Great Rock Albums of 1983: Chris DeBurgh- The Getaway

 

Don't bother scrolling down to see if I've written "April Fool" at the bottom of the post, I am seriously posting about this album because I actually bought it in 1983. There is a cautionary moral to my tale. Throughout my entire record buying life, I had one record buying rule: Never buy an entire album on account of one song. This rule has probably saved me lots of money over the years  but one time, in 1983, I broke my rule and the result was Chris DeBurgh, "The Getaway."

In May of that year, Chris's best known hit, "Don't Pay the Ferryman" got a considerable amount of airplay on the radio and I liked it. I liked the rather rock sounding lead guitar breaks between the verses along with fantasy quest sounding lyrics. Plus I liked eerie introduction to the song, the keyboards and acoustic guitar got my attention straight away. My point, "Don't Pay the Ferryman" is a decent rock song. Now, I could blame it on my lack of living space whilst still in the marines as normally, I would have bought the song on 45. (Remember those?) However, I didn't want to risk the record breaking while packed with all my stuff for that final trip home, so I bought "The Getaway" on cassette.

In tradition of the time, "Don't Pay the Ferryman" opens the album. The joke here is that I could have stopped the tape there but I didn't. Sometimes, I think that maybe I should have. After the big hit, the next three songs are totally mellow out love song ballad type things. None of them really grabs my interest. Then things speed up for the next two songs. Both "The Getaway" and "Ship to Shore" are not ballads but still not rock. They are both trendy pop songs and though I've heard worse, nothing to get excited about. Then after another ballad, things take a slightly interesting turn.

"The Borderline" is a ballad but the lyrics are quite interesting. The song is about two lovers who live in neighbouring countries who are about to go to war. Since the nations of Europe fought like cats and dogs from the fall of the Roman Empire until World War 2, this situation probably happened a lot. Another nice surprise is as the song nears the end, you are treated to a rather decent guitar solo. The credits don't say who plays it but hats of to whoever it was. After "Where Peaceful Waters Flow," which sounds like it has a choir harmonizing on it, comes the closer in three parts. The beginning called "Revolution" sets the song up for its glorious middle where that guitarist gets to shine again on "Light a Fire." This part is the rockingest on the album and maybe a metal band should cover just those two minutes. Then in typical fashion on the album, "Liberty" is another ballad to end the song, except I have come to like the keyboard exit that ends the album in a eerie manner similar to how the album started. So, with "The Getaway," we have a good beginning and a half decent end to the album. It's just the in between that lets it down.

Track Listing:

1. Don't Pay the Ferryman
2. The Island
3. Crying and Laughing
4. I'm Counting on You
5. The Getaway
6. Ship to Shore
7. All the Love I Have Inside
8. The Borderline
9. Where Peaceful Waters Flow
10. Revolution
11. Light a Fire
12. Liberty

[caption id="attachment_3184" align="aligncenter" width="196"] Chris DeBurgh[/caption]

Chris DeBurgh- vocals, guitar, piano

Rupert Hine- synthesizers, percussion, backing vocals

Jim Giblin- bass

Steve Negus- drums

Phil Palmer- guitars

Dave Caddick- piano on I'm Counting on You

Tim Wynveen- guitars

Anthony Thistlewaite- saxophone

Steven W Tayler- woodwinds, saxophone

Nigel Warren-Green- cello

Anthony Head, Sue Wilkinson, Diane Davison, Miriam Stockley- backing vocals

I have come to this conclusion, I theorize that Chris DeBurgh had the potential to be a great rock singer. Instead, he sang ballads and other mellow out songs. "The Getaway" is evidence of both. Still don't do what I did and buy this album on account of a really good opening song.

Next post: Modern English- After the Snow

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

When I Got Out of the Marines in 1983

 

Throughout several posts, I have stated that my experiences while serving in the US Marines played a big part in shaping me into the metalhead I am today. My experiences, which included a radio station that played some really cool hard rock, WXQR in Jacksonville, North Carolina, opened my musical mind to a wide range of musical tastes and styles. Before the marines, I had to be content with an old AM radio and glean music other people were listening to. I knew I loved the really hard rock but never actually stepped boldly forward into that world. The marines gave the opportunity to do that and it is why I am putting my release from active duty in 1983 as a moment in music history. At least it was for me.

Let's start with the final days leading up to the day I got out. D-Day minus five was the last time I got a military haircut. I remember that because I wouldn't cut my hair again for 17 months! It's also why I gave the barber a generous tip. Minus four was a bit of a drag as it was Sunday and they put me on duty as 'Duty NCO.' D-Day minus three was the first day I began checking out. All that means is that I had to go to various places around the base and sign out with them. I was able to break the back on that on the first day and got many of the more minor places like the Red Cross signed out as well as my field gear turned in. I was also able to close my bank account with the local bank on base. More of the same with minus two although I was able to get confirmation that I would have proof of my contributions to the Veteran's Educational Assistance Program. That was important because I was set to go to college in September. I completely finished checking out on minus one, the big relief being I had the all clear from my physical. Okay, not a huge worry. I also confirmed my flight for the next day. However, a slight paranoia gripped me so out of fear of some higher rank coming into my room and doing an inspection, I completely cleaned it. Fortunately, my fears were for nil.

Now onto the night before I got out. My company was on primary air alert and therefore combined to base but because I was now considered 'non-deployable,' I was allowed out for one last night in town. After a good pig out at an all you can eat for $5 chicken restaurant, I went to my old stomping ground, the Driftwood for one last time.

[caption id="attachment_2237" align="aligncenter" width="314"] The Driftwood- June 29, 1983 would be the last time I would see this place.[/caption]

My ego would like to think that they held this event just for me as it was my last night but in reality, I know it wasn't. That night at the Driftwood, they were having a ladies' pudding wrestling tournament. Needless to say, I made sure I had front seats for the event. There were only three matches, the last one was the male manager against two ladies and opening match ended with one lady getting pinned rather quickly. For me, the main event was the middle match. Angie, who I spoke about when I posted about Joan Jett, (she could really move to "I Love Rock and Roll.") vs another equally attractive lady named Theresa. The match had no winner but I didn't care, I just liked watching them roll around in the pudding for fifteen minutes. For me, there wasn't a better way to celebrate my last night in the service.

[caption id="attachment_3178" align="aligncenter" width="273"] Not actual action from that night.[/caption]

On D-Day, I woke up very excited. I put on my dress uniform and completed the final formalities, including getting paid and having my lieutenant tell me what a patriotic young man I was and I said it was a pleasure to serve. After saying good-bye to many of my comrades, I caught the shuttle to the airport and caught the plane. I first had to fly to Charlotte and had an hour and a half layover. Thankfully, a guy from my company who had re-enlisted and was going to his new assignment and another from a different company in my battalion also caught that short flight. So while we were all awaiting our connecting flights, we had a few drinks at the airport bar.

The flight from Charlotte to Philadelphia didn't seem as long as I had feared and once I picked up my baggage, my mother and brother were waiting for me. My mother immediately noticed my mistake to wear the shirt I had worn the night before as I had a chocolate pudding stain on it. She wasn't too impressed when I told her how it got there. We drove home and the rest you could say was history. One of the first things I did was to unpack my cassettes. My sister was rather impressed with my ammo cans which held so many of them. She told me about a TV show called "Video Rock" and since we didn't have MTV yet, that would become a regular viewing feature for me for the next few months.

[caption id="attachment_2970" align="aligncenter" width="225"] The famous ammo cans[/caption]

When I got out, I thought I had the world at my feet. One thing I knew that I was a hell of a lot more knowledgeable in music than four years prior. Musically, I had found myself and knew that I was going to be a metalhead and I have the marines, though they wouldn't be too impressed to hear it, to thank for that.

