Great Rock Albums of 1985: Lone Justice

My first hearing of the band Lone Justice in 1985 came not through MTV or the radio, nor did it come from anyone recommending I buy their debut album. I first heard about them when I was told they were supporting then legends, U2. Then two days before I was going to see them, my local radio station played their first single, "Ways to be Wicked." I liked it and that gave me a greater expectation of the band when I finally did see them and on that night, I wasn't disappointed! In 1985, U2 and Lone Justice made a very good combination.

Lone Justice are listed in Wikapedia as country rock and I don't disagree with that assessment. Thre is definitely a country music influence and the album is too rock to be considered country. Have a listen to "Don't Toss Us Away." However, I think a better assessment is Southern Rock meets new wave. When listening to the rock guitars you can hear what was then called modern synths compliments of one Benmont Tench from Tom Petty and the Heartbreakers. Mike Campbell from the same band lends his guitar skills as well and there is even contributions from Little Steven who most of the world knows from Bruce Springsteen's band. With this accompaniment assisting, it's no wonder the album is so good. Not that I am taking anything away from the band because those players weren't with them when I saw Lone Justice live and the band was quite capable of holding their own. Not only did they play material from this album, they also delighted the crowd to covers of CCR's "The Fortunate Son" and "Sweet Jane."

"Ways to Be Wicked" has always been my favourite Lone Justice song, probably to the exposure on radio and eventually MTV. Other songs which really stand out for me are "After the Flood" and "Soap, Soup and Salvation" which is about the extreme poverty that was rising in America during the mid 1980s. Again, I take nothing away from the rest of the album and while the musicianship is first rate, the driving force behind each and every song is the vocals of Maria McKee. She may be small in height but her vocal range makes her ten feet tall. Thinking about it, I'm rather disappointed that more wasn't said about her vocal ability back then because she is phenomenal.

Track Listing:

1. East of Eden
2. After the Flood
3. Ways to be Wicked
4. Don't Toss Us Away
5. Working Late
6. Sweet, Sweet Baby (I'm Falling)
7. Pass It On
8. Wait Til We Get Home
9. Soap, Soup and Salvation
10. You Are the Light

[caption id="attachment_4703" align="aligncenter" width="334"] Lone Justice[/caption]

Maria McKee- guitar, harmonica, vocals

Ryan Hedgecock- guitar, vocals

Marvin Etzioni- bass, backing vocals

Don Heffington- drums

Additional Musicians:

Mike Campbell- guitar

Tony Gilkyson- guitar

Bob Glaub- bass

Little Steven- guitar

Benmont Tench- piano, organ, synthesizer, backing vocals

https://www.youtube.com/watch?v=Df-a3Ns4MHE

Three years after seeing Lone Justice and hearing their debut album, I mentioned to someone who was heavily into the band that I had seen them support U2. He responded that U2 should have supported Lone Justice. I wouldn't have gone that far but I can appreciate his feelings. Lone Justice should have achieved much more than they did and this album proves it.

Next post: Warlock- Hellbound

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

Tribute to Beru Revue- A Great Philadelphia Band

 [caption id="attachment_4551" align="aligncenter" width="328"] Beru Revue[/caption]

Living in Southern New Jersey, I was very much influenced by what was happening in Philadelphia which was fifty miles away. I rooted for their sports teams, most of the time, except when the Phillies played the Dodgers, the Eagles played the Steelers or the 76ers played the Celtics. However, I have always been a die hard Flyers fan. Most importantly though, Philadelphia was where I went to see most of my concerts. Which is why most of the concerts in "Rock And Roll Children" take place at the Spectrum. Furthermore, Philadelphia radio stations were far superior to the one in Atlantic City, also I got treated to some of the bands coming out of there. One of these bands was Beru Revue.

[caption id="attachment_107" align="aligncenter" width="300"] The Philadelphia Spectrum, now sadly torn down.[/caption]

Back in the mid 1980s, Beru Revue made several trips to South Jersey clubs and I was lucky enough to catch them three times. Their brand of rock, considered new wave by most was definitely unique. They combined great musicianship and if you listened to the lyrics, keen political awareness while maintaining a sense of humour. This gave them a pretty large cult following around the clubs of the Delaware Valley, (comprising Eastern Pennsylvania, Southern New Jersey and Delaware.) One of their songs, "Hoods A Go Go For the 80s" got airplay on local radio, unfortunately, their fame never spread much beyond that. Although I did take two friends who were visiting from Rhode Island to see them and they were so impressed, they bought Beru's EP.

Beru Revue:

Bob 'Beru' McCafferty- lead vocals

Greg 'T-Bone' Davis- guitar

Gerry Healy- guitar

Johnny Sacks- bass

Buzz Barkley- keyboards

Tommy 'Sir Francis Drake' Pinto- drums

https://www.youtube.com/watch?v=qP3kvxEnhC0

This is my favourite Beru Revue song:

https://www.youtube.com/watch?v=qhREhk4sqIs

Hopefully, you've had a listen and agree with me that Beru Revue were far too good to be just a locally known band. Even to this day, I have cool memories of them. Maybe one reason they never made it nationally or internationally was the fact that Philadelphia has produced so many great musical acts over the years. One such band would get national attention in 1985, you'll read about that in the near future and a year later, a Philly metal band would do the same. However, I lament as to what a great contribution to the music world Beru Revue would have been if they had been luckier.

Next post: 1985- The Backlash Begins

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

Great Rock Albums of 1984: The Cars- Heartbeat City

 

Way back in the early days, when I posted about The Cars' 1978 self titled debut album, Stone from Metalodyssey commented that The Cars were ahead of their time. I totally agree with this and will add to it by stating that they continued to be ahead of their time with their albums from the early 1980s. However, by 1984 time had caught up with them and what they were doing wasn't so advanced. It seemed that many bands were influenced by them and were copying what they were doing. But no matter what other bands were trying to do, there will only be one band called The Cars and to paraphrase a quote at the time by former WWE manager, Lou Albano, they were "often imitated but never duplicated." Proof in the pudding is their 1984 album, "Heartbeat City."

[caption id="attachment_3824" align="aligncenter" width="300"] 'Captain' Lou Albano[/caption]

What is so great about this album is while others may have been trying to copy The Cars, they didn't do anything different from what they had done before. Yet, "Heartbeat City" still manages to sound fresh. Some will point to the biggest hit from the album, "Drive" and say that they did change. A few misguided individuals, who know not this band, have labelled them one hit wonders, WTF? My rebuttal comes with my favourite track on the album, "You Might Think" which was also a top ten hit for the band. For me to like a song that makes it into the top ten singles chart is saying something.

"Heartbeat City" is another successful marriage of hard rock and more synthesizer oriented sounds of the early 1980s performed by the band. A great example is the hidden gem that is "Stranger Eyes." That is a song which is a foundation for the union I have just described. Then there are other tracks, some of them were even released as singles like "Magic" and "It's Not the Night." I do love Greg Hawkes keyboard work on the latter of the two although the I like the more hard rock on the former. Am I being wishy washy? Most probably but when an album can be so diversified and still catch and hold my attention, then it must be said that The Cars did something very right on this album.

Track Listing:

1. Hello Again
2. It's Not the Night
3. Magic
4. Drive
5. Stranger Eyes
6. You Might Think
7. I's Not the Night
8. Why Can't I Have You
9. I Refuse
10. Heartbeat City

[caption id="attachment_834" align="aligncenter" width="334"] The Cars[/caption]

Ric Ocasek- rhythm guitar, lead and backing vocals

Ben Orr- bass, backing vocals, lead vocals on tracks 4, 5 and 7

Elliot Easton- lead guitar, backing vocals

Greg Hawkes- keyboards, backing vocals

David Robinson- drums, percussion

Time might have caught up with The Cars but that didn't stop them from doing what they did best and putting out a great album in "Heartbeat City." Some have said that this was their best album, though I've always been partial to their first. However, I wouldn't enter into any debate about it.

Next post: J Geils Band- You're Gettin' Even While I'm Gettin' Odd

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

Great Punk/Metal Albums of 1983: Suicidal Tendencies

 

In the mid 1980s, there would be the full coming together of punk and heavy metal. They would even have a love child called thrash as many of these new bands would site influences from both. However, if there was one album that could be identified as the one who spear headed this union, it would have to be the 1983 debut album from Suicidal Tendencies. While the album is labelled hard core punk on wikapedia and by other so called experts, millions of metal heads have taken this band and this album in particular into their metal bosoms. I, for one, would be responsible for unleashing it onto unsuspecting British students in 1986. Not that they ever complained.

There are no complex reasons as to why Suicidal Tendencies is widely accepted by both the metal and punk followings. The opening song answers any questions right off the bat. It starts out as a hard core frenzy that would have people banging themselves about in a mosh pit only to slow down in order for the listener to take in Mike Muir's genius lyric writing. In fact, it's the lyrics on many of these songs that make this album so brilliant. So instead of rambling on about it in paragraphs, I thought I'd do something different and share.

I Shot the Devil- Opens with "I shot Regan!" After Lebanon, I wanted to do that myself. Closing lyrics: "I shot Regan and I'll do it again and again and again." 

Subliminal- "Mind control the easiest way, sponsored by the CIA. It's a weapon you can not see, it's propaganda subliminally. They're fucking with me, subliminally." 

Institutionalized- "My mother started screaming Mike, Mike and I said what's wrong mom? She said what's wrong with you? I said nothing mom, I was just thinking. She said, "No, you're on drugs!" No, I'm okay mom, I was just thinking why don't you get me a Pepsi? She said, "No, you're not thinking, you're on drugs, normal people don't argue that way." I said, "Mom, will you get me a Pepsi please?" All I wanted was a Pepsi and she wouldn't give to me. All I wanted was a Pepsi, just one Pepsi and she wouldn't give it to me." 

I Saw Your Mommy- "I saw your mommy and your mommy's dead. I saw her lying in a pool of red. Chewed off toes on her chopped off feet. I took a picture because I thought it looked neat. But the thing I liked seeing the best was the rodents using her hair as a nest. I saw your mommy and your mommy's dead." 

I Want More- "Working like a maniac give yourself a heart attack on the minimum wage." 

Suicidal Failure- "I took all my mother's sleeping pills, jumped off a tall bridge. I drank three kinds of poisons, drove my car off a ridge. I gave myself a bag, put a noose around my head. I overdosed on heroin but I'm still not dead. I'm a suicidal failure, I got to have some help. I've suicidal tendencies but I can't kill myself." 

In between these songs are some short, to the point punk/thrash songs that would be a favourite in any mosh pit today. Another reason why metalheads love this album is there are some metal snobs out there who think punk musicians aren't up to standard. Yeah, I know. One can't fault any of the musical work by the band on the album. It's all good and why even the metal snobs love it.

Track Listing:

1. Suicide's an Alternative
2. Two Sided Politics
3. I Shot the Devil
4. Subliminal
5. Won't Fall in Love Today
6. Institutionalized
7. Memories of Tomorrow
8. Possessed
9. I Saw Your Mommy
10. Fascist Pig
11. I Want More
12. Suicidal Failure

[caption id="attachment_3670" align="aligncenter" width="249"] Suicidal Tendencies[/caption]

Mike Muir- lead vocals

Grant Estes- guitar

Louiche Mayorga- bass, backing vocals

Amery Smith- drums

When I introduced the album to my new friends in the UK, they pretty much spent the rest of the year singing or quoting lyrics from "I Saw Your Mommy" and "Institutionalized." That is the profound effect this album had on them. It had the same effect on anyone, punk or metalhead, who heard it. Suicidal Tendencies didn't know it at the time but their debut album was a cornerstone in joining the camps of these two genres.

Next post: Lee Aaron's First LP

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

Great Rock Albums of 1983: Modern English- After the Snow

 

Originally, my plan was to post the "After the Snow" album from British post punk, new wave band, Modern English, after the album from INXS. My reason was because back in 1983, I would often confuse the two bands. Worse, I would further confuse INXS's single "Don't Change" with the big single from this Modern English album, "I Melt With You." Both bands sound very similar and it is possible that Modern English could have had a song on the "Rock Star" soundtrack.

