Likely exercising the same controlling approach that he was notorious for, from his work with every act from the New York Dolls to XTC, Todd Rundgren brought in legendary backup vocal duo Flo and Eddie as well as a cellist, two horn players (including NRBQ member Donn Adams), and himself on keyboards. The end result is simply fantastic, fusing the post-punk charge of the first two albums (Ely still sounds great as always, from the first song on, while Tim Butler acquits himself well on bass) with a new synth-based approach that works wonders. Ashton's guitar often settles back in the mix a bit to allow Rundgren's wall of sound to come together fully, often with great success. The title track is a great example of this, an inspirational anthem where Ashton fully and appropriately lets go right at the end. The most well-known song is one that, for the Furs, was their most atypical single to date: "Love My Way." Butler's very Bowie-like vocals and lyrics slyly celebrate and ponder the triumphant synth-rock scene of the time, while Rundgren's often quirky keyboards take the lead in place of Ashton's guitar and Flo and Eddie wordlessly vocalize at the end. "Goodbye" has a brisk, horn-driven punch underscoring Butler's wickedly sour au revoir to a past love; "Sleep Comes Down" mixes Tim Butler's lovely bassline and Rundgren's piano; "President Gas" wryly takes a shot at Reagan while avoiding obvious platitudes; and "Yes I Do" ends on an almost sweetly romantic note, even as the cello/drum-driven arrangement surges along. ~ Ned Raggett, All Music Guide
Forever Now is the third album by The Psychedelic Furs. Roger
Morris (second guitar) and Duncan Kilburn (horn) having left the band, the foursome were augmented by producer Todd Rundgren's house horn section and Flo & Eddie. It was
released in September 1982 on the CBS Records label. It featured the hit single "Love My
Way." It was reissued with bonus tracks in 2002 by Columbia/Legacy. The reissue also featured the green patchwork album cover
which was intended to be the cover of the 1982 release before producers changed it to the red one, as can be seen, to try to
imitate the design of the 1981 album "Talk Talk Talk"
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