Next post: Chris DeBurgh- The Getaway

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock Albums of 1983: INXS- Shabooh Shoobah

 

Before I proceed into the post about my first experience of Australian new wave band INXS, I thought I would be like some of my fellow bloggers and mention a good bargain I picked up on an album. Last Saturday, I was in my local Morrison's supermarket when I happened past the CD section. Normally, I might only take a sweeping glance at their CD display as most of it is chart stuff. However, something interesting caught my eye. There on the shelf was the classic Bruce Springsteen, "Born to Run" album for just £3 ($4.50). Since my previous cassette copy of this album fell victim to my car stereo in 1990, I naturally had to pick it up. Now, let's go into the post.

My first experience of INXS came a couple of months after I left the marines in 1983 and came by the way of the single "Don't Change." It wasn't metal, it wasn't Southern Rock nor could I put it into any sort of category but new wave, all I know that I liked the song. I liked the hard guitar sound in the background and though I thought they could have been a bit more dominant, it still worked. The keyboards were played smartly and complimented the song very well. However, having been burnt not long before this, I hesitated in buying the album "Shabooh Shoobah" right away. It was via a working companion that I was finally treated to it.

"Shabooh SHoobah" illustrates exactly where I was musically at this time in 1983. While my full conversion to heavy metal had already taken place, I wasn't completely repulsed by what was being played on the radio at the time. When I listened to the album, I found it quite to my liking. While I wouldn't exactly call it hard rock and there are no blistering guitar solos, there is sufficient guitar on it. Furthermore, I like Michael Hutchence's vocals. He has that sinister sounding voice that gives a dark sounding tone to many of the songs. Track two, "Look at You" is prime evidence of this. Even with some of the more upbeat sounding songs like "Don't Change" his voice doesn't make the song some kind of happy pop song. Some more good examples are "Spy of Love," "Here Comes" and "Golden Playpen." I must also point out the saxophone playing of Kirk Pengilly on the album. I am always a bit skeptical when a band employs horns in rock but I have to say, Pengilly's abilities are more than sufficient to pull it off here.

Track Listing:

1. The One Thing
2. To Look At You
3. Spy of Love
4. Soul Mistake
5. Here Comes
6. Black and White
7. Golden Playpen
8. Jan's Song
9. Old World New World
10. Don't Change

[caption id="attachment_3172" align="aligncenter" width="344"] INXS[/caption]

Garry Gary Beers- bass

Andrew Farriss- guitar, keyboards

John Farriss- drums, percussion

Tim Farriss- guitar

Michael Hutchence- vocals

Kirk Pengilly- guitar, saxophone, vocals

It has been questioned why a song by INXS, (not from this album), appears on the soundtrack to "Rock Star," a film about a heavy metal band. Being in possession of said soundtrack, I don't think that song is out of place on it. As the album "Shabooh Shoobah" shows, they had the potential to go in any direction. There is just enough of a rock vibe on this album to satisfy me along with some new wave creativity. On the downside, I can't help thinking with their next album, they kind of went in the wrong direction.

Next post: The Night Before I Got Out of the Marines

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1983: The Police- Synchronicity

 

When I returned home from the marines on the last day of June of said year, the album "Synchronicity" by the Police was the one I came home to. It seemed every time I turned on the radio, the song, "Every Breath You Take" was playing and if I left the radio on for any amount of time, rest assured, it would be played again. While that song may have been a big hit, (number one on both sides of the Atlantic) it wasn't one to me. In fact, when I heard it, I began to pine for such Police classics as "Roxanne," "Message in a Bottle" and my all time favourite Police jam, "Don't Stand Too Close to Me."

Fortunately, one song does not an album make. I will be posting about a reverse situation in the very near future but enough of that for now. The great thing about Police albums is that it was guaranteed there would be at least one song that I really love. In the case of "Synchronicity," it is "Synchronicity II." That is a really catchy up-beat jam and recently, I have began to wonder how it would sound if metalized. Plus, the lyrics, "Another working day has ended, another Russia has to face," has always amused me. "Synchronicity II" definitely ranks up there with the classics previously mentioned.

In addition to the two tracks already named, the album had several other radio friendly hits, "King of Pain" and "Wrapped Around Your Finger" being the most prominent. In spite of this, with "Synchronicity," The Police pretty much remain true to their reggae based roots. "O My God" is the best example of this and "Murder By Numbers" another one. The latter did get some air play as well. At the same time, I did have a good laugh when listening to "Mother," a very amusing song with Andy Summers doing the lead vocals. Furthermore, the great musicianship still remains on this album. Now, some people have been quick to assume that with all the radio hits on "Synchronicity," The Police sold out on the album. I was, at first, ready to assume that on account of "King of Pain" and "Every Breath You Take." However, those might be radio hits but the album itself is everything The Police were known for.

Track Listing:

1. Synchronicity
2. Walking in Your Footsteps
3. O My God
4. Mother
5. Miss Gradenko
6. Synchronicity II
7. Every Breath You Take
8. King of Pain
9. Wrapped Around Your Finger
10. Tea in the Sahara
11. Murder By Numbers

[caption id="attachment_1358" align="aligncenter" width="300"] The Police[/caption]

Sting- bass, lead and backing vocals, oboe, saxophone

Andy Summers- guitar, keyboards, lead vocal on "Mother"

Stewart Copeland- drums, percussion, xylophone, co-lead vocals on "Miss Gradenko"

"Synchronicity" would be the last album The Police would record together. The band would split after the tour. Apparently, Sting's ego became bigger than the rest of the band. Joking aside, from what I heard, Sting and Stewart Copeland just couldn't stand one another. In any case, it could definitely be said that they went out on a high.

Next Post: INXS- Shabooh Shoobah

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock Albums of 1983: Peter Gabriel- Security

 

To be perfectly honest, Peter Gabriel pretty much escaped my listening ears throughout most of the 1980s. The reason was that by 1983, I was a full fledged metalhead and he was too soft for me. Sure, I heard some of his stuff compliments of radio, including, "Shock the Monkey," the big hit from this album, "Security" and his 1980 hit, "Games Without Frontiers" continues to be my favourite song of his. It wasn't until 1990, when my then wife, asked for his "Greatest Hits" album for Christmas, that I really started listening to him and that is the reason why I am posting about the "Security" album now.

This album is further proof that I might be mellowing with age a bit. I stress, a bit, just play a Slayer album and that will reinforce it. "Security" is a good progressive rock/new wave album. Note: I only call it new wave because to ignorant American record executives, anything that didn't sound mainstream was branded such in 1983. Anyway, "Security" opens very mysteriously with "The Rhythm of the Heat," where a subtle keyboard intro grabs your attention and fortunately, the song is strong enough to keep it. I especially like what they do with the drums at the end of the song. Those heavy drums appear again in the third track, "I Have the Touch" and are done just as nicely. Sandwiched between those two songs is the rather interesting "San Jacinto." Listening to it, especially with the repeated lyric, "Hold the Line," I ask myself if this song is about the battle in 1836 that gave Texas its independence from Mexico. I wonder because I've just finished watching the series of "Texas Rising." Still, it's probably the hardest song on the album, I do hear guitars on it.

Things seem to slow down after "Shock the Monkey." The remaining songs aren't as catchy as their predecessors but still worth listening to. "Lay Your Hands on Me" has some good moments with the chorus and what becomes the trademark heavy drums. The two combine to close out the song very memorably.

One label you can not give to this album is synth pop. Sure, keyboards dominate the album but they're done very well. Peter Gabriel shows that he is a true talent with the songs on it, both as a singer and as a writer, leaving me to agree with several people who claim that the true talent went when he left Genesis. Having been given the "And Then There Were Three" album in 1983, I would be inclined to agree.

