"Reap The Wild Wind" is dramatic and romantic. The keyboards have that sweeping strings sound I love from this era. I can't readily identify what it is about the synthetic nature of the sounds that affects me so, but it's thrilling to hear authentic 80s sounds for the first time. "Serenade" has a choppier feel, recalling Spandau Ballet and early Simple Minds. "Mine For Life" is edgy and desperate, with a hint of Magazine's "Shot By Both Sides" in the snaky guitar. "Hymn" is classic 80s pop, with just a hint of OMD's "Enola Gay" (or should that be the other way round?) in the synth sounds. I find myself singing this one around the house, which must be curious to onlookers as I'm not normally known for rhapsodising about 'The power and the glory ... until my kingdom comes!'

"Visions In Blue" starts as a ballad but gradually picks up pace, which works in the context of the fast songs so far. "When The Scream Subsides" is more priceless 80s synth loveliness. The only reason these songs don't have a greater emotional impact is because I don't have 25 years of memories attached, which at least makes them sound fresh. "We Came To Dance" has the melancholy feel of Nik Kershaw. "Cut And Run" has some excellent synth stabs, with Midge using a mean'n'moody singing tone. "The Song (We Go)" brings the album proper to a close. Ultravox are at their best when there's a whiff of danger, which this song offers. It also has a hint of early Duran Duran in the extended instrumental section.

The second CD of rarities will no doubt be a draw to long-time fans, but does it have anything to offer newcomers to the Ultravox sound? "Reap The Wild Wind (Extended)" gives the song more room to breathe, without being radically different from the original. "Hosanna (In Excelsis Deo)" is experimental electronica. It comes as no surprise to learn that this was a b-side (to "Reap The Wild Wind") as was the following song "Monument". This latter song is moody and magnificent, recalling Depeche Mode.

"The Thin Wall" (Live At Hammersmith October 1981) features the type of synth sequencing of which Nik Kershaw would be proud. It's an enjoyable song, though perhaps doesn't deserve the near six minute running time. "Break Your Back" is as annoying as the title suggests it might be, more electronic noodling that will appeal to some, but sounds like the aural equivalent of a migraine. Sometimes a b-side is a b-side for a good reason. All irritation is washed away by "Reap the Wild Wind (Recorded live at Hammersmith Odeon, Dec 1982)", which is my new favourite Ultravox song (after "Love's Great Adventure" of course). "We Came to Dance (Extended Version)" clocks in at over seven minutes, which allows space for some enjoyable synth wanderings.

"Overlook" is another b-side (this time from "We Came to Dance"), so there is more electronic experimentation as you might expect. This track sounds more like a proper song, so gets the thumbs up from me. "The Voice (Flexi-Disc Edit) (Recorded live at Hammersmith Odeon, December 1982)" is full of monk-like backing vocals, and proves to be one of Ultravox's more enjoyable moments, in whatever format it takes. "Serenade (Special Re-Mix)" sounds rudimentary and clunky compared to the original. This bonus disc is brought to a close by the squiggly-electronic noise driven "New Europeans", "We Stand Alone" and the cheerily-titled "I Remember (Death in the Afternoon)". All three songs were Recorded live at Hammersmith Odeon, 5th December 1982.

While this album doesn't make me regret the years I could have spent listening to it if only I had discovered it earlier, it's an enjoyable addition to the 80s section of my collection.