Anything – The Damned

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Release date: December 1, 1986
Label: MCA
Genre(s): New wave, goth, alternative

Anything by The Damned is a polished, often uneven pivot from the gothic theatricality of Phantasmagoria, arriving in the wake of the band’s unexpected chart success with the non-album single “Eloise.” Recorded in Denmark with producer Jon Kelly and the stable mid-’80s lineup of Dave Vanian, Roman Jugg, Bryn Merrick, and Rat Scabies, the album leans into atmospheric pop-rock and mainstream accessibility while retaining traces of their darker edge. It peaked at No. 40 in the UK and earned a silver certification, but its commercial underperformance relative to expectations contributed to the band’s eventual departure from MCA.

The title track opens with a driving, somewhat anthemic energy that nods to classic rock without fully reclaiming the band’s earlier punk fire. The standout is their cover of Love’s “Alone Again Or,” which benefits from lush, orchestral flourishes, trumpet accents, and Vanian’s distinctive baritone; it remains the album’s most memorable and frequently praised moment. “Restless” and “In Dulce Decorum” deliver sparse, spectral atmospheres with strong drumming and keyboard textures, while “Gigolo” aims for a more commercial, extended groove. Tracks like “The Portrait,” “The Girl Goes Down,” and “Psychomania” (with its horn-tinged production) often feel like filler—overlong, synthetic, or lacking the urgency that defined The Damned at their best.

Retrospectively, Anything is widely viewed as a low point in the original lineup’s catalog: overproduced, lacking cohesion, and short on truly memorable songs beyond a couple of highlights. Contemporary reviews were more mixed-to-positive, noting its variety and pop craftsmanship, but the glossy ’80s sheen frequently dilutes the band’s personality. Vanian has expressed regret over the mainstream direction. For devoted fans of the Damned’s gothic phase it holds some atmospheric rewards, yet it ultimately feels like a rushed compromise rather than a confident statement. At roughly 41 minutes, it’s a curious, flawed document of a band navigating sudden success and stylistic drift.

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