The 1980’s owe a round of thanks to Comedian Eddie Murphy; not just for the laughs, but also for going out of his way to promote the BusBoys. In 1982 Murphy was staring with Nick Nolte in the hit movie “48 Hours”. Around this time, he had heard the BusBoys and seen them play live. They instantly became one of his favorite bands. Murphy made it a point to have the new wave band’s music included in the soundtrack to his new movie and got them a cameo in the film, playing on stage during a bar scene. He also had them open for him on his “Delirious” comedy tour and appear as musical guests on “Saturday Night Live”.
The BusBoys are one of the most overlooked new wave bands from the ’80s. Being one of the only primarily African-American new wave bands (drummer Steve Felix was white) their music was not surprisingly infused with R&B and soul. Still, the BusBoys sound was anything but typical for what was expected from black musicians in the ’80s. Was this because of stereotypes? Yes. Racism? To a degree. And the BusBoys often took this head-on with a satirical spin that slapped it right in rock and roll’s mostly white face. Like any good satire there was as much humor as there was truth in their lyrics.
Maybe this was too much for some people to digest. I don’t know. All I know is the BusBoys’ debut is one of the best new wave albums from the ’80s. It deserved so much more success than it received. At times, the album made you laugh, sometimes it made you think about the unjust reality of stereotypes and racism. But mostly, it made you just want to rock and roll.
The name Jimi Hendrix needs no introduction; quite possibly the greatest rock guitarist that ever lived, his reputation is legendary.
To those who grew up around Detroit in the ’60s and ’70s and ’80s, the name Jim McCarty is also a name of legend, albeit local legend. Starting out in Mitch Ryder’s rocking R&B band, The Detroit Wheels in the ’60s; signing on as guitarist in The Buddy Miles Express, joining forces with drummer Carmine Apice and bassist Tim Bogert as part of the supergroup Cactus, and later forming The Rockets with Amboy Dukes vocalist Dave Gilbert and legendary Detroit drummer Johnny “the bee” Badanjek in the ’70s; and finally founding the no compromise blues/rock band Mystery Train in the ’80s, it’s no wonder McCarty’s name is so recognized around the Motor City.
The thing is, up until three years ago, I had no idea Detroit guitar legend Jim McCarty had ever played with Jimi Hendrix. Local legend joins forces with world-renowned legend Jimi Hendrix. How could I have missed this? I have to admit that at first, I was embarrassed that I had no idea this collaboration ever took place. Then again “Nine to the Universe” didn’t come out until 1980, a decade after Hendrix’s death. Plus, the collaboration is only on one of five songs on this album, appropriately called “Jimi/Jimmy Jam”. There’s are so many great moments in rock and roll, I guess a one-off like this can easy to slip between the cracks. The bottom line is, I’m just glad to have a copy of this album, so I can listen to these two legends playing together, today.
A hedonistic mix of alternative music and dance club beats, “Welcome to the Pleasuredome” is one of the most amazing and somewhat controversial debut albums from the ’80s.
Frankie Goes to Hollywood really held nothing back on this record, lyrically or musically. The double album had four successful singles, including the lyrically controversial “Relax” (which got banned by the BBC just before hitting #1 on the UK charts). Despite breaking the top 10 spot in numerous countries, “Welcome to the Pleasuredome” only peaked at a modest 33 in the US. It really didn’t get a lot of radio airplay here, but if you went out dancing, you couldn’t help but hear at least a few songs from FGTH in the bars and clubs. What I heard there, was enough for me to own it.
The Power Station was the quintessential super group from the eighties.
Heavy hitting hard rock techno funk with a heavy dose of overdone ’80s polished production that somehow fits perfectly and ties it all together. My biggest issue was when they touched taboo. “Bang a Gong (Get it On)” belonged to T Rex. Always did. Always will.
At least that was my stance up until I heard Robert Palmer team up with members of Chic and Duran Duran in 1985…and they totally ROCKED it! I’ve tried to decide who’s version I like better. Never could. Never will.
I had the extreme pleasure of seeing Ray Charles perform live in 1986. Even though this album was recorded 22 years prior, it perfectly captures the magic I will always remember experiencing that night.
I remember watching Ray dancing in his seat, swaying and stomping his feet as the music he was playing and singing took him over, and as he took over the entire audience. I remember Ray being so taken over at one point, he jumped out of his seat, dancing on the stage to his band’s music. Nobody worried that he was blind; this was too sublime a moment for God to allow anything to go wrong. I remember Ray’s quick wit shutting down a close to the front row heckler with just a few words. No more was to be said; that evening belonged to Ray Charles.
I remember that night, experiencing a “Genius Live in Concert”. There is no other way to describe Ray Charles perform. A “Genius Live in Concert” is exactly what this album captures.
