Werner, David - s/t

Name: David Werner
Album: s/t
Year: 1979
Style: Pub Rock, Power Pop, Glam

Similar Bands: Steppenwolf, Bad Company, Mott the Hoople
"One-Word" Review: Classically Rocked Glam
Based Out Of: Pittsburgh, PA
Label: Record Logic, Epic, CBS

Cover, Sleeve, Record

Back, Sleeve, Record

S/T (1979)

1. Can't Imagine 3:38
2. What's Right 3:42 (single, #104)
3. What Do You Need to Love 4:01
4. Melanie Cries 4:50
5. Eye to Eye 4:52 /
6. Hold on Tight 4:13
7. Every New Romance 5:35
8. Too Late to Try 2:39
9. High Class Blues 4:07
10. She Sent Me Away 4:31

Album Rating (1-10): 5.5

Members & Other Bands:

• David Werner - Writer, Publisher, Vox, Guitar, Piano, Percussion, Mixing (Granati Bros)
• Mark Doyle - Guitar, Piano/Keys, Bass, Vox, Percussion (Jukin' Bone, Dokken, Steppenwolf, Free Will, Penetrators, Andy Pratt, Cindy Bullens, Meat Loaf, Bryan Adams, The Doyle, Backbone Slip, Judy Collins, Leo Sayer, Far Cry, Joe Whiting & the Bandit Band, Kingsnakes, NKOBT, The Richards, Built for Comfort  Blues Band, Rich Mendelson, Mary Fahl, Frank Briggs, Flashcubes)
• Thom Mooney - Drums (Nazz, Curtis Bros, Tattoo, Paris, Cindy Bullens, Danny O'Keefe, John Hiatt, James Lee Stanley, Noel & the Red Wedge, Jimmy Buffett, Rita Coolidge, Tom Peterson & Another Language, Domino, Scott Richardson, Ray Manzarek, Lightnin' Willie & the Poorboys)
• Albritton McClain - Bass (Bridge of Souls, Donnie Iris, The Innocent, Beechwood Farm, Pete Emmett, Kym Ryder, Roy Buchanan)
• Ken Bishell - Synth (Gerson Kingsley's First Moog Quartet, Lonnie Liston Smith & the Cosmic Echoes, Side Show, Jobriath, Exuma, Ian Lloyd & Stories, Bette Midler, Jackie DeShannon, Kahli Gibran, Arif Mardin, Aretha Franklin, Felix Cavaliere, Margie Joseph, Average White Band, Zulema, David Ruffin, Van McCoy, Nikki Giovanni, Black Heart, Judy Collins, Phoebe Snow, Miroslav Vitous, Brigati, Andy Pratt, Roy Buchanan, Carman Moore, Gladys Knight & the Pips, Cy Coleman, Michael Stewart, Philippe Wynne, Elliott Randall, Ringo Starr, Wilbur Bascomb, Mark & Clark Band, Joe FFarrell, Jaroslav, The Persuaders, Sylvia Syms, Cindy Billens, Vicki Sue Robinson, Herbie Mann, Carly Simon, Kate Taylor, Chaka Khan, Peter Paul & Mary, Liner, Noel Paul Stookey, Liner, Keith Barrow, Richard Peaslee, George Benson, Fame (musical), Larry Elgart, Shlomo Haviv, Stories, Ted Rosenthal, Mandy Patinkin, Jazz Timpanist Jonathan Haas, Rachel Portman, Charlie Gross, Carter Burwell, Marcelo Zarvos, Ashford & Simpson, James Galway)
• Richard Hunter - Hamonica (Space Negros, Magic Mose & his Royal Rockers, Erik Lindgren, Willie Loco Alexander, Chris Cacavas, Edward Abbiati, Lowlands & Friends)
• Tim Cappelo - Sax (Galdston & Thom, Labamba's Big Band, Garland Jeffreys, Tina Turner, Ringo Starr, Peter Gabriel, Robert Kraft & Ivory Coast, Far Cry, Randy Goodrum, The Flirts, Dimas, Chris Thompson, Tony LeMans, John Sebastian, Nu Colