Entertainment! | ||||
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Studio album by Gang of Four | ||||
Released | 25 September 1979 | |||
Recorded | 1979 | |||
Studio | The Workhouse, Old Kent Road, London | |||
Genre | Post-punk | |||
Length | 39:53 | |||
Label | EMI, Warner Bros. | |||
Producer | Andy Gill, Jon King and Rob Warr | |||
Gang of Four chronology | ||||
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Professional ratings | |
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Review scores | |
Source | Rating |
AllMusic | |
Blender | |
Christgau's Record Guide | A |
Encyclopedia of Popular Music | |
Entertainment Weekly | A+ |
Pitchfork Media | 9.5/10 |
Q | |
Rolling Stone | |
The Rolling Stone Album Guide | |
Spin Alternative Record Guide | 10/10 |
Entertainment! is the debut album by English post-punk band Gang of Four, released in September 1979. This album was released on EMI in the UK and on Warner Bros. in the US. Stylistically, the album draws on punk but also incorporates the influence of funk, dance music, reggae and dub. Its lyrics and artwork reflected the band's left-wing political concerns. It would an influential release in the burgeoning post-punk movement.
The album was ranked at No. 5 among the top "Albums of the Year" for 1979 by NME. In 2003, the album was ranked number 490 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. In March 2005, Q magazine placed the track "At Home He's a Tourist" at number 52 in its list of the 100 Greatest Guitar Tracks. As of 2009, Entertainment! has sold more than 100,000 copies in the UK. In 2004, Pitchfork Media listed Entertainment! as eighth best album of the 1970s.
The album's artwork was designed by band members Jon King and Andy Gill,. The cover, designed by King, shows the influence of the Situationist International, a group which became famous during the Paris '68 student-led revolution in France. The cover depicts an "Indian" shaking hands with a "cowboy" in three heavily processed versions of the same image (based on a still from one of the Winnetou films starring Lex Barker and Pierre Brice), which had once been popular in communist East Germany as critical narratives of Capitalism. The faces are reduced to blobs of red and white—that is, to the stereotypical racial colours. A text that winds around the images reads, "The Indian smiles, he thinks that the cowboy is his friend. The cowboy smiles, he is glad the Indian is fooled. Now he can exploit him." In this way, it approaches themes of exploitation, but taken with the lyrical content of the album, it may also point to simplistic depictions of ethnic, social or political conflict in the media as "cowboys and Indians".