Glasnost. A Russian term meaning transparency and openness often associated with the end of the cold war era between the USA and Russia. It happened in the late 1980s when Ronald Reagan and Mikhail Gorbachev headed the two most powerful countries in the world. Tensions were relaxing between the two superpowers.
In 1988, as a gesture of peace and cooperation between the nations of the Western world, Paul McCartney made arrangements to have a studio jam session that was done while prepping for his next album pressed and released only in Russia. It was didn’t take it long to become a huge success in Russia. It also didn’t take long for copies to be smuggled out of Russia and sell upwards of $100 in the US and the UK.
“Снова в СССР” is Russian for “Back in the USSR”. The album is a collection of covers performed by McCartney and his band. They are in top form, playing all the songs live in the studio which give the album a very unique feel. It’s easy to pick up on the joyous vibe between McCartney and his band just having fun playing familiar songs.
“Снова в СССР” is one of my favorite albums by Paul McCartney and not because of its scarcity. Actually, it’s not that scarce any more. In order to prevent the smuggling across the border, “The Russian Album”, as it became known, was released to the rest of the world in 1991. This copy however is not one of the reissues; it’s one of the original russian copies.
I remember the first time I went inside a Peaches record store in the mid ’70s. If memory serves me, it was at Grosebeck and Masonic in Fraser, MI. I used to think the local Harmony House was big, until my first time walking into that Peaches store. It was HUGE. I thought I was in heaven. If you were looking for an album, they probably had it. If they didn’t, they could get it.
Peaches, which started out in Georgia, was so huge that record labels actually made sampler records for them to play in the store. They were labeled “Not For Sale” but that didn’t mean employees couldn’t take them home after the songs had served their purpose. Inevitably, some of them would, in time, show up in used record stores or today at record collector shows. That’s where I picked this one up recently.
I had to add at least one Peaches in-store sampler to my collection, if for nothing else, the nostalgia. The joy of perusing the aisles of records, listening the latest music playing in the store is something all the dowloaders and streamers today will never understand. They have no idea of the joy they missed out on.
When Michael McDonald joined The Doobie Brothers in 1975, after the departure of Tom Johnston, it significantly changed their sound. Their more straight forward R&B infused rock style was replaced by a more soul based rock sound. This was in part because of the difference in Johnston’s and McDonald’s vocal and songwriting styles and in part because McDonald played keyboards. The Doobies hardly ever used keyboards on their first five albums.
The Doobie Brothers never intended to use that name permanently. Based on one of their activities in addition to making music, they adopted it after a friend jokingly suggested it. The band thought it was a stupid name, but could never agree on anything else. When you consider that before recording their first album, they once performed under the name Pud, it’s probably a good thing they stuck with The Doobie Brothers.
I picked up “Desolation Angels” when it first came out in 1979. It was the spring of my senior year in high school.
I was always drawn to Bad Company’s hard rock, blues based, soulful style of rock, yet for some reason I had always bought an album by some other artist when I went to Peaches or Harmony House, the two biggest record stores in Detroit at that time. When I first heard the song “Rock and Roll Fantasy” on the radio after school, I knew this was the next record I was going to buy.
I have many fond memories from high school and many that back then I thought I couldn’t forget too soon. As time went on I realized that the bad wasn’t nearly as extreme as I had perceived it to be. It was the good times with my closest friends that mattered. I don’t know why, but I will always associate those good times with “Desolation Angels”.
If I’m feeling down or anxious or even angry, this is one of those albums that can reel me in and make me remember what was important and made a difference in my life back then. The friends I had. The friends I am blessed to still have in my life today. There are more miles in between than there were back then, but we are still always there for each other. Until the end of my memories, they will always be the Desolation Angels that rescued me.
Maybe I’m taking the risk of being too sentimental here, but who cares? Right now, I want to Take the Time to tell them (and they know who they are) that they were, and will always be, part of my Rock and Roll Fantasy.
YOU GUYS ROCK!
I think “Against the Wind” is my favorite album by Bob Seger and the Silver Bullet Band partly because I am such a huge Pink Floyd fan.
Not only do love Floyd’s music, but I think “The Wall” is one of the greatest rock masterpieces ever conceived. I’m a realist though, and as such knew some album at some point would have to unseat it from the number one spot on the US album charts. I couldn’t have been prouder back then to, after six weeks, see hometown heroes Bob Seger and the Silver Bullet Band do the unseating.
Expectations were high for Bob Seger and the Silver Bullet Band when they released their follow-up to “Night Moves”, their breakthrough album in the late seventies. Fuckin-A did they deliver! I don’t think I ever heard, before or after, a better collection of straight ahead good-times rockers and heartfelt ballads than Seger and his crew put out on “Against the Wind”. Then again, that is what they were always best at.
There was never any better, before or since, in my humble opinion.