Track Listing:

1. The Rhythm of the Heat
2. San Jacinto
3. I Have the Touch
4. The Family and the Fishing Net
5. Shock the Monkey
6. Lay Your Hands on Me
7. Wallflower
8. Kiss of Life

[caption id="attachment_3161" align="aligncenter" width="236"] Peter Gabriel[/caption]

Peter Gabriel- vocals, electric piano, programming

Tony Levin- bass, stick

David Rhodes- guitar

Jerry Marotta- drums, percussion

Larry Fast- synthesizers

I won't say that I'm fully converted to Peter Gabriel, but I do like this album. With what was to pass as mainstream in the golden decade, I am glad to discover that there were some artists who played true progressive rock without selling out, unlike Gabriel's previous band.

Next post: The Police- Synchronicity

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock Albums of 1983: Berlin- Pleasure Victim

 

Everybody forget all about the 1986 single, "Take My Breath Away" for a moment, well actually, you can forget about it all together for all I care. Three years earlier, the artists behind that single didn't sound very much like that. In 1983, when new wave was mentioned, Berlin was the second name that came to mind after Missing Persons. They too, incorporated everything I associated about the new wave genre back then.

Berlin came to my attention in said year when I heard their first single, "Sex, (I'm A)" on the radio. It was the lyrics to the song that caught my ear. Hearing "I'm a bitch, I'm a slave, I'm a Goddess, I'm a little girl when we make love together" amused me very much. Note: I know the above isn't in the correct order of the song but all those lyrics appear in it. Still it's a cool song. The rest of the album, "Pleasure Victim," follows in what I call the new wave vein. While keyboards and synthesizers dominate the songs, they are used very well and not played in the dumb choppy way that synth pop bands would later use. There is a hint of guitar in them as well, especially in the hardest song, "Masquerade," which is my number one on the album. "The Metro" is also a good tune, probably because I remember it as their second single from the album. Though, I'm not impressed with the last two songs on "Pleasure Victim," the other songs are good enough to carry the album. Listening to it again after so many years, I remember why I liked the new wave sound in 1983.

Let's talk about ladies for a moment. In this case, it's Berlin's lead singer Terri Nunn. She has a great voice, as good as any of the female singers around at the time. Both her and Dale Bozzio were every bit as good as the one female singer who got most of the accolades throughout the mid 1980s. Fifty 80smetalman points if you can guess who I'm referring to here. Anyway, Terri Nunn didn't get the respect she deserved back then both as a singer and as a beautiful woman. I don't remember seeing any Terri Nunn posters around at the time. Thinking about her and Dale Bozzio, there is little to choose from in physical beauty or vocal ability.

[caption id="attachment_3155" align="aligncenter" width="314"] Terri Nunn[/caption]

Track Listing:

1. Tell My Why
2. Pleasure Victim
3. Sex (I'm A)
4. Masquerade
5. The Metro
6. World of Smiles
7. Torture

[caption id="attachment_3156" align="aligncenter" width="412"] Berlin[/caption]

Terri Nunn- vocals

Chris Ruiz-Velasco- guitar

David Diamond- synthesizers, backing vocals, guitar

John Crawford- bass, co-lead vocals on "Sex (I'm A)," synthesizer

Daniel Van Patten- drums, percussion

Reflecting back to 1983, I think the year was a reckoning for the two bands I will forever associate with new wave. A year later, Missing Persons would continue to go in the new wave direction and their album would commercially flop, though I still intend to visit it. For Berlin, they would essentially become a top forty band but that's further down the road. For now, "Pleasure Victim" was a cool new wave album that was different to all that was around at the time.

Next post: Peter Gabriel

To buy Rock And Roll Children,

Great Metal Albums of 1983: AC/DC- Flick of the Switch

 

Once again, I'm mixed things up here and throwing in a metal album. Usually I don't visit metal album until the second half of my journey through any given year but there are exceptional circumstances. Those of you who have been following for a while have probably guessed why I'm writing about an AC/DC album. That's right, AC/DC tribute band Hell's Bells are coming to town this weekend. Unfortunately, they picked the same weekend as my step-granddaughter's christening so I won't be able to see them this time. Therefore, as my consolation prize, I thought I'd visit their 1983 album, "Flick of the Switch."

[caption id="attachment_1987" align="aligncenter" width="300"] Hells Bells at their usual greatness[/caption]

What kind of drugs was I on in 1983? I remember listening to some of this album and not being very impressed with it. In fact, and this is going to confirm I must have been on drugs, I rated this album below their 1985 "Fly On the Wall" album. An album most AC/DC stalwarts say was their worst. Recently, I listened to the entire album after so many years and hell, this album is pretty good. Okay, it's not near the same level as "Back in Black" or "Highway to Hell" or even "For Those About to Rock, We Salute You," but this is in no way, shape or form a bad album.

From the very first note, "Flick of the Switch" has everything that has made AC/DC legends for forty odd years. It has all the trademark riffs that they had been known for, the tight rhythm section of Malcolm Young, Cliff Williams and Phil Rudd. Brian Johnson's voice hadn't begun to suffer and he still hits some pretty good high notes on the album. The closer, "Brain Shake" is the perfect example of that. Most importantly, Angus Young still blows people away with his solos. When I hear them on the songs on this album, I don't get that 'it's all been done before' feeling. There may have been a desire to go back to rawness and their might have been in fighting between Rudd and Malcolm but AC/DC come together to put out a fine album.

You know, I can't  find a song that I don't like on "Flick of the Switch." On the other hand, I find it difficult to pick ones that stand out. When I hear one track and think, "That's pretty good," the next one comes on and is just as good. If there is one standout track, it would have to be "Guns for Hire" and that's only because I heard it before on the "Iron Man 2" soundtrack. Then again, "Badlands" is also a really cool song.

Track Listing:

1. Rising Power
2. The House is On Fire
3. Flick of the Switch
4. Nervous Shakedown
5. Landslide
6. Guns for Hire
7. Deep in the Hole
8. Bedlam in Belgium
9. Badlands
10. Brain Shake

[caption id="attachment_1989" align="aligncenter" width="327"] AC/DC[/caption]

Brian Johnson- lead vocals

Angus Young- lead guitar

Malcolm Young- rhythm guitar

Cliff Williams- bass

Phil Rudd- drums

Now that the drugs have totally cleared my system, I can say that "Flick of the Switch" isn't the worst album by AC/DC. It's a good, solid album that may have come too soon after their classics. On the down side, it would be during this tour that Phil Rudd would leave the band and be replaced by Englishman Simon Wright. The result would be that this band from Australia wouldn't have any members who were actually born there.

Next post: Berlin- Pleasure Victim

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock Albums of 1983: Missing Persons- Spring Session M

 

Whenever someone says new wave in the 1980s, the first artist to enter my brain is Missing Persons. For me, they were everything I thought new wave was back then. They weren't hard or heavy like metal but they didn't sound like a trendy top forty band or even synth pop. They were completely different in a good way. Furthermore, Missing Persons was a band who could actually play well. Then again, any band that features the likes of Terry Bozzio, Warren Cuccurullo and Patrick O'Hearn has to be good. If those names sound familiar it is because these three played with Frank Zappa throughout the late 1970s and early 1980s and as we know, Zappa always had the best musicians playing for him. So it was quite clear that Missing Persons weren't going to be a Tinseltown Rebellion band that Frank recorded a good parody about.

