Sometimes the very first presses of albums get packaged with little extras. Maybe this was to reward those who “got it” and were waiting for the artist’s next album, buying it virtually unheard because they knew they would like it; I don’t know. But it’s cool when they do it.
Elvis Costello’s first three albums helped define what became known as “new wave” music. It was a welcome change in direction of rock and roll that removed many of the corporate influences of the music in the late ’70s. New wave had a DIY attitude – similar to punk – that intentionally cut against the grain of convention while still incorporating more pop hooks. It would itself eventually be commercialized in the ’80s and re-branded as “alternative” rock.
“Armed Forces” followed in the wake of Elvis Costello’s debut “My Aim is True” and his sophomore record, “This Year’s Model”, which helped bring Costello, and New Wave, into the mainstream. Record buyers who rushed out to get “Armed Forces” were rewarded by an unexpected bonus – a promotional three song record slipped inside the cover with album. The songs on the bonus record were recorded live in 1978 at Hollywood High School in California.
All three of Elvis Costello’s first albums are considered ground-breaking classics today. All appear in Rolling Stones list of the 500 greatest albums of all time. The magazine also ranked Elvis Costello one of the 100 greatest musical artists of all time. Costello was inducted into the Rock and Roll Hall of Fame in 2004.
Every now and then, an album comes along that is so different from anything before it, you can’t decide if you really like it, or really don’t.
Forty years later, it still sits in my record collection, so I guess there’s no need to say where I eventually opined.
Since Devo’s debut album was produced by Brian Eno and David Bowie, with both of them saying, in essence, that this was the band of the future, I would have been a fool to not expect something different from the mainstream. I just had no idea how different.
Although their popularity lasted for only a few albums, Devo’s music, and most especially this album, changed popular music forever, ushering in “New Wave” music which, because of how distinctly different it was from mainstream rock, became a musical genre in and of itself – “Alternative”.
Like it or loath it, the influence “Are We Not Men” had on music can’t be denied.
When I think of underrated bands from the eighties, I think of first and foremost, the Hooters. Hailing from Philadelphia, the first two albums by the Hooters were pop/rock gems with a slick production that dripped of the ’80s. But anyone who had the good fortune to see them in concert knew this was not the true sound the Hooters represented. On “One Way Home” the Hooters captured a more rootsy, organic sound reminiscent of how they sounded live.
“One Way Home” still made use of synthesizers to create great pop hooks in a style that made their sophomore effort “Nervous Night” so successful, but they were mixed in with a wider array of other instruments. The guitar playing was grittier, especially with the solos, and there was more of a folk-rock/Americana feel to the songs. The lyrics are mostly meaningful and thought-provoking.
For reasons that elude me, “One way Home” did not fare as well in America as “Nervous Night” although it did still earn the Hooters another gold record. The album had better success in Europe, where The Hooters remain more popular today.
The Alarm gained popularity in the ’80s around the same time as U2. Both bands had a distinctly different, yet similar sounds. The two bands also shared a common thread in their politically charged and passionately sung lyrics. Unfortunately, U2 became successful before The Alarm and the band from Wales became destined to stay in the Irish band’s shadow. Some critics even refered to The Alarm as U2 wannabes, which I felt was an unfair assessment.
Personally, I liked The Alarm’s music better than U2’s. It had a little more of a punk edge to it, similar to The Clash. I think their first full length album, “Declaration” was every bit as powerful as U2’s “War”. Sadly, they never attained the level of success they so undeniably deserved.
One of the performers that The Alarm looked up to and took inspiration from was Bob Dylan. His politically charged words have always been present in The Alarm’s songs. I had the pleasure of seeing The Alarm open for Dylan in 1988 at Meadowbrook Music Theater in Michigan. As you would expect, almost all the people there came to see Bob Dylan. The Alarm obviously knew this would be the case and made sure that everyone there would remember them that night as well. A couple of songs into their set, front man Mike Peters charged into the crowd to get them fired up. Everyone jumped to and stayed on their feet until The Alarm left the stage. Their performance that night remains in my memories as one of the most powerfully moving performances I have seen by any opening band. I wish I would have had a chance to see them headlining a show before they broke up in 1991.
Mike Peters reformed The Alarm in 2004, but without original members Dave Sharp, Eddie MacDonald, and Nigel Twist, it just wasn’t the same.
Muse has never been a band that has been afraid of trying something new. On “Drones” they showed they’re not worried about returning to familiar territory either. For their seventh studio album, Muse teamed up with producer Robert John “Mutt” Lang, best known for his work with Def Leppard, to make a more straightforward, hard rocking record.
The one thing that has always been consistent with all of Muse’s albums is its combination of hard rock, pop, and progressive rock. As they gained popularity, the band experimented heavily with orchestration on “The Resistance” and electronic music on its follow-up, “The 2nd Law”. For “Drones”, Muse chose to keep things simple…well, simple in the terms of Muse. Although the music on “Drones” is noticeably stripped back compared to the two albums that came before it, it’s still as complex, innovative, and powerful as anything Muse has done before.