I have come to the conclusion that one reason why Modern English never got the success they may have deserved was down to my beef with the 1980s. Too many people wanted to put their music into categories or genres. "After the Snow" offers a mixed bag of musical styles that makes categorizing them difficult. Track two, "Life in the Gladhouse," is a more progressive rock song while the very next track, "Face of Wood," might be a candidate for the "Rock Star" soundtrack. However, the track that makes my point is the one after that, "Dawn Chorus." This song sounds like Jim Morrison came back from the dead and joined The Cult. The guitar intro at the beginning of the song definitely sound like the named band, whose albums I will be visiting a little more down the line and the vocal style could almost be Jim. Saying all that though, I really like the song as I do all of the ones on the album.

Some critic of the "After the Snow" album claims that the single "I Melt With You" is not indicative of the rest of the album. Well it certainly does stand out from the other songs but I think it goes well with the album. It provides a different turn and keeps you from getting to familiar with the album. I like the fact that you don't know what to expect with each song and if you listen to it without stressing out over what category it should be put in, then the album becomes that much more enjoyable.

Track Listing:

1. Someone's Calling
2. Life in the Gladhouse
3. Face of Wood
4. Dawn Chorus
5. I Melt With You
6. After the Snow
7. Carry Me Down
8. Tables Turning

[caption id="attachment_3190" align="aligncenter" width="265"] Modern English[/caption]

Robbie Grey- vocals

Gary McDowell- guitars

Stephen Walker- keyboards

Michael Conroy- bass, violin

Richard Brown- drums, percussion

"After the Snow" by Modern English goes against the 1980s belief that you had to put a band into a category in order to appreciate. Their mixed bag of hard rock, post punk, new wave and progressive rock all goes well on this album. Listen to it with that in mind and you'll definitely enjoy the album.

Next post: Journey- Frontiers

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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: 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 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: 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

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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: Madness- The Rise and Fall

 

Madness are generally considered to be one hit wonders in the US. The song, "Our House," from this album, got a good amount of airplay on radio and MTV. I always laughed at the part in the video where they are all outside and the mother comes parachuting down. While the song didn't get me rocking, I still found it quite amusing and I liked it for its different sound. But I have to admit that Madness got sort of pushed to one side after more music that typified me came out. Though I did hear and like the song, "One Step Beyond," which is not on the album "The Rise and Fall." Madness would gain more of my attention a few years later when I came to their home country. It also happens that my first wife was a fan of them so I got to appreciate their material more fully.

[caption id="attachment_2996" align="aligncenter" width="370"] Video for Our House[/caption]

As I journey back more into 1983, I see that while it was the year that heavy metal burst onto the scene in flamboyant style, it was a good year for more humourous music. Maybe the music industry finally opened up and got a funny bone in this year. As I listen to "The Rise and Fall," I sense that there is a bit of fun to it. Madness play with of tongue in cheek humour. Even in their more serious songs like "Blue Skinned Beast," which is a political dig at Margaret Thatcher's handling of the Falklands Conflict, does it completely go away. However, it is definitely present in the single, as well as tracks like "Sunday Morning" and the closer "Madness (Is All In the Mind.)"

Humour aside, I find that Madness are all very good musicians. Like I said, their sound is definitely unique now as it was back in 1983. I find it hard to label and since I don't really like to pigeon hole things to much, I'll just say it's unique. Other standout tracks on the album for me are "Mr Speaker Gets the Word" and "New Dehli."

Track Listing:

1. Rise and Fall
2. Tomorrow's (Just Another Day)
3. Blue Skinned Beast
4. Primrose Hill
5. Mr Speaker (Gets the Word
6. Sunday Morning
7. Our House
8. Tiptoes
9. New Delhi
10. That Face
11. Calling Cards
12. Are You Coming (With Me)
13. Madness (Is All in the Mind)

[caption id="attachment_2997" align="aligncenter" width="300"] Madness[/caption]

Suggs- vocals

Mike Barson- keyboards, harmonica

Chris Foreman- guitar

Lee Thompson- saxophone

Daniel Woodgate- drums

Mark Bedford- bass

Chas Smash- trumpet, backing vocals, lead vocal on "Madness (Is All in the Mind)"

They may be considered one hit wonders in the US but I know they were more than that in the UK. Either way, they definitely got the notice from a lot of people, myself included in 1983. Their unique sound helped a lot.

