Electric is the third album by British rock band The Cult, released in 1987. It was the follow-up to their commercial breakthrough Love. The album equalled its predecessor's chart placing by peaking at number four in the UK but exceeded its chart residency, spending a total of 27 weeks on the chart (the most successful run for an album by The Cult). The album marked a deliberate stylistic change in the band's sound from gothic rock to more traditional hard rock.
Peace Dog. Lil' Devil. Bad Fun. King Contrary Man. Love Removal Machine. The Cult had come through all this. Their second album Love had brought them hit singles and adoring crowds. Follow-up Peace (Peace and Love, geddit?) was in the can when the band started to have doubts. It was jus. verblown," said bass player Jamie Stewart. At the time I was trying to like it, but I played it to a few people and I thought: ‘All these tracks are too long and there’s an awful lot going on in them. " Singer Ian Astbury felt the same
Electric Peace is a compilation of The Cult's multi-platinum 80s hard rock classic Electric and its original version, Peace. The band originally went to record the follow-up to Love with the same producer, Steve Brown, resulting in an 11 track album titled Peace. The band, however, were apparently unhappy with the sound and later re-recorded the entire album with a more straightforward, stripped down aesthetic with producer Rick Rubin, changing up the tracklisting and scrapping several of the original songs along the way. That new version became the commercially released Electric album.
The roots of Electric lay in another album entirely, Peace, which was recorded with Love producer Steve Brown in a series of sessions that the band found increasingly pressure-filled and fraught with tension. A chance meeting with Def Jam supremo Rick Rubin at an American awards ceremony turned out to be the charm, resulting in the saucy chest-baring stomp of Electric. Rubin chucked all the old recordings for a series of new sessions, stripping everything down and essentially transforming Billy Duffy into the logical successor to AC/DC's Angus Young
Things were not easy for The Cult after Love. That album’s ultra-successful run had begun to create a rift between the group’s two main creative forces. Frontman, lyricist and band identity Ian Astbury wanted to improve on Love’s layered sound, bringing even more subtle elements into The Cult’s sound.