In places strong songwriting - not quite as lousy as many believe

On closer inspection one finds himself on "Lousy times" some decent songs. That one anno 1986 should not expect earthy Rock n Roll from MMW, but was also foreseen. And if you approach precisely this approach to the album, a handful of songs at once work really well.
"We're all in the same boat" in this case forms the stäkste actually all compositions, lyrically and musically, a small, sweeping epic of a past love that you can not let go. Almost epic. "Berlin" is a simple, cheerful sing-along hymn to the capital, entertaining and knows how to entertain. "Can you trust me" indeed comes very 80's standard, therefore, but has everything you want from MMW: a humorous text, a tune that gets stuck and absolute awareness are relaxed in the performance. In the same score also "Sunday child" suggests that most likely reminiscent of the earlier stuff. Here MMW rocks, at least initially, and the vocals are again presented delightfully snotty.
The songwriting is so in parts at a high level. The biggest point of criticism is the bombastic 80s overproduction, dominated by thumping synth basses, Korg & Fairlight keyboard walls, drum machine and somewhere in between Marius' croaking ... Well, if you like it and stands on 80's pop, the will of the sound never interfere. Rock is here still existent, until successors and finally at Hallelujah 1989 MMW has returned back to its roots. "Lousy times" thus marks the end point of the quasi-dominated electronic sounds phase since 1982. What then everything follows, is music history.