The Sisters of Mercy Songs Ranked

The Sisters of Mercy are an English rock band, formed in 1980 in Leeds. After achieving early underground fame there, the band had their commercial breakthrough in the mid-1980s and sustained it until the early 1990s, when they stopped releasing new recorded output in protest against their record company WEA. Currently, the band are a touring outfit only. The Sisters of Mercy ceased recording activity in the early 1990s, when they went on strike against East West Records, whom they accused of incompetence and withholding royalties, and had pressured the group to release at least two more studio albums; instead, the label released the album Go Figure under the moniker SSV in 1997. Although the Sisters of Mercy were eventually released from their contract with East West, they have never been signed to another label nor released any new material, despite showcasing numerous new songs in their live sets. Here are all of The Sisters Of Mercy songs ranked.

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10. Heartland (WEA Box Set, 1984)

“Heartland is similar in style and quality and the closing cover of The Rolling Stones’ iconic Gimme Shelter is transposed into an excellent material. This mantra like song is superb for concentration, I like it very much.

9. More (Vision Thing, 1990)

“The opening sounds bizarrely like the Popeye theme sped up, but it quickly moves off in another direction. Eventually, it settles into a weird hybrid of pop, goth and Jim Steinman over-the-top. The pop hook is surprisingly clunky, but it’s still pleasantly enjoyable.”

8. Marian (First and Last and Always, 1985)

“‘Marian I think I’m drowning’ ‘I hear you calling Marian’ To me Marian was not a person but death. And to this day it still represents that. The song of my tortured youth and goth days. It helped me when nothing else would and no one could. Still gives me shivers 20 odd years later.”

See more: The Sisters Of Mercy Albums Ranked

7. Black Planet (First and Last and Always, 1985)

“I love this song. It stirs up something dark and visceral as you listen to it. I wonder if indeed it’s all about nuclear war, or just the despoiling of the planet in general: either way, the results are dreary, and the song is fantastic.”

6. Alice (Alice, 1983)

“Originally incarnated as a single before being puffed up to EP status through the addition of the alright but perhaps underdeveloped instrumental Phantom and a real neat cover of the Stooges’ 1969, Alice finds the Sisters of Mercy sound really coming together.”

5. No Time to Cry (First and Last and Always, 1985)

“Sisters of Mercy’s First and Last and Always what can be said that someone hasn’t said already about this goth masterpiece. A work of art from beginning to end and because of the Sisters success many copycat bands were formed.”

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4. Lucretia My Reflection (Floodland, 1985)

“Lucretia My Reflection” is one of the classics, not just for goth music, but the eighties in general. This sounded like nothing else at the time, a kind of sexual, machine-like dance-rock driven by a constant bass line which is simple, yet works perfectly alongside the thumping drum machine beat.”

3. This Corrosion (Floodland, 1985)

“The Sisters of Mercy are one of the best traditional gothic rock bands (if you don’t count the Cocteau Twins, early-80’s Banshees, and Nick Cave as part of that genre), because they always seemed to deliver their doomy music with a smirk and a sly wink to the audience.”

2. The Temple of Love (WEA Box Set, 1983)

“The title-track is the most obvious classic here with its metaphors about probably some sort of abuse and the search for a fake shelter but with Andrew Eldritch you expect double entendre all the time.”

1. Dominion/Mother Russia (Floodland, 1985)

“Probably the most glorious racket ever created. Probably. Cinematic and sweeping, bold and bombastic. An epic slice of symphonic power rock driven by an ingenious and irresistible dance groove. If there’s one track to sum up the glory of TSOM at the height of their powers it should be this. I prefer hearing it this way without the “Mother Russia” segment which, while a typically clever piece of songwriting from Eldritch, diverts too far from the Ozymandian feel of the first half and kills the momentum somewhat.”