“Drones” has probably the most binding underlying concept of any Muse album, even venturing into rock opera territory. The songs on the album revolve around a story that in many ways parallels Queensrÿche’s “Operation: Mindcrime” – the attempt of a government or organization to brainwash or program someone into becoming a killing machine for them. The one big difference is “Drones” definitely has a happier ending, with the protagonist defecting.
Synth pop was at the height of its popularity in the mid ’80s. It was a music style that could easily provide addictive hooks and innovative sounds, but it could also be ruined if an artist was overly dependent on the musical technology they used and less confident in their musical ability. Howard Jones knows how to find the perfect balance between composition, musicianship, and innovation. His second album “Dream Into Action” is a perfect example.
Howard Jones had a knack of knowing when to keep the arrangement of song sweet and simple or make it densely complex. That intuition helped him create a trend-setting album tha is complexly powerful and beautifully simple in all the right places.
“Dream Into Action” was the second album by Howard Jones. Other than some background vocals and a few bass lines Jones had his brother lay down, he plays and sings every note on this album.
Often overlooked and underrated by music critics, Howard Jones’ music often didn’t receive the radio airplay his contemporaries, but that never deterred him and he continues to write, record, and perform his music today.
“Dream Into Action” remains one of my favorite albums from the ’80s. It includes the hits “Things Can Only Get Better” and “No One is To Blame”. But like with many great albums, it’s the collection of songs that weren’t hits that truly define it. That’s where “Dream Into Action” is at its best.
I picked up “Spring Session M” by Missing Persons when it came out in 1981 because they had a really cool New Wave sound that I had started to get into. I had no idea they were also an offshoot from Frank Zappa’s band.
The name of their drummer, Terry Bozzio, rang a bell, but I couldn’t place where I had heard it before. The same went for guitarist Warren Cuccurullo and bassist Patrick O’Hearn. It wasn’t until I was listening to it with some Army buddies in the barracks at Fort Campbell when one of them said “this is so different from their stuff with Zappa, but I love it.”
I have to admit, I didn’t pay a lot of attention to who played with Frank Zappa through the years. I just paid attention to Zappa – but I guess not entirely. I recognized the names, so obviously something in my cranial gray matter had held onto them from a magazine article or album liner notes I had read at some point. After some digging, I found out that Missing Persons’ lead singer, the enigmatic Dale Bozzio (Terry’s wife at the time) had also sang vocals on Zappa’s album “Joe’s Garage”.
So, yeah, all but one of the members of Missing Persons (keyboardist Chuck Wild being the exception) had been a part of Frank Zappa’s band in the late ’70s. It’s no wonder I liked this album so much when I first heard it.
And I thought it was just because of the singles “Walking in L.A.”, “Destination Unknown”, and “Words”.
Perhaps one of the most unusual artists to gain popular success in the eighties was Laurie Anderson. “Mr. Heartbreak” is her second album. Like its predecessor, “Mister Heartbreak” is a combination of musical experimentation spun together with a combination of spoken word and sung lyrics.
It may take some people a couple listens to fully appreciate “Mister Heartbreak”, or any of Laurie Anderson’s music for that matter. The interplay of the words and sounds is unlike any album that had come before it.
With as different as “Mister Heartbreak” is, I am actually surprised the album did as well as it did, hitting number 60 on the Billboard top 200 album chart in 1984. Certainly, Adrian Belew (King Crimson) on guitar and Peter Gabriel (Genesis) appearing on a couple of songs didn’t hurt it having a broader appeal to some people, making them want to give it a listen. I am glad I was one of them.
I was never a big Neil Young fan – until I listened to “Decade”, the three album set that is the epitome of what a record set encompassing an artist’s retrospective repertoire should be.
Poetry, politics, emotion, power, and above all, passion, “Decade” defines better than any other compilation, what Neil Young’s music is all about. The songs were all hand-picked by Young, and with the exception of a few of the CSNY songs that had to be excluded due to contractual reasons, the choices are flawless.
It is an incredible achievement for any artist to leave three albums of worthy material from their entire musical career. It is absolutely amazing for an artist to be accomplished enough to do it from within their first decade alone. Then again, there have been few musical artists who have had the talent to exhume the poetry, politics, emotion, power, and above all, passion, of Neil Young.
Long live rust.
The Cure is a band known for its gothic, gloom and doom sound. That’s really an unfair statement about the band’s music especially when you consider their material from their sixth album and beyond. While “The Head on the Door” still sounded very much like The Cure, it marked a significant shift in style for the eighties alternative band. The songs on it, all written by lead singer Robert Smith, were more upbeat than on previous Cure albums and the production was brighter.
The shift in sound alienated some of The Cure’s older fans but it gained them many new ones. The album became a 1985 landmark crossover between alternative and pop music. The Cure followed up “The Head on the Door” with a string of other albums that were successful on both the alternative and pop charts all the way into the ’90s. “The Head on the Door” however, still remains their most successful album.