Next post: Frank Zappa- The Man From Utopia

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Great Metal Albums of 1983: Plasmatics- Coup d'Etat

 

Here is the last of the great metal albums which came out in 1982 but it didn't come to my attention until the early months of 1983 due to my being posted in Japan at the time. Like Billy Squier's "Emotions in Motion" album, "Coup d'Etat" by the Plasmatics was an album that I have neglected for quite a long time. Saying that, I still have fond memories of seeing the video for the single, "The Damned" from this album on the video screens of Sgt Peppers on Okinawa. At this time, music video was still something I was only becoming familiar with, so seeing Wendy O Williams in that outfit while singing away while standing on the school bus as it crashed through walls of television sets was something else. Probably why "The Damned" is my favourite Plasmatics song of all time. It also helps that it's a great song to begin with.

[caption id="attachment_2984" align="aligncenter" width="259"] Wendy driving the school bus in "The Damned."[/caption]

For years, I have regarded this band as punk but as I listen to "Coup d'Etat" again after so many years, I firmly believe that the album holds all the classic trademarks of heavy metal. Track after track has some heavy metal hook that grasps my attention and leaves me wondering why I didn't take notice of it more. First, the album has both a grabbing opener that makes you want to stick around for the rest of it and a closer that seals the belief that this is a great album once it's over. Of course all the tracks in between keep things running along very nicely. Standout tracks, apart from "The Damned" of course are "No Class," "Stop" and "Mistress of Taboo."

Another thing which not only I but probably many others had is the lack of appreciation for the talents of the rest of the band. Yes, Wendy was the main feature of the Plasmatics, both for her looks and her very unique vocals and I have already sung the praises of lead guitarist Ritchie Stotts when I reviewed the "Metal Priestess" album. He's even better on this album by the way. I submit "Paths of Glory" into evidence. However, nothing should be taken away from the rhythm section of Beech, Romanelli and Tolliver. These guys are definitely tighter on this album and the results prove itself in the music. What this album has done is to look at the entire band in a whole new way and give them the respect they are long overdue.

Track Listing

1. Put Your Love Into Me
2. Stop
3. Rock' N Roll
4. Lightning Breaks
5. No Class
6. Mistress of Taboo
7. Country Fairs
8. Paths of Glory
9. Just Like on TV
10. The Damned
11. Uniformed Guards

[caption id="attachment_2395" align="aligncenter" width="275"] The Plasmatics[/caption]

Wendy O Williams- lead vocals

Ritchie Stotts- lead guitar

Wes Beech- rhythm guitar, lead guitar on tracks 2, 9, 5

Junior Romanelli- bass, keyboards

T. C. Tolliver-drums, percussion

I've just had a thought, I wonder if the opening track on this album was a response to a song on AC/DC's "Back in Black" album. Interesting thought, though. What I do know is that this album helped start my 1983 in style and while I may have neglected it for a long time, (fool, me), it gave me a video that has stuck well in my mind for over thirty years.

Next post: Utopia

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Great Rock Albums of 1982: A Flock of Seagulls

I first heard of A Flock of Seagulls on the radio when it was advertised they would be opening for Cheap Trick at an advertised concert. While, I thought nothing much about it at the time, I wondered after hearing their debut self titled album and comparing it to the albums I've heard from Cheap Trick, if this would have made a good combination for a concert. As we already know, Cheap Trick are known for  for their hard rock sound but A Flock of Seagulls had a much more progressive sound and were considered very new wave at the time. It only leaves me wondering how a concert like this would have gone down.

Some have argued that A Flock of Seagulls were the springboard that made it possible for progressive rock to descend into synth pop. Their sound is very keyboard oriented but it sounds nothing like the music which would come out a year or two later. Of course, synth pop was already making a name for itself in the UK but I can't put that branding on this band.

Their first offering to my ears was their biggest song, "I Ran (So Far Away.) I did and still do like the way the keyboards are used in the song. It has a relaxing, reassuring feel to the song and you can appreciate that the band are capable musicians. The rest of the album also generates this same mood but the songs that stick out most for me are "Modern Love is Automatic," "Space Age Love Song" and the instrumental "DNA." In my view, this is a great album to lay back, mellow out and just appreciate.

