30 Something
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| Studio album by Carter the Unstoppable Sex Machine | ||||
| Released | 18 February 1991 | |||
| Recorded | 1990 | |||
| Studio | Important Notice Studios, South London | |||
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| Carter the Unstoppable Sex Machine chronology | ||||
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| Singles from 30 Something | ||||
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| Source | Rating |
| Allmusic |   |
| NME | (10/10) |
30 Something is the second album by Carter the Unstoppable Sex Machine, released in 1991 on Rough Trade Records. It was recorded in 20 days on 8-track, costing only ₤4,000. The album is regarded by many to be the peak of the group, in terms of quality of music and popularity, and it was given a 10/10 review in NME, which described 30 Something as a "brilliant, bold record". It was prefaced with a single "Anytime Anyplace Anywhere", which was a major indie hit and also included on the album.
The success of the album coincided with the renewed success of the "Sheriff Fatman" single, and so gained more sales in this way. It reached number eight in the UK charts on its original release, and number 21 when re-issued in early 1992. The album was certified Gold by BPI (100,000 units sold).
The other single from the album, "Bloodsport For All", an attack on racism and bullying in the army, was released at the start of the Gulf War and consequently banned by the BBC.
An alternative dance and grebo album heavy on puns and sampling, 30 Something was described by Ned Raggett of Allmusic as being largely similar to their debut album 101 Damnations, but showing "a growing sophistication that fleshed out both sound and lyrics." He said that its primary similarity with the former album is "the typical Carter trappings still running rampant: puns explode everywhere without restraint, musical and lyrical references creep in from the Clash and David Bowie to traditional football chants, and so forth," as well as "the still cheap-and-cheery sound of the band's keyboards, drum machines and more," but said that the differences show the band "a little more comfortable in the studio here. The two are able to whip up their surging numbers to a higher level–the group's stated fondness for Queen actually makes a little more sense here, while "Billy's Smart Circus" is flawless in its soaring, anthemic power. Meanwhile, their bluer moods get more gently evocative accompaniment, often addressing getting addicted to the bottle and the unfortunate results."
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Wikipedia