Before I launch into the fullness of Missing Persons' 1983 album, "Spring Session M," I would start with the singles from the album. The first one I heard on the radio upon my return from serving in the Far East was "Words." My first impression of it was that the lead singer was trying to sound like a fourteen year old girl. At first, I thought it was amusing but listening behind the vocals, I heard the music and it sounded okay. The guitar wasn't heavy on a bang your head along to it scale but enough to catch my interest. The synthesizers were used very intelligently without taking over. My conclusion was that it was a good song after all. However, the third single, "Walking in LA" has a guitar hook that definitely works and Dale Bozzio's voice sounds much better on it. The other single, "Destination Unknown" is a more way out there song with some good keyboard hooks. Those were enough to get me to listen to the rest of the album and I wasn't disappointed.

[caption id="attachment_3139" align="aligncenter" width="188"] Dale Bozzio[/caption]

The rest of the album is as solid as the three singles. The songs are just hard enough to catch the ear of this metalhead and think, "This is okay" and the keyboards and synthesizers are done just as intelligently. Dale Bozio does not sound like a fourteen year old on the other songs, in fact her vocals are quite decent. Her best effort is on the track, "Tears." However, the rest of the band plays consistently well throughout the entire album. The two opening tracks seem to stand out the most although "Bad Streets" is probably the closest they come to a rocker. It is the heaviest song on the album and done very well and Cuccurullo does hammer out a pretty cool guitar solo.

Track Listing:

1. Noticeable One
2. Windows
3. It Ain't None of Your Business
4. Destination Unknown
5. Walking in LA
6. U.S. Drag
7. Tears
8. Here and Now
9. Words
10. Bad Streets
11. Rock and Roll Expression
12. No Way Out

[caption id="attachment_3140" align="aligncenter" width="246"] Missing Persons[/caption]

Dale Bozzio- vocals

Terry Bozzio- drums, backing vocals, percussion, synthesizer

Warren Cuccurullo- guitar, backing vocals

Chuck Wild- keyboards, synthesizers

Patrick O'Hearn- bass, keyboards, synthesizers

If new wave had continued in this direction, I would have been more into it. Missing Persons were talented musicians all as shown in the album "Spring Session M." Unfortunately, things went down hill fast after this and my musical tastes went in a harder direction.

Next post: AC/DC- Flick of the Switch

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock Albums of 1983: The Tubes- Outside Inside

 

Thoughts have always lingered in the back of my mind that The Tubes were one of those bands I should have checked out ages earlier but never got around to doing so. They had been around since the early 1970s and I had heard of them but never listened to them let alone bought any of their records. It took until 1983, during my final weeks before before leaving the marines that I finally got to hear them. That was only because their only top ten hit, "She's a Beauty" got plenty of airplay on the radio. I have to admit, it was a very good song and I did delight in listening to it again after so many years. Some additional useless info: "She's a Beauty" is about conversing with ladies in a private conversation booth. While I got up to many vices while in the marines and some since leaving, I never had that experience.

Don't ask me why but before I finally heard the above song, I always thought The Tubes to be punk. Maybe that was because of the fact they never had any real air play until 1983 and most music that didn't make it to radio was considered to be that. However, listening to the album, "Outside Inside," it is a far cry from anything punk. I wouldn't even call it new wave. If anything, their sound is progressive rock at best but I have to say, there isn't really anything that comes to mind I can compare them to. That's always a good thing in my book because that makes them unique. Most of the songs on the album are keyboard dominated. The best ones are "No Not Again" and "Glass House" although "Theme Park" deserves an honourable mention. There are some rather way out sounds on it along with some good harmonizing. Then there are some more harder rock tunes like "Out of the Business" and the funkier "Monkey Business" with the top ten single bridging the gap between the two camps and resulting in an album I regret not paying more attention to back in the day.

Track Listing:

1. She's a Beauty
2. No Not Again
3. Out of the Business
4. The Monkey Time
5. Glass House
6. Wild Women of Wongo
7. Tip of My Tongue
8. Fantastic Delusion
9. Drums
10. Theme Park
11. Outside Lookin' Inside

[caption id="attachment_3133" align="aligncenter" width="300"] The Tubes[/caption]

Fee Waybill- vocals

Bill Spooner- guitar, vocals

Roger Steen- guitar, vocals

Rick Anderson- bass

Michael Cotten- synthesizer

Mingo Lewis- percussion

Prairie Prince- drums

Vince Welnick- keyboards

Martha Davis- guest vocalist on "Monkey Time"

In the eyes of many less educated, The Tubes will be considered one hit wonders with "She's a Beauty" being their only contribution. This is not true in the least. After listening to "Outside Inside" and reminiscing about their top hit, I am sorely tempted to go back into their archives and listen to what I've missed all those years. I think I'll be pleasantly surprised.

Next post: Missing Persons- Spring Session M

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock Albums of 1983: Greg Kihn Band- Kihnspiracy

 

1983 was the most commercially successful year for the Greg Kihn Band. They're best known hit "Jeopardy" went to number two in the singles charts and only "Beat It" by Michael Jackson kept it off the top spot. Maybe they should have gotten Eddie Van Halen to play a guitar solo on that song.

"Jeopardy" opens the 1983 album, "Kihnspiracy" and once the single is done and dusted, that's when the album really kicks into gear. The very next track, "Fascination" begins with a great luring guitar intro and it is a rocker that really shapes the rest of the album. Likewise with the next track, "Tear Down the City" but only this begins with some cool lead guitar licks. Things go down a similar vein with the next couple of tracks. "You Can't Love Them All" is a very amusing track and the guitar solos on it are first rate.

Having this on cassette, I can say that side two does eventually slow down. "I Fall to Pieces" isn't as fast as any of the songs on side one, barring the big single but the hard guitars are strongly felt nonetheless. "Someday" is the song where keyboards are heard the most but it is still a rock song. Lead guitarist, Greg Douglass, who joined the band on the album shows he knows a little about how to play a guitar. "Curious" is the hardest song on the second side and then the album goes out with two slightly more softer songs, although "How Long" does have a cool, almost acoustic intro. Listening to the album after so many years, I think some of these songs would sound really cool if covered by a metal bands. A surprisingly good forgotten album.

Track Listing:

1. Jeopardy
2. Fascination
3. Tear Down the City
4. Talking to Myself
5. You Can't Love Them All
6. I Fall to Pieces
7. Someday
8. Curious
9. How Long
10. Love Never Fails

[caption id="attachment_2119" align="aligncenter" width="287"] Greg Kihn Band[/caption]

Greg Kihn- lead vocals, rhythm guitar

Greg Douglass- lead/slide guitars, vocals

Larry Lynch- drums, vocals

Steve Wright- bass, vocals

Gary Phillips- keyboards

The tragic thing about the Greg Kihn band is that when people think of them and remember 1983, they will always be associated with their biggest single and not for the hard rocking album that "Kihnspiracy" is. That is a tragedy.

Next post: The Tubes- Outside Inside

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock Albums of 1983: Talking Heads- Speaking in Tongues

 

What a difference thirty-three years can make! I didn't bother too much with the Talking Heads' 1983 release, "Speaking in Tongues" because when I first heard the single, "Burning Down the House" on the radio, I thought that with the strong bass, they were trying to sound more disco. Yeah, I know. Rolling Stone magazine stating that the band was experimenting in funk put me off a bit too. It may be because that while my experiences in the marines opened my mind up to different music, it also closed my mind to certain types. I regret that now. Going back to the Talking Heads, I can say that over the past three decades, "Burning Down the House" has slowly grown on me enough to finally give the "Speaking in Tongues" a listen. Now, I have come to the conclusion that in 1983, times had finally caught up with the Talking Heads and that their first album, "77," was way ahead of its time.