Track Listing:

1. Modern Love is Automatic

2. Messages

3. I Ran (So Far Away)

4. Space Age Love Song

5. You Can Run

6. Telecommunication

7. Standing in the Doorway

8. Don't Ask Me

9. DNA

10. Tokyo

11. Man Made

[caption id="attachment_2612" align="aligncenter" width="368"] A Flock of Seagulls- Also this haircut would also be a trademark for the band[/caption]

Mike Score- lead vocals, keyboards, rhythm guitar

Paul Reynolds- lead and rhythm guitar, backing vocals

Frank Maudsley- bass, backing vocals

Ali Score- drums, percussion

In 1982, A Flock of Seagulls heralded an age of new wave into music. Their melodic, progressive sound was truly original and yet enjoyed by many.

Next post: Men At Work- Business As Usual

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Great Punk Albums of 1982: Dead Kennedys- Plastic Surgery Disasters

Since I have said that in the early 1980s, punk had relocated from Great Britain to the West Coast of the USA, I thought it best to put forward evidence of this fact. I first learned this fact in 1982 when I read an article about it in Playboy Magazine. Hey, I was 20, in the marines and I was on a ship and it had been a couple of weeks since the last port call. With the boredom of ship life, you can start doing anything to keep your mind active like actually reading the articles in such magazines. One particular issue ran an article on how punk had done the above and was alive and well on the West Coast.

If I can point to anyone band that convinced me of that fact, it would have to be the Dead Kennedys. For me, this band was the essence of punk in the 1980s although it would be a couple more years until I heard their 1982 offering, "Plastic Surgery Disasters." This album simply screams punk and what is even better, it is nearly thirty minutes longer than their EP from 1981, "In God We Trust Inc."

 "Plastic Surgery Disasters" is loud, brash and in your face, just what I want from a punk album. While, I didn't fully appreciate it back then, many of the songs have strong social and political commentary. Even the ones that don't ring of reality. I think most of us can identify with the lyrics in "Trust Your Mechanic," especially if you have ever been ripped off by one. The chorus in "Bleed For Me" is still ringing in my ears and I found "Winnebago Warrior" amusing. Political commentary really hits home with a dash of common sense in "Riot," with the lyrics:

"Tomorrow we'll be homeless but we're having fun tonight."

One thing this album highlights for me is the guitar talents of East Bay Ray. True, he doesn't do any Van Halen solos, not even close. Buy he has a playing style that does sound unique or at the very least, ahead of its time. The songs where this is most present are "Government Flu," "Buzzbomb" and "Dead End" but he shines throughout the rest of the album as well. If you never experienced early 80s American punk, then this album or the Dead Kennedys' debut album, "Fresh Fruit for Rotten Vegetables" is definitely the best place to start.

Track Listing:

1. Government Flu

2. Terminal Preppie

3. Trust Your Mechanic

4. Well Paid Scientist

5. Buzzbomb

6. Forest Fire

7. Halloween

8. Winnebago Warrior

9. Riot

10. Bleed For Me

11. I Am the Owl

12. Dead End

13. Moon Over Marin

[caption id="attachment_1897" align="aligncenter" width="273"] Dead Kennedys[/caption]

Jello Biafra- vocals

East Bay Ray- guitars

Klaus Floride- bass, clarinet, backing vocals

D.H. Peligro- drums

In 1983, there would be some bands who would become more political with their lyrics. Some of those would even try to call themselves punk. However, they wouldn't come close to doing it the way that the Dead Kennedys did it with albums like "Plastic Surgery Disasters."

Next post: Cheap Trick- One on One

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Great Rock Albums of 1982: The Clash- Combat Rock

Before I launch into the most successful album from The Clash, I must also add my two penneth about AC/DC at the grammys last week. I have enjoyed reading some of the accounts of their performance on the show from some of my fellow bloggers and to all I say, "Well done!" However, I have also read Britain's leading tabloid newspaper, The Sun's account of the grammys. They mentioned Kanye West, Madonna and even Lady GaGa with lost of glossy pictures. I had a skim read through it and there was no mention of AC/DC's performance nor were there any pictures. This adds further proof the my supposition that The Sun newspaper is anti heavy metal.

