Love Life

by Mike DeGagneLove Life, Berlin's second album, took over where 1982's Pleasure Victim left off, with Terri Nunn's vocals sounding a tad stronger in some places as well as some noticeable improvements on behalf of the synthesizers, but this improvement occurs sporadically, not consistently. Their first chart single, the clean-cut dance-rock hybrid entitled "No More Words," made it to number 23 thanks to Giorgio Moroder's production help. Moroder lends his talents to another track, "Dancing in Berlin," which emulates the same streamline formula of sharp keyboards and an animated dance pace. Outside of these two singles, the rest of the songs on Love Life fail to harbor any distinction, and even Nunn's forceful voice can't raise their value. Efforts like "When We Make Love," "Touch," and "For All Tomorrow's Lies" get lost in lukewarm techno-dance rhythms and cloned synth-driven beats. Berlin's sexual innuendoes are much too contrived, wearing thin by the end of the album, as does their attempt at combining one part rock to nine parts drum machine and dance beat. Two years after Love Life, Nunn cashed in on her vocal strengths, scoring a number one hit with "Take My Breath Away" from the Top Gun soundtrack. She then departed from the band in 1987.