In this case, it was probably a good idea that the album started off with their only top ten single. For me, "Burning Down the House" brought me into familiar territory. I now realise that the song sounds more like traditional Talking Heads than I had originally allowed myself to believe. The rest of the album follow suit. In fact, my initial reaction was that all the songs, while all well done, sounded pretty much the same. However, when I listened to the album again, I began to find subtle differences in the songs. The use of more keyboards on the album was done very well but done without sounding like the synth pop the 80s would eventually degenerate into. Two great examples of the keyboard use are the tracks "Slippery People" and "I Get Wild/Wild Gravity." There are some really nice unique keyboards usages with those two songs. Other standout tracks for me are "Swamp" and "Girlfriend is Better." Something else that this album has in common with the debut is a really good closer track and "Moon Rocks" is quite amusing.

Another thing I first discovered on "77" and shows through more on "Speaking in Tongues" is that Tina Weymouth is a very underrated bass player and I wonder if the lack of respect shone to her abilities is down to gender.

Track Listing:

1. Burning Down the House
2. Making Flippy Floppy
3. Girlfriend is Better
4. Slippery People
5. I Get Wild/Wild Gravity
6. Swamp
7. Moon Rocks
8. Pulled Up the Roots
9. This Must Be the Place (Naive Melody)

[caption id="attachment_627" align="aligncenter" width="230"] Talking Heads[/caption]

David Byrne- vocals, guitar, keyboards, keyboard bass, percussion

Chris Frantz- drums, backing vocals, synthesizers

Jerry Harrison- keyboards, guitar, backing vocals

Tina Weymouth- bass, keyboard bass, backing vocals, guitar

Man I have seen the light and am now converted! I am glad I was so wrong about the Talking Heads in 1983 and their album "Speaking in Tongues." They were considered punk in the late 1970s and new wave in the 1980s but the 'new' can't be emphasized enough. They were ahead of their time and in 1983, the rest of the world finally caught up with them.

Next post: Greg Kihn Band- Khinspiracy

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock Albums of 1983: Molly Hatchet- No Guts No Glory

 

One Southern Rock band that did still get some attention up North in 1983 was the great Molly Hatchet. What excited many Hatchet fans north and south of the Mason-Dixon Line was the return of lead singer Danny Joe Brown to the band to record the "No Guts No Glory" album. For those who are new to 80smetalman, it might be a good idea to have a crash history lesson. Danny Joe Brown left Molly Hatchet after the magnificent "Flirtin' With Disaster" album, actually he was kicked out because of his drinking, and replaced by lead singer Jimmy Farrar who sang on the next two albums, "Beatin' the Odds" and "Take No Prisoners." While there was nothing wrong with either of those albums and Jimmy Farrar is a very capable singer, there seemed to be something missing from those albums. It was hoped that Brown's return would re-ignite the chemistry that brought them fame with "Flirtin' With Disaster."

The old chemistry certainly does return on the "No Guts No Glory" album from the very first song. Things definitely feel very upbeat on the first two songs and at the time, I wanted to scream, although I did inwardly, "Welcome back Danny!" While the first two tracks set the pace for the entire album, it is the third track that propels things into the ionosphere. "Sweet Dixie" is one of those Southern rock boogie tunes that has me bouncing in my chair whenever I hear it. Unless I'm walking, then it makes me quicken my step. Even when I returned north after I got out of the service, the lyrics reminded me of the good things about being down South.

"Just give me those stars and bars, Willie on the radio

A good cold beer and that rebel cheer

And man I'm ready to roll

That sweet sweet Dixie music really gets into my soul

So Mr Deejay won't you play that Southern rock and roll."

Of course the guitars of Dave Hlubeck, Duane Roland and Steve Holland are all over that song as well as the entire album but the song where they really shine is the best known song from the album, "Fall of the Peacemakers." Written as a lament over the murder of John Lennon although I always saw it as an anti- war song, the three guitarists lay down some killer solos in the style of "Freebird" or "Highway Song" on the final five minutes of it. "Fall of the Peacemakers" has been said to have been Molly Hatchet's own "Freebird." The guitars are certainly good enough.

Having originally bought "No Guts No Glory" on vinyl, actually my first vinyl purchase upon leaving the service, the songs mentioned were side one. Side two is definitely not filler. There are five awesome tracks on it that keep the party going very well. Of those five, the standout for me is "Kinda Like Love." They do throw in something a bit different at the end as the closer, "Both Sides," is an instrumental. Some more great guitar work on it to end the album just right.

Other interesting facts about the album are the fact that this is the only Molly Hatchet album not to portray a Franzetta painting on the cover. Another is the use of keyboards. Danny Joe Brown was wise to bring John Galvin over from his Danny Joe Brown band to play on the album. The album also features a completely new rhythm section with Riff West on bass and Barry BB Borden on drums. They work very well here.

Track Listing:

1. What Does it Matter
2. Ain't Even Close
3. Sweet Dixie
4. Fall of the Peacemakers
5. What's it Gonna Take
6. Kinda Like Love
7. Under the Gun
8. On the Prowl
9. Both Sides

[caption id="attachment_3121" align="aligncenter" width="276"] Molly Hatchet[/caption]

Danny Joe Brown- vocals

Dave Hlubeck- guitars

Duane Roland- guitar

Steve Holland- guitar

Riff West- bass

Barry BB Borden- drums

Additional musicians:

John Galvin- keyboards

Jai Winding- keyboards

*Note- Steve Holland would leave the band during the tour for the album and John Galvin would replace him and become a permanent member

Thanks to the return of Danny Joe Brown, many would say that Molly Hatchet was back. I know they never really went anywhere but the "No Guts No Glory" album in my mind, returned them to former glory.

Next post: Talking Heads- Speaking in Tongues

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1983: Blackfoot- Siogo

 

Further evidence to support the fact that Southern Rock was becoming a non entity north of the Mason-Dixon Line is to be found with Blackfoot's 1983 album, "Siogo." It's also yet another reason why I was glad I got to spend three months in the South. In the years running up to 83, Blackfoot had been slowly but surely gaining attention in the North thanks to their three best known albums, "Strikes," "Tomcattin'" and "Marauder." However, when I did return North in the middle of the year, it seemed that no one had known they put out a new album and it was fortunate I had bought it in North Carolina because it would have been tougher to find it in New Jersey.

"Siogo" marked a slight change of direction for Blackfoot in the sense that they acquired keyboards player Ken Hensley. Many metalheads and hard rockers normally panic when a band known for hard power chords from the guitar adds keyboards. There is the belief that said band is selling out, going commercial or whatever and Van Halen in 1986 proves that point but that story is for another time. Well, you can all rest easy because when I first heard the single from the album, "Send Me and Angel," I thought the keyboards went well with the hard crunching guitar that Blackfoot was known for. Everything else associated with Blackfoot was in place, the great guitar solos, Rick Medlocke's unmistakable vocals and the rhythm section provided by Walker and Spires.

Let me get right to the point, "Siogo" is a great album and it's unfortunate it has been overlooked so long. It also proves that the addition of a keyboard does not destroy the sound of a hard and heavy band if employed properly. Dio is the ultimate example but again, that's for another time. Proof of this with this album lies in the track "Goin' in Circles." You can hear the keyboards in support at the beginning when the guitars pound in on the intro to the song. They add flavour to it and then go on a support role as the song gets into full gear and there's a killer guitar solo on it. If you want to hear Hensley at his keyboard best, then the track "We're Going Down" is the one. His keyboard solo is the highlight of a song that is no less rocky. The rest of the album is more old school Blackfoot if there is such a thing. Full of trademark intros, see "Teenage Idol" and "Crossfire" here and straight forward, blow your eardrums hard rock music. I said it before but it still applies with "Siogo," Blackfoot could be called "Southern Metal."

When I first looked at the track listing and saw a track called "Sail Away," I thought that this was going to be some sort of ballad. After all, there are plenty of songs with similar titles that are. However, the song that bears the title on this album is nothing of the sort. Okay, maybe the first two notes of the intro may give that impression but the rest of the song just rocks! And don't be fooled by the lyrics of "White Man's Land." It's nothing racist, the song, at least to me, is a dig at the rat race and I can definitely see where they're coming from here. Besides, the song reminds me a little of the classic "Train, Train."

