℗ 2017 Capitol Records, LLC
| Released | June 1, 1993 |
| Duration | 1h 11m 56s |
| Record Label | Capitol Records |
| Genre | Rock |
|
1.1
|
Intro
Billy Idol |
1:02 | |||
|
1.2
|
Wasteland
Billy Idol |
4:35 | |||
|
1.3
|
Interlude 1
Billy Idol |
0:19 | |||
|
1.4
|
Shock To The System
Billy Idol |
3:34 | |||
|
1.5
|
Tomorrow People
Billy Idol |
5:07 | |||
|
1.6
|
Adam In Chains
Billy Idol |
6:24 | |||
|
1.7
|
Neuromancer
Billy Idol |
4:36 | |||
|
1.8
|
Power Junkie
Billy Idol |
4:47 | |||
|
1.9
|
Interlude 2
Billy Idol |
0:27 | |||
|
1.10
|
Love Labours On
Billy Idol |
3:55 | |||
|
1.11
|
Heroin
Billy Idol |
6:58 | |||
|
1.12
|
Interlude 3
Billy Idol |
0:23 | |||
|
1.13
|
Shangrila
Billy Idol |
7:24 | |||
|
1.14
|
Concrete Kingdom
Billy Idol |
4:51 | |||
|
1.15
|
Interlude 4
Billy Idol |
0:39 | |||
|
1.16
|
Venus
Billy Idol |
5:48 | |||
|
1.17
|
Then The Night Comes
Billy Idol |
4:37 | |||
|
1.18
|
Interlude 5
Billy Idol |
0:27 | |||
|
1.19
|
Mother Dawn
Billy Idol |
5:04 | |||
|
1.20
|
Outro
Billy Idol |
0:59 |
Billboard 200 - #48, 1993
"... old-fashioned glam-pop ... as dumb and occasionally glorious as it gets ... B+."
- Entertainment Weekly
"... with its booming techno beats, screeching guitar riffs, sampled computer voices and songs like Power Junkie ... the album functions as Mr. Idol's interpretation of cyber culture."
- The New York Times
On his ambitious and visionary 1993 concept album Cyberpunk, Billy Idol concerns himself with the integration of technology and music and the possibilities that result. Idol found the ability to record at home on a computer at whim very liberating, putting him in direct contact with the music and subsequently, his fans. Living Colour's bassist Doug Wimbish contributes to several songs, recording his bass parts in New York and shipping them to Idol in Los Angeles.
96 kHz / 24-bit PCM – Capitol Records Studio Masters
This album is a high-resolution digital transfer of material originating from an analogue master source. It may contain noise, distortion or other artifacts, and may also contain audio which is limited in bandwidth or dynamic range, due to the technology used at the time of its original creation. As such, it is offered as a high-resolution documentation of a historical release. Tracks 2, 4 - 8, 10, 11, 14, 19 – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit
This album is a high-resolution digital transfer of material originating from an analogue master source. It may contain noise, distortion or other artifacts, and may also contain audio which is limited in bandwidth or dynamic range, due to the technology used at the time of its original creation. As such, it is offered as a high-resolution documentation of a historical release. Tracks 2, 4 - 8, 10, 11, 14, 19 – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -2.85 -13.65 to 0.00 | -21.09 -40.18 to -14.98 | -18.12 -32.10 to -12.10 | 12 10 to 16 | |
| 1 | Intro | -7.74 | -30.22 | -25.9 | 15 |
| 2 | Wasteland | 0.00 | -15.89 | -14.0 | 12 |
| 3 | Interlude 1 | -7.18 | -28.27 | -23.6 | 13 |
| 4 | Shock To The System | 0.00 | -14.98 | -12.1 | 11 |
| 5 | Tomorrow People | 0.00 | -16.69 | -13.6 | 12 |
| 6 | Adam In Chains | -0.01 | -18.10 | -16.8 | 13 |
| 7 | Neuromancer | 0.00 | -16.59 | -13.9 | 11 |
| 8 | Power Junkie | 0.00 | -16.29 | -13.1 | 12 |
| 9 | Interlude 2 | -12.25 | -29.10 | -26.5 | 12 |
| 10 | Love Labours On | -0.06 | -18.21 | -15.0 | 12 |
| 11 | Heroin | 0.00 | -17.98 | -14.5 | 13 |
| 12 | Interlude 3 | -3.41 | -21.00 | -18.9 | 12 |
| 13 | Shangrila | -0.06 | -18.75 | -16.8 | 13 |
| 14 | Concrete Kingdom | -0.09 | -17.11 | -14.7 | 12 |
| 15 | Interlude 4 | -3.96 | -24.33 | -22.6 | 10 |
| 16 | Venus | -0.03 | -17.18 | -15.0 | 12 |
| 17 | Then The Night Comes | 0.00 | -15.80 | -13.0 | 12 |
| 18 | Interlude 5 | -13.65 | -40.18 | -32.1 | 16 |
| 19 | Mother Dawn | 0.00 | -16.08 | -13.8 | 11 |
| 20 | Outro | -8.54 | -29.00 | -26.5 | 13 |