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.
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”.
Going into the 1980s, synthesizers started to become more and more prevalent in popular music. At first, synths were used primarily to supplement songs or for an occasional solo. But moving into the new decade, a handful of bands, like the Eurythmics, began to use them as the primary, sometimes exclusive instrument in their songs.
Although the Eurythmics didn’t officially abandoned guitar in their music the way some other bands did at thee time, Annie Lenox and Dave Stewart did make minimal use of it – especially on their second album, “Sweet Dreams (Are Made of This)”.
The Eurythmics, and especially this album, were very influential for the rising popularity of alternative, or new wave music in the eighties. The title track became one of the biggest hits for the Eurythmics and is the most immediately recognizable songs by the band. It is a song that is immediately associated with pop culture of the ’80s.
There once was a time when radio stations weren’t interested in a homogenized sound, and even promoted local bands by playing them during prime listening times. That was how I discovered The Look.
After the release of their debut album, “We’re Gonna Rock” in 1981, The Look seemed poised for national, even worldwide fame. They had a national hit single with the title track from their debut album. The video for that same song was getting regular airplay on MTV, making them the first Detroit area band to be played regularly on the fledgling cable TV station. They were getting lots of local radio air time at Detroit radio stations WRIF, WABX, and WWWW (W4). And they were opening concerts for the likes of Cheap Trick, The Kinks, John Cougar Mellencamp, Blood, Sweat & Tears, Joe Cocker, and the J. Geils Band. It looked like they were going to be the next big thing from Detroit.
Unfortunately, that never happened. Because of the shifting focus of local radio stations to have a more nationally familiar sound as they were bought up by large broadcasting conglomerates, their playlists started catering to national hits, with very little emphasis on local talent, and The Look faded away nationally after only a couple incredible albums that never achieved the recognition they were worthy of.
The Look was inducted into The Michigan Rock and Roll Legends Hall of Fame in 2016. It was an honor they well deserved.
But they also deserved so much more.
The Cars released some good albums in the late ’70s into the ’80s. And they released one great album – their eponymous debut. It was such a good album that during an interview, the band jokingly referred to it as their “true greatest hits album.”
This album was so unique at the time of its release in 1978 that, in all honesty, I really didn’t know what to do with it. But in the end, the solid hooks throughout, and quite simply the great songs on it, won me over. I guess I wasn’t alone. It remained on the Billboard charts 438 weeks after its release. To this day it remains one of my favorite albums.
The Cars, along with bands like the Talking Heads and Blondie, hailed from the east coast of the U.S. and helped usher in the New Wave era in rock music.
Although it has one of the most immediately recognizable album covers of all time, ironically the band did not like it or really want it. The picture on the inside sleeve, which contained a black and white photo mosaic is what the band actually wanted. In the end the record company chose the artwork for the cover. The band designed all their subsequent album covers.
I’ve been told by my friends and family that sometimes I take life too seriously. Sometimes I even say that to myself. It’s times like those that the B-52’s are the perfect band for me to listen to. I don’t care what album it is by them. They’re all good. But “Wild Planet” is probably my favorite, but only because it’s the album I first heard by them.
If ever there was a band that didn’t take itself too seriously it’s the B-52’s. They border on being a novelty band, but unlike most novelty bands, their songs are timeless and even have a decent level of musicianship. But most importantly, they are a band that reminds you to stop taking life too seriously and just have some fun.
New Wave Music started in the late 70s. It took the DIY attitude of punk and made it more accessible. Instead of using over driven guitars and rants, New Wave bands broke the rules with wild guitar effects, synthesizers, and unconventional vocal stylings in ways that cut against the grain of traditional rock and pop music just like punk rock did. But it added to it, a musical diversity and commercial accessibility punk rock, by its very nature, lacked.
Ultravox was a perfect example of what New Wave music embodied. With its heavy use of synthesizers and layers of effects on the guitars, accompanied by Bill Currie’s violin and viola and Midge Ure’s versatile voice, Ultravox intentionally tried to defy classification.
On their fourth album, Vienna, Ultravox built lush audio soundscapes that soared around inside your head and then crashed, or sometimes floated you away to a place of beauty and serenity, but not for too long, before taking off again.
Sometimes the songs take you down a dark alley with a mysterious stranger you admire and fear at the same time. Other times, they try to entice you into indulgence and excess. Vienna is that rare album that can paint pictures with sound. Just close your eyes and listen. You’ll be amazed at what your ears can see.