Track Listing:

1. Send Me an Angel
2. Crossfire
3. Heart's Grown Cold
4. We're Goin' Down
5. Teenage Idol
6. Goin' in Circles
7. Run For Cover
8. White Man's Land
9. Sail Away
10. Drivin' Fool

[caption id="attachment_3114" align="aligncenter" width="200"] Blackfoot[/caption]

Rick Medlocke- lead vocals, guitar

Charlie Hargrett- guitar

Ken Hensley- keyboards, backing vocals

Greg T. Walker- bass, backing vocals

Jackson Spires- drums, backing vocals

I'm afraid that I'm going to have to say, "Damn Yankees" for the fact that this album has been overlooked up North. Fortunately, I was in the South so I didn't miss out on it, to which I'm glad. "Siogo" is definitely a Blackfoot album that deserves a mention when you say the band's name.

Next post: Molly Hatchet- No Guts, No Glory

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1983: Doc Holliday- Modern Medicine

 

Here's another reason why I was glad that I spent my final three months in the marines down south. Nantucket headlined the Mayfair Festival that great day in May, 1983 and were fantastic but the band on right before them was just as good. On that day, Doc Holliday reinforced what I have always loved and continue to love about Southern Rock. If I hadn't been there, I would have missed them because like I said previously, many people up North had moved on from Southern Rock in 1983. That is why my only album experience of Doc Holliday to this day was their 1983 "Modern Medicine" album.

The band being from Atlanta, Georgia, their album has all the trademarks of all things good about Southern Rock but that doesn't stop Doc Holliday from putting their own personal stamp on things. All of the above is evidenced in the very first song on the album, "City Nights." The keyboard at the beginning rams home the 'these guys are a bit different' feeling before quickly going into more harder southern boogie guitar work complimented by typical Southern lyrics about partying and getting drunk. "City Nights" sets the rest of the album perfectly.

Other songs go a bit harder after that for most of the songs. "Rock City," "Hell to Pay," "Gimme Some" and "No Relation to Love" are all hard rocking scorchers. But if you are looking for ballads, then "You Don't Have to Cry" fills that bill very nicely. It's a good Southern love song with some rather impressive guitar work. It provides a kind of break in the action between all the harder songs mentioned above so it's not out of place. "You Turn Me On" sounds almost like a 1970s funk tune but Doc Holliday pull it off perfectly. It is my conclusion that those damn Yankees up North shouldn't have been so quick to abandon Southern Rock because many of them missed out on one hell of a band.

Track Listing:

1. City Nights
2. Dreamin'
3. Gimme Some
4. You Don't Have to Cry
5. Rock City
6. Hell to Pay
7. No Relation to Love
8. You Turn Me On
9. We're Not Alone
10. You Like to Rock

[caption id="attachment_3110" align="aligncenter" width="300"] Doc Holliday[/caption]

Ric Skelton- guitar

Bruce Brookshire- lead vocals, lead and slide guitar, synths

Eddie Stone- synths, piano, backing vocals

John Samuelson- bass, backing vocals

Herman Nixon- drums

Thank God that in 1983 I got to go to the Mayfair Festival and witness this band. If I hadn't, I would not have experienced the "Modern Medicine" album because Doc Holliday's fame never spread to New Jersey. That is a shame but at least I got to hear them and can tell you how great they were and hopefully, you will give them a listen on Youtube.

Next post: Blackfoot- Sirrocco

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1983: Nantucket- No Direction Home

 

One thing I am grateful for as I reflect back on 1983 was the fact that I got to spend my remaining three months in the marines in North Carolina. If I hadn't, I might have missed out on some great stuff from a few of the great Southern Rock bands that were around at the time, Nantucket being one of them. By 1983, Southern Rock was once again contained to the South. Many people from the North had moved on from listening to what for me was a great sub-genre of rock. In the case of Nantucket, it was most unfortunate, because the world didn't get to hear what a great band they were.

Memories came flooding back as soon as I listened to the album, "No Direction Home," after so many years. I remember the single, "Hiding From Love," which was written by Bryan Adams getting a good amount of airplay on the local station in North Carolina. While Bryan's influence can be heard on the song, Nantucket certainly make the song their own, adding that Southern boogie vibe that all great Southern Rock bands are known for.

A criticism that was being aimed at Southern bands in the mid- 1980s was they were abandoning their roots to sound more mainstream. There is some sign of this with "No Direction Home," with the fore-mentioned single and the cover of Marvin Gaye's "Ain't That Peculiar." Saying that, Nantucket still stamp their authority on both songs and that's where any thoughts of mainstream ends. That point is made crystal clear with the hard rocking opener. The second song, "I Don't Want to Lose You" is more of a blues based song and it's done very well. Following the two songs already mentioned that they didn't write, there are some steaming rockers, "Morning, Noon and Night" and "Ready For Your Love" before slowing down to the ballad "Come Home Darling." That is as good a power ballad as any. The album finishes on a very high note with three more rockers with the closer, "Tennessee Whiskey," being everything you've always loved about Southern Rock. A massive heart pumping rocker about a favourite Southern past-time, drinking whiskey.

Another disservice to Nantucket is the lack or respect to the guitarists, Tommy Redd and Mark Downing. These two deserve to being mentioned among the great names of Gary Rossington, Allen Collins, Rick Medlocke, Duane Rowlands and Dave Hlubeck. They're that good! Nantucket offer a unique feature as well in the form of saxophonist Eddie Blair. I'm going to go out on a limb and say he's as good as Clarence Clemmons of Bruce Springsteen fame. In evidence, I ask you to listen to "Girl I Got Your Number."

Track Listing:

1. No Direction Home
2. I Don't Want To Lose You
3. Hiding From Love
4. Ain't That Peculiar
5. Morning, Noon and Night
6. Ready For Your Love
7. Come Home Darling
8. Never Felt This Way Before
9. Girl I Got Your Number
10. Tennessee Whiskey

[caption id="attachment_1322" align="aligncenter" width="472"] Nantucket[/caption]

Gary Uzzell- lead and backing vocals

Tommy Redd- guitar, backing vocals

Eddie Blair- keyboards, saxophone, backing vocals

Mark Downing- guitar

Richard Gates- drums

David 'Thumbs' Johnson- bass, backing vocals

I had the fortune of seeing Nantucket live two months before I left the service on tour supporting the "No Direction Home" album. (The above photo wasn't taken at that concert). They headlined a local festival called the Mayfair and I remembered they were brilliant, though I wish I wasn't so partied out by the time they hit the stage. While they were great in the South, I still think they were cheated out of their chance to gain wider attention.

Next post: Doc Holliday- Modern Medicine

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com 

Great Rock Albums of 1983: Thomas Dolby- The Golden Age of the Wirless

 

In many musical circles, Thomas Dolby is considered a one hit wonder, only known for his classic song, "She Blinded Me With Science." Me personally, I've always liked that song, always having loved humour in music and there is plenty of it to be found in "She Blinded Me With Science." What I loved best is the background voices that hilariously repeat the title or just say, "Science!" Furthermore, the keyboards in it are played very well. However, for those of us who take our music slightly more seriously, Thomas Dolby is not a one hit wonder. As I reflect back to 1983, I think that he represented the crossroads between progressive rock and the synth pop that made up much of the 1980s. I also know that I wasn't the only metalhead who liked Thomas Dolby, so for any of my metal brethren out there, don't be afraid to step forward and admit it. There's nothing to be ashamed about.

The trademark keyboards that I mentioned on the hit single can be found throughout the entire album. Some of the tracks are quite trippy bordering on space rock. "Weightless" and "Windpower" are two of these. I could easily listen to both of those songs along with Hawkwind or a Paul Kantner solo album and they wouldn't be out of place. Dolby's vocals add to the trippy feeling. He doesn't try to make any of these songs sound commercial, barring "She Blinded Me With Science" but it's the humour that makes that song for me. "Commercial Breakup" goes more in a traditional progressive rock direction while at the same time having a reggae feel to it, nicely done. What Dolby does on "The Golden Age of the Wireless" is employ the modern technology of the time into his music but he does so without compromising any of his musical integrity.

Track Listing:

1. She Blinded Me With Science
2. Radio Waves
3. Airwaves
4. Flying North
5. Weightless
6. Europa and the Pirate Twins
7. Windpower
8. Commercial Breakup
9. One of Our Submarines
10. Cloudburst at Shingle Street

 

[caption id="attachment_3093" align="aligncenter" width="209"] Thomas Dolby[/caption]

Thomas Dolby- vocals, synthesizers, wave computer, piano, kalimba, monk voice

Kevin Armstrong- guitar, backing vocals

Dave Birch- guitar, monk voice

Bosco- percussion

Mark Heyward Chaplin- bass

Justin Hildreth- drums

Simon House, Tim Kerr- violin

Simon Lloyd- leadline brass, flute

Daniel Miller- synthesizer

Andy Partridge- harmonica, percussion

Dr Magnus Pike- voiceover

Matthew Seligman- moog bass

Further backing vocals provided by: James Allen, Les Chappel, Judy Evans, Lesley Fairbairn, Mutt Lange, Lene Lovich, Miriam Stockley, Brian Woolley, Akiko Yano

I should have included "One of Our Submarines" in with the songs that stand out for me since it does. My conclusion here is what I have always thought all these years. Thomas Dolby was not a one hit wonder but a very underrated musician. Although many of them might not admit it, I think many of the synth pop bands that came after him would site him as an influence. For me, he was more than synth pop or a one hit wonder.

Next post: Nantucket- No Direction Home

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1983: Billy Idol

 

I didn't think I was ever going to post about this album. Twice it was up for next post but other things beyond my control meant that I needed to post about other albums. At least because of the delay, no one either picked up on my mistake or was too diplomatic to bust my chops over it. When I first announced that the 1983 album from "Billy Idol" was going to be visited, I put the album down as "White Wedding." Ah, duh, I should have known better. The album is actually self titled with "White Wedding" being the song Billy is best known for. My mistake now takes away any right of mine to bust those who call Boston's classic self titled album, "More Than a Feeling." Okay, I now will stop feeling dumb.

"White Wedding" was the song that got my attention. When I first heard the song in May of 1983, I thought this song was really cool. There was that catchy riff with the guitar that made the song for me. Unfortunately, I can't recreate it in print but those who've heard the song will know what I am talking about. I also liked this punk image, which was something the Marine Corps really hated and with less than two months to go in my enlistment, it was one way I could stick the finger up at them.

The already mentioned song turned my head to Idol but I have to say that I was and still am rather impressed with the debut album. "Hot in the City" is the other single and its not bad but I much prefer "White Wedding," although both songs show that he does have a rather unique voice. Oh yes and I apologise for going off track for a moment but the version of this album I am speaking about is the 1983 re-issue and not the 1982 version. The reason why is so I can include the additional track on the album, which was released as a single later that year, "Dancing With Myself." I do like that song too.

"Billy Idol" is a good hard rock album and it's no surprise that, with his image, so many people branded it punk. I don't give a flying fart (I'm going to use that expression a lot now because it impressed mikeledano) if it is punk, it's a good album. Other tracks that definitely impressed me are "Dead on Arrival" and "Hole in the Wall" and "Nobody's Business" is pretty good too.

Track Listing

1. Come On, Come On
2. White Wedding
3. Hot in the City
4. Dead on Arrival
5. Nobody's Business
6. Love Calling
7. Hole in the Wall
8. Shooting Stars
9. It's So Cruel
10. Congo Man
11. Dancing With Myself

[caption id="attachment_3089" align="aligncenter" width="194"] Billy Idol[/caption]

Billy Idol- vocals, guitar

Steve Stevens- guitar

Phil Feit- bass

Steve Missal- drums

In 1983, Billy Idol gave me the different thing I was looking for because with only a few weeks left in the service, I was looking forward to becoming an individual again. This album helped provide that for me.

Next post: Thomas Dolby- The Golden Age of the Wireless

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1983: Paul Kantner- Planet Earth Rock and Roll Orchestra

 

It figures that my weird mind would notice that Paul Kantner's very recent passing would occur right when I was going through the music history of 1983, the year his solo album was released. I was going to visit his album "Planet Earth Rock and Roll Orchestra" further along down the road as it didn't come to light until near the end of said year. Actually, I remember the opening title cut getting some airplay on radio back then. Mind you commercial radio didn't completely suck in 1983. Like I said last post, I always preferred the songs Kantner penned on Jefferson Starship albums, so it was a no brainer that I would get this one.

What I never knew was that this album was written to be a soundtrack for Paul's second novel "The Empire Blows Back," which was a sequel to his first "Blows Against the Empire." Listening to the album again, I can see how it fits. "Planet Earth Rock And Roll Orchestra" or PERRO for short is a mixture of hard, progressive and space rock and it's nicely done. Many of the musicians who appear on the album were current or former members of Jefferson Starship and Jefferson Airplane. Grace Slick does lead vocals on two songs and backing on many of the others. Furthermore, Craig Chaquico works his guitar magic as does Pete Sears with the keyboards, just like all three of them do on Jefferson Starship albums.

The album starts out in a fine hard rock form with the first three songs. The title cut opens things very well and I'm very impressed with track 2, "(She is a) Telepath." "Circle of Fire" was originally meant for the "Winds of Change" but it fits very well here. The next few tracks go very spacey and I think that possibly when these tracks are listened to, maybe one should partake of the same substances they would if listening to a Pink Floyd album. "The Mountain Song" combines both hard and space rock and to me has the typical trademark of a Kantner song. I have since learned that Paul co wrote it with Jerry Garcia so that may explain a lot. Then , out of the blue comes the very amusing track, "Declaration of Independence." Sung by Paul and Grace's daughter China Wing Kantner, the song is almost country with Paul playing along on the banjo, a very amusing song to say the least. China, who was only 12 at the time, provides the perfect vocals for it sounding like a little girl. The last two songs end things very well, especially the closer, "Let's Go." I remember once when listening to the track "I Came Back from the Jaws of the Dragon" off Starship's "Winds of Change" album, my ex wife commented that it sounded like Godspell. Yes, Paul had a thing for harmonies in that style on many of the songs but on "Let's Go," it concludes the album in masterful form.

Track Listing:

1. Planet Earth Rock And Roll Orchestra
2. (She Is a) Telepath
3. Circle of Fire
4. Mount Shasta
5. Lilith's Song
6. Transubstantiation
7. The Mountain Song
8. Declaration of Independence
9. Underground (The Laboratories)
10. The Sky's No Limit
11. Let's Go

[caption id="attachment_1600" align="aligncenter" width="178"] Paul Kantner- Jefferson Starship[/caption]

Paul Kantner- vocals, guitar, banjo, harmonica, synthesizers, lead guitar on "Underground"

Grace Slick- vocals, piano on "The Mountain Song" and "The Sky is No Limit"

Jack Casady- bass

Chiam Wing Kantner- vocals on "Declaration of Independence" and "The Sky Is No Limit"

Alexander Kantner- vocals on "Underground"

Craig Chaquico- lead guitar

Pete Sears- piano

Aynsley Dunbar- drums

Scott Matthews- guitar, harmonica, synthesizers, pedal steel guitar and Linn drums

Ron Nagle- piano and vocals on Transubstantiation

Ronnie Montrose- lead guitar on (She is a) Telepath

Flo & Eddie- vocals

Mickey Thomas- vocals on Circle of Fire

David Freiberg- synthesizers and vocals on Circle of Fire

The problem with "Planet Earth Rock and Roll Orchestra" was that it wasn't mainstream enough. That's why it go only limited airplay on radio. Even if it didn't I believe that I would have eventually discovered it and bought it anyway. This is a cool album and I think it would be only fitting to honour Paul Kantner by listening to it.