[caption id="attachment_2593" align="aligncenter" width="299"] Here's a piccy of AC/DC at the grammys[/caption]

Now a quick recap on history of the time. By the early 1980s, punk had relocated from Britain to the west coast of the US. Many of the famous punk bands from the late 1970s had either disbanded or as in the case of The Jam, gone for a more mainstream sound. Read my visit of "The Gift" for further insight. Saying that, The Clash failed to pick up the memo on this because the 1982 album "Combat Rock" is not a total abandonment from the punk sound that made The Clash who they were. I'll be the first to say that they probably weren't as angry as they were when they put out "London Calling" there is a lot to say that they weren't ready for the Top 40 either.

"Combat Rock" starts out as brash as any of The Clash's earlier albums with a great opener, "Know Your Rights" and a great follow on with "Car Jamming." Then there is my all time favourite Clash song, "Should I Stay or Should I Go," which carries aggressive guitar chords that would impress most metalheads. Just thinking about it makes me want to seek out the nearest mosh pit. The next single "Rock the Casbah" comes next. What is great about this song is that while it still has that aggressive Clash style, the lyrics are politically satirical that some might not expect. Furthermore, a piano is added and that too doesn't take away from the hard punk rock sound. After the next track, "Red Angel Dragnet," "Combat Rock" seems to slide a bit with its hard rock aggression. What there is, however, is some more politics and satire, which makes me think that The Clash weren't angry anymore, just a bit more skeptical and wanted to take the piss out of everything. "Inoculated City" goes back to the more angrier days but for me, "Combat Rock" lets itself down with an almost ballad like closer, "Death Is a Star." Sure, that might work on a progressive rock album but to me it was rather unnecessary. Take that track away and you can see why this album was The Clash's most successful album.

Track Listing:

1. Know Your Rights

2. Car Jamming

3. Should I Stay or Should I Go

4. Rock The Casbah

5. Red Angel Dragnet

6. Straight to Hell

7. Overpowered by Funk

8. Atom Tan

9. Sean Flynn

10. Ghetto Defendant

11. Inoculated City

12. Death is a Star

[caption id="attachment_1667" align="aligncenter" width="265"] The Clash[/caption]

Joe Strummer- lead vocals, guitar, harmonica

Mick Jones-  guitar, vocals

Paul Simonon- bass, vocals

Topper Headon- drums, piano

What "Combat Rock" proved to me was that punk hadn't completely left England in 1982. The Clash were able to put out a top album without totally forgetting where they came from.

Next post: Dead Kennedys- Plastic Surgery Disasters

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Great Rock Albums of 1982: The Jam- The Gift

Now onto The Jam's 1982 album "The Gift." If I had been listening to The Jam back in the day and heard this album when it came out after listening to their previous albums, I would have immediately accused them of selling out. "The Gift" marks a departure from the hard, aggressive punk sound that they had been known for. I mean the opener for instance, "Happy Together" sounds more like a happy top 40 song then a traditional Jam punk anthem. However, the song does break with the precedent set by the other albums I have covered for 1982 and is not the hit single. Surprisingly enough, the big single from the album and probably their most successful song, "A Town Called Malice" is probably the closest song to The Jam of old on the entire album and probably why it's a good song. At least they tried to keep to their traditional roots somewhat. The rest of the album, although not bad lacks that kick I liked about their previous albums. Paul Weller was trying to stretch out a little and you got to respect that but for me, it just doesn't excite me the way the earlier Jam material did.

Track Listing:

1. Happy Together

2. Ghosts

3. Precious

4. Just Who is the Five O'Clock Hero

5. Trans Global Express

6. Running on the Spot

7. Circus

8. The Planner's Dream Goes Wrong

9. Carnation

10. A Town Called Malice

11. The Gift

[caption id="attachment_1421" align="aligncenter" width="224"] The Jam[/caption]

Paul Weller- guitar, lead vocals

Bruce Foxton- bass, backing vocals

Rick Buckler- drums

While "The Gift" would go to number one, it would also lead to the break up of the band. Bruce Foxton and Rick Buckler wanted to stick to the more punk sound while Weller wanted to branch out more. It appears that this disagreement might have shone through on the album because while it goes to new places, it does so without the angry conviction that had gotten The Jam to where they were in the first place.

Next post: Toto- IV

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Great Rock Albums of 1982: Asia

When I returned from my second deployment in June of 1982, this debut album from Asia was there to greet me. It would be the first new album I would hear on my return. I did get a preview of what was to come when someone played the first single "Heat of the Moment" on the juke of a local bar (not the Driftwood) and that persuaded me to check out the rest of the album to which I was delighted to have done for this was a good album. On a totally unrelated note, this is the only album I know of that my sister and my ex wife both own, but don't tell either of them.

