild Flowers' opens the show in solid fashion as a strong grooving rhythm is laid down from the outset, very strong 'AC/DC' undercurrents are felt on this opener with 'Angus Young' style riff and solo work that is rounded off nicely with 'Ian Astbury's' rugged vocals. Even better is the heavy hitting 'Peace Dog' a choice plodder which features some nice vocal passages and choice guitars soloing. 'Lil' Devil' is a further improvement with a strong heavy blues influence supported by another fine groove running throughout, while I'm not the biggest fan of 'Astbury's' vocals, his pipes do suit this kind of tough rocker. Less impressive is the 'Bon Scott' era 'AC/DC' style 'Aphrodisiac Jacket' this slow plodder, has a more lethargic manner with a wind down that is especially repetitive. The pace is lifted for the rhythm heavy 'Electric Ocean' and while not a bad track, I find the lyrics uninspiring and one of the weaker tracks present. 'Bad Fun' is a brisker affair with a Southern Blues feel, 'Badland's' style, a little disjointed at times but a fair rocker. Side two opens with the excellent 'King Contrary Man', an 'AC/DC' approach is maintained throughout and includes some of 'Ian Astbury's' best growling vocals along with fine riff work from ' Billy Duffy'. 'Love Removal Machine' is next and for me is nothing short of a complete rip-off of 'The Rolling Stones' 'Start Me Up', if it wasn't so blatant this would be a decent track. The album's only cover is that of the 'Steppenwolf' classic 'Born to be Wild', although I have heard better versions namely that of 'Riots' blistering version, this is a very good rendition which 'The Cult' stamp their signature sound upon. The good run continues with the quality rocker 'Outlaw' a carefree romp full of attitude with free flowing fret work and another solid stop start, grooving rhythm. 'Memphis Hip Shake' brings the album to a close, unfortunately this track wallows too deeply in a traditional blues sound for my liking.

Generally regarded as 'The Cult's' best release and some rate it as one of the best albums of 1987, this was in my opinion an exceptional year for Hard Rock / Metal and although this is a strong cut, It falls short of classics likes 'Appetite for Destruction', 'Back for the Attack' and 'Hall of the Mountain King'.