Next post: (Hopefully) Billy Idol

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com 

Great Metal Albums of 1983: Dio- Holy Diver

 

Like with David Bowie's and Motorhead's 1983 albums, I was hoping to write about the debut album from Dio, in 1983, under much happier circumstances. With the passing of Dio bassist, Jimmy Bain, I feel that it should be a fitting tribute to him that I post about this iconic album now.

[caption id="attachment_3067" align="aligncenter" width="162"] Jimmy Bain[/caption]

What can I say about "Holy Diver" that hasn't already said? Probably nothing, therefore, I am going to speak about it straight from the heart and yes the pun is intended. From my first listen, I admit it wasn't til early 1984 when I got that opportunity, til now, I was and still am completely blown away by it. No wonder it's my fourth favourite album of all time.

Why is this album so good? Let's start with the opener, "Stand Up and Shout." That is one of the best album and concert opening songs of all time. A great opener will grab you by the throat and make you listen to the entire album. It's no wonder, Dio opened with this song three of the five times I've seen them live.

You are the driver
you own the road
you are the fire -- go on, explode

Then comes my favourite Dio song of all time, the title track. If I were running a 'Headbanging for Beginners' course, "Holy Diver" would be the first song I would use. This unique but catchy riff is just plain phenomenal. I still remember at the local nightspot in London for heavy metal, scores of metalheads all in a huddle headbanging away to it. The song is so easy to do that with. Not only that, there are Ronnie James Dio's lyrics, (he was top of his game here), and Vivian Campbell just nails the guitar solo. For me, it's always been truly an amazing song.

Between the velvet lies

There's a truth as hard as steel

A vision never dies

Life's a never ending wheel.

Following the title cut are two more excellent songs in the form of "Gypsy" and "Caught in the Middle." With both songs, we see some heavy chords being struck while in sync with more of Ronnie's lyrics.

Take a look at yourself, you might see someone you don't know

If you haven't already figured it out, the above lyrics were from "Caught in the Middle." After that is what many claim to be the best non single or song that should have been released as one on the album. Anyone who has any experience of Dio will know "Don't Talk to Strangers." Its eerie intro followed by lyrics that can be of sound advice before exploding into pure heavy metal mania with Campbell's solo probably being the best one on the album. There's something for everyone to like here. It is most likely the reason why Dio has played this song all five times I've seen them live.

Having originally procured "Holy Diver" on cassette, I should go on about side two. However, the age of CD's and MP3 downloads has made me stop dividing albums into sides. "Straight Through the Heart" is a very powerful rocker and maintains the standard the album sets but after that is my choice for best hidden gem on it, "Invisible." Don't ask me to explain why or how but I just love that song. I think it's the way like "Don't Talk to Strangers," it starts melodically before hitting you over the head with more power chords. Those chords may not be quite as in your face as the other song but it does the job.

If your surface stays unbroken, then you're a lucky man

Cause it never, never, never has for me

In the palace of the virgin lies the chalice of your soul

And it's likely you will find the answer there.

Again, Ronnie's lyrics are amazing, especially matched with his truly one of a kind voice. Following "Invisible" is the more known "Rainbow in the Dark," which maybe was Dio's most successful single. Hell, I remember in 1984, a Budweiser advert being played to this tune. This is the one song where keyboards play a major role but still, they don't detract from the power of the song.

Now onto the closer, "Shame on the Night." If I have to pick a least favourite track, it would have to be this one. Don't get me wrong, it is no way a bad track, I just don't rate it quite as high as the other eight but what it does do is close the album very nicely, I guess that's what Ronnie had in mind with it. That is yet another reason why I think "Holy Diver" is so fantastic.

Track Listing:

1. Stand Up and Shout
2. Holy Diver
3. Gypsy
4. Caught in the Middle
5. Don't Talk To Strangers
6. Straight Through the Heart
7. Invisible
8. Rainbow in the Dark
9. Shame on the Night

[caption id="attachment_3069" align="aligncenter" width="259"] Dio[/caption]

Ronnie James Dio- vocals, keyboards

Vivian Campbell- guitar

Jimmy Bain- bass

Vinnie Appice- drums

I don't give a flying fart as to how cliched this statement sounds but I know in my heart that Jimmy has now joined Ronnie and they are jamming away together in a better place. Probably their former Rainbow band mate, Cozy Powell has joined them and if they had any sense, they would invite Jon Lord to do the honours on the keyboards. However, I can't think of any guitarist who has played along side of these guys who has departed from our world. Therefore, I would suggest they take Criss Oliva from Savatage as his guitar work would fit Ronnie's vocals perfectly. Who knows, maybe they would make an album as great as "Holy Diver."

Next post: Paul Kantner- Rock and Roll Orchestra 

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com

Great Rock Albums of 1983: Supertramp- Famous Last Words

 

Released at the end of 1982, "Famous Last Words" by Supertramp came to my attention in the first few weeks of 1983. I happened to see the video for the biggest single off the album, "It's Raining Again," while at a disco in Tokyo. When I say saw the video, I mean literally. While the video was played on the club's television screen, the music being played definitely wasn't Supertramp. It would be a month later when I returned to Okinawa, I would finally get to hear the song matched up to the video.

As I reflect back to those early months of 1983 and some of the albums I have posted about so far, I am beginning to think that this year wasn't a very good one for some of the established superstars of rock. It seemed that like David Bowie and Todd Rundgren, Supertramp also decided to go for a more commercial sound. In their case, "Famous Last Words" was an attempt to build on the success of their previous studio album, "Breakfast in America." However, I don't think this album measures up to their previous classic.

Let's not be too negative about "Famous Last Words," there are some bright spots on it. First, take the big single for instance. Sure, it reeks of commercialdom but there is enough of Supertramp's presence on it to know that it is theirs. Still, there are better songs on it, like the very jazz sounding "My Kind of Lady." The sax solo on that song does blow me away. "Crazy" and "Put On Your Brown Shoes" are also decent tunes. I do like the honky tonk piano in the latter and Ann and Nancy Wilson from Heart perform backing vocals on it but my personal favourite on this album has to be "Bonnie." To me that song is Supertramp from their glory days back in the 1970s. I'm talking stuff like my favourite Supertramp album, "Crime of the Century."

Track Listing:

1. Crazy
2. Put On Your Brown Shoes
3. It's Raining Again
4. Bonnie
5. Know Who You Are
6. My Kind of Lady
7. C'est Le Bon
8. Waiting So Long
9. Don't Leave Me Now

[caption id="attachment_1474" align="aligncenter" width="275"] Supertramp[/caption]

Rick Davies- keyboards, lead and backing vocals, harmonica, melodica solo on "Its Raining Again"

John Helliwell- saxophone, keyboards

Roger Hodgeson- guitar, lead and backing vocals

Bob Seibenberg- drums

Dougie Thompson- bass

"Famous Last Words" may not be as good as some of Supertramp's more classic albums but it is enjoyable nonetheless. Maybe like so many artists back then, they were trying too hard for commercial success. It could also be why Roger Hodgeson would go solo after this album.

Next post: Billy Idol- White Wedding

To buy Rock And Roll Children, email me at: tobychainsaw@hotmail.com