1 	Cartrouble (Parts 1 & 2) 	
2 	Digital Tenderness 	
3 	Nine Plan Failed 	
4 	Day I Met God 	
5 	Tabletalk 	
6 	Cleopatra 	
7 	Catholic Day 	
8 	Never Trust A Man (With Egg On His Face) 	
9 	Animals And Men 	
10	Family Of Noise 	
11 	The Idea

Adam Ant - Vocals, Electric Guitar, Acoustic Guitar, Harmonica, Piano
Matthew Ashman – Guitar, Piano
Andrew Warren – Bass
David Barbe – Percussion

The original Ants lineup released only one LP, Dirk Wears White Sox for Do It in 1979. The album finds a young Adam Ant exploring the sometimes-awkward fusion of punk, glam, and minimalist post-punk with bizarre images and disturbing tales of alienation, sex, and brutality. And while the somewhat pretentious, overly arty lyrics and inexperienced playing are a drawback, the album offers a fascinating look at the Ants' formative years, capturing a raw energy that would be sacrificed for more polish on subsequent releases. [At the height of Antmania, Adam acquired the rights to the album, remixing it, dropping a few tracks, and adding a couple of early tracks for reissue in 1983 with a different cover for Epic. In 1995, Sony Music U.K. released a hybrid version for CD, restoring the cover art, original mixes, and the previously dropped tracks but retaining the additions and running order of the reissue. Epic chose to keep the remixed version for CD release in the U.S.] ---Chris Woodstra, allmusic.com

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A1 	Dog Eat Dog 	
A2 	"Antmusic" 	
A3 	Feed Me To The Lions 	
A4 	Los Rancheros 	
A5 	Ants Invasion 	
A6 	Killer In The Home 	
B1 	Kings Of The Wild Frontier 	
B2 	The Magnificent Five 	
B3 	Don't Be Square (Be There) 	
B4 	Jolly Roger 	
B5 	Making History 	
B6 	The Human Beings

Adam Ant – vocals
Marco Pirroni – guitar
Kevin Mooney – bass
Terry Lee Miall – drums
Chris Hughes – drums, producer

Hooking up with Malcolm McLaren was a pivotal moment for Adam Ant, since the manager not only introduced Ant to the thundering, infectious Burundi drum beat that became his signature, he stole his band, too. Adam and the rest of the Ants had just worked up how to exploit the Burundi style when McLaren pirated the boys off to support Annabella Lwin in Bow Wow Wow -- using the very same sound they had developed with Adam Ant. It was now a race to get that sound into the stores first, and Adam lucked out when he joined forces with guitarist Marco Pirroni, who quickly proved to be invaluable. Adam and Marco knocked out a bunch of songs that retained some of the dark artiness of Dirk Wears White Sox, largely anchored by those enormous Burundi beats and given great, irresistible pop hooks -- plus a flash sense of style, as the new Ants dressed up in something that looked like American Indians with a velveteen touch of a dandy fop. It was a brilliant, gonzo move -- something that quickly overshadowed Bow Wow Wow -- and the resulting record, Kings of the Wild Frontier, is one of the great defining albums of its time. There's simply nothing else like it, nothing else that has the same bravado, the same swagger, the same gleeful self-aggrandizement and sense of camp. This walked a brilliant line between campiness and art-house chutzpah, and it arrived at precisely the right time -- at the forefront of new wave, so Adam & the Ants exploded into the British popular consciousness. If image was all that they had, they would've remained a fad, but Kings of the Wild Frontier remains a terrific album because it not only has some tremendous songs -- the title track and "Antmusic" are classic hits, while "Killer in the Home" and "Physical (You're So)" are every bit their equal -- but because it fearlessly, imperceptibly switches gears between giddy and ominous, providing nothing short of a thrill ride in its 13 songs. That's why it still sounds like nothing else years after its release. --- Stephen Thomas Erlewine, allmusic.com

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Side One
01 - Scorpios.
02 - Picasso Visita El Planeta De Los Simios.
03 - Prince Charming.
04 - 5 Guns West.
05 - That Woodoo.

Side Two
01 - Stand And Deliver.
02 - Mile High Club.
03 - Ant Rap.
04 - Mowhok.
05 - S.E.X..

Adam Ant – Vocals, harmonica
Marco Pirroni - Guitar
Merrick - Drums
Terry Lee Miall - Drums
Gary Tibbs – Bass

Kings of the Wild Frontier brought Adam and the Ants massive popularity in England, and it brought enormous pressure for Adam and guitarist Marco Pirroni to stand and deliver another slice of dynamite. The first single, the punchy horn-laden "Stand and Deliver," suggested that they were up to the task, but when Prince Charming appeared in late 1981, it was pretty much universally panned and it still stands as the weakest record from Ant's classic period. With its ridiculous song titles and cover photos, which suggest that the Ants were moving away from Native Americans and toward pirates, it's hard not to view it as a descent into camp, yet Adam claims in the liner notes for Antbox that he believes that Prince Charming is "a very serious record based on very classical, historical themes." That may be true on certain tracks, but it's hard to see where "Mile High Club," "S.E.X.," "Mowhok," and "Ant Rap" fit into that scheme, but he's right about the intent -- this is a markedly different record than Kings, intentionally so. The group have not only moved on in image, they've also left behind their signature Burundi beats while upping the cinematic qualities inherent in their music. So, "Five Guns West" and "Mowhok" are given neo-spaghetti western backdrops, while eerie guitars, mariachi horns, and trilling vocals underpin "That Voodoo." There are a lot of little details like that to dwell on in the production -- "Picasso Visita el Planeta de los Simios" sounds absolutely terrific -- but apart from "Scorpios," "Stand and Deliver," and the cheerfully ludicrous "Ant Rap," the songs just aren't there. Kings had style, sound, and songs, while Prince Charming simply has style and sound -- which, in retrospect, isn't all that bad, but it's also not hard to see how it sparked a backlash at the time. --- Stephen Thomas Erlewine, allmusic.com

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