Product Code: L 38033
Artist: Ministry ‎
Origin: New Zealand
Label: Arista (1983)
Format: LP
Availability: Enquire Now
Condition:
Cover: VG+
Record: VG+
Genre: Electronic , Funk , New Wave , Pop , Soul U

Work For Love

Very nice clean vinyl housed in a good cover showing minor ring wear.

Track listing [back of sleeve] is a professionally printed sticker [assume] made by Festival Records (NZ) Ltd.

"Work for Love" is a song by American rock band Ministry. Written by frontman Al Jourgensen, produced by Vince Ely and Ian Taylor, and recorded at Syncro Sound Studios in Boston during 1982, it was the band’s first single from their debut studio album, With Sympathy.

Remember the obscure mid-'80s Burt Reynolds action film Stick? Of course you don't. Bolstered by one of the late Elmore Leonard's better scripts, it contained more coastal Florida scenery and cocaine than just about any film not called Scarface up to that point. It fails at making Candice Bergen sexy (really, not faulting it there) and can be considered the commensurate film parallel to the then-burgeoning Miami Vice. How in the world does this correlate in any substantial way to Ministry's enigmatic debut With Sympathy (alternatively titled Work for Love in most regions)? For starters, it contains a rockin' synthwave-driven soundtrack that dates it immensely, but also through this it has become yet another curiosity piece/snapshot from the period that has found itself basked in a more positive light courtesy of the rose-colored lens of nostalgia.

From pomp rock acts across the pond like Magnum to their more home-grown equivalents in Styx, the early-mid '80s were patently the era of the analog synth. The writing was on the wall as early as the late '70s, with The Grand Illusion and later on Chase the Dragon (just to cite the two outfits mentioned) helping to draw the common methodology further away from the earlier Hammond abuse. The evolution made some logical sense in parallel with the increasingly technologically-driven '80s, and while much of these throes served their purpose, the movement is certainly not one blessed with consistently fond remembrance. This is where Ministry of all bands come into play, as their debut features some of the great, yet most of the deficient associated with the style.

Don't let the '83 release date obfuscate your opinion too much, as resident plunger-pusher Al Jourgensen had been honing his craft for some time beforehand. Through this, Ministry can at least be granted some measure of innovation, but the supposed studio interference that Jourgensen is always quick to cite as one of With Sympathy's grand faults makes a precise appraisal somewhat fleeting in this regard. To recoup and take much of the album in as the curiosity piece that it is, it certainly boasts a consistent and generally endearing sonic template. To say that this has zero value to the metal crowd should be expected, but I am not embarrassed at all to state that With Sympathy is decent when it wants to be.

In typical pop fashion, the more accessible cuts are log-jammed toward the beginning of the procession, and as such "Effigy (I'm Not an)" is quite a pleasant, moody opener. In between nodding and trying to pre-date Bill Paxton's look in The Terminator, Jourgensen is busy here shamelessly bungling a faux-English accent (supposedly on command from the management). Generally endearing most of the time, some of the lyrical patterns seem centered around attempts at accentuating the accent to the point of active irritation. In my eyes this really hurts the hit single "Revenge," which is great opening up, but sounds like it sprouted a square wheel on the refrain courtesy of the vocals.

The album predominantly thrives on the moodier numbers like "Say You're Sorry" and "Should Have Known Better." this bestows upon With Sympathy a memorable second half that contrasts well to the expectedly-strong opening salvo. The problem is that when Ministry fails here, they fall really fucking hard. "I Wanted to Tell Her" is an abhorrent attempt at introducing Shay Jones' distracting caterwauling to the mixing pot. Alternatively, "What He Say" sucks eggs right from the start, and goes absolutely nowhere despite more guest vocal contributions. "Here We Go" sort of falls in between but proves that Ministry could pull off the more upbeat numbers as well if pressured. While there is little variance in tone overall, the rhythm section bolstered by bleeping synths and pluggy bass timbres generally dictate the direction.

And most of the time, Ministry does come out of the ordeal relatively unscathed. "Say You're Sorry" is undoubtedly one of the better examples from the period, boasting spectacular atmosphere and conscientious use of the saxophone. Most people look to the record for the single "Revenge," but there is irrefutably more to bare witness to here. Just like Stick, With Sympathy is an enjoyable little snapshot that comes with all of the appeals and flaws that carry over with the time period, a style that while suddenly enjoying a nostalgic comeback of sorts, has been and always will be irrefutably flawed. Just take what Jourgensen says concerning this record with a punctual grain of salt, as he is far too bitter over the entire ordeal. Draw your own conclusion.