For me, Asia gave the sign that the progressive rock which defined the 1970s, would carry on strong into the following decade. The opening song and previously mentioned big single signifies that Asia were a good tight band who joined together to make great music. It starts with a cool attention grabbing guitar riff before being overpowered by some sublime keyboard work. The guitars don't totally go away but come back to begin each verse. The next couple of songs are keyboard lead but done very well and a guitar solo emerges on the track "One Step Closer" and goes on to take the song to its conclusion. A similar guitar riff starts "Time Again" but like some of the great progressive bands that went before such as Emerson, Lake and Palmer or Yes, there is some exciting intricate keyboard work laced throughout the song. However, the one song that certainly highlights the quality musicianship of the members of Asia is "Without You." I got to hear a little of everything here with the keyboards, electric guitar and even an acoustic guitar bit, all very well done. My verdict: Asia's self titled album reminds me of the day when musicians actually cared about the quality of the music they played.

Track Listing:

1. Heat of the Moment

2. Only Time Will Tell

3. Sole Survivor

4. One Step Closer

5. Time Again

6. Wildest Dreams

7. Without You

8. Cutting it Fine

9. Here Comes That Feeling

Geoff Downes- keyboards, vocals

Steve Howe- guitars, vocals

Carl Palmer- drums, percussion

John Wetton- bass, lead vocals

Very shortly after this album, what we know as progressive rock would disintegrate into what would become synth pop. For us who grew up with progressive rock, it would become sad times and I could remember seeing many a person from my era force feeding quarter into a juke box when they spotted a song from the olden times. Asia reminds me that in 1982, those sad times weren't upon us yet and there were still some out there who wanted to play some serious rock.

Next post: REO Speedwagon- Good Trouble

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Great Rock Albums of 1982: U2- October

U2's second album "October actually came to my attention at the tail end of 1981 when I saw it at a record store. However, I was still listening to their debut album "Boy," so I wasn't quite ready for their new album. That all changed while I was early into my second deployment to the Mediterranean and Indian Ocean when a fellow marine played the album opener "Gloria" that was on his self made cassette of punk tunes. Fact: believe it or not, back in 1981 and 2, U2 were considered punk by the mainstream. I've said this before and I know I'll say it again, back then, anything new or that mainstream commercial radio just didn't get was classed as punk.

Whether or not U2 were ever punk was not really an issue for me, all I know was that they were quickly growing on me. One reason why was that if I were to choose another name for "October," I would call it "Boy II" because to me, the second album sounds very much like the first. That's not a particularly bad thing by the way. Like "Boy," "October" begins with the best know single from that particular album. I won't make comparisons because "I Will Follow" will always be my favourite U2 song. Therefore I will not take anything away from the opener here. "I Fall Down" is a good follow on and I'm not sure what to make of "I Threw a Brick Through a Window" but it does stand out in the sense that I didn't hear anything like it on "Boy." For me, the album goes down the same road as its predecessor and you could argue "If it ain't broke then don't fix it." Even the end of the album slows down in the same way the closer on "Boy," "Shadows in Tall Trees" does. While I won't go as far as saying the two albums are completely identical, they are quite similar.

Track Listing:

1. Gloria

2. I Fall Down

3. I Threw a Brick Through a Window

4. Rejoice

5. Fire

6. Tomorrow

7. October

8. With a Shout (Jerusalem)

9. Stranger in a Strange Land

10. Scarlet

11. Is That All

[caption id="attachment_2198" align="aligncenter" width="233"] U2[/caption]

Bono- lead vocals

The Edge- guitar, piano, backing vocals

Adam Clayton- bass

Larry Mullen Jr- drums

As I said earlier, if it's not broke, don't fix it. What U2 did with "October" is take their first album as a blueprint and made another album along the same vein. However, it is done in a way that doesn't put the listener off. "October" would prove to be a small stepping stone towards the next album which would lead them to ultimate greatness in the golden decade. One thing I have always said about U2 was the fact that they were one band that metalheads and trendies both liked.

Next post: Loverboy- Get Lucky

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