Homosapien was Buzzcocks frontman Pete Shelley's 1981 debut solo album, the title-track of which was released as a UK single the same year. The single was banned by the BBC. Image File history File linksMetadata Pete_Shelley_-_Homosapien_LP_album_cover. ... A Studio Album is an album of regular studio recordings. ... Pete Shelley was born as Peter McNeish on April 17, 1955 in Leigh. ... A music genre is a category (or genre) of pieces of music that share a certain style or basic musical language (van der Merwe 1989, p. ... This article or section does not cite its references or sources. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... Island Records is an American record label, owned by Universal Music Group and is operated through The Island Def Jam Music Group. ... In the music industry, a record producer (or music producer) has many roles, among them controlling the recording sessions, coaching and guiding the performers, and supervising the recording, mixing and mastering processes . ... Martin Rushent is an English musician and record producer. ... Pete Shelley was born as Peter McNeish on April 17, 1955 in Leigh. ... Pete Shelley was born as Peter McNeish on April 17, 1955 in Leigh. ... Buzzcocks are a British rock music group. ... Pete Shelley was born as Peter McNeish on April 17, 1955 in Leigh. ... A ban is, generally, any decree that prohibits something. ... The British Broadcasting Corporation, usually known as the BBC (and also informally known as the Beeb or Auntie) is one of the largest broadcasting corporations in the world in terms of audience numbers, employing 26,000 staff in the UK alone and with a budget of more than £4 billion. ...
Released at the start of the Home computer boom, the album cover featured Shelley in a stylised 'office' leaning on a Commodore PET computer. Children playing on a Amstrad CPC 464 in the 1980s. ... The PET (Personal Electronic Transactor) was a home-/personal computer produced by Commodore starting in the late 1970s. ...
The album is extensively produced, not only in the sense of beat-composition in which Automator has done a splendid job with, but in which everything is presented; the story wrapped and maintained, the mixing of sounds so preciously placed.
The album evokes a sense of awe; a truly believable tale, undoubtedly meant to be played from beginning to end.
The album's aura is wrapped in a dark and desolate feel, where everyone is still bent on becoming an emcee, and old Canadian beer commercials are considered visual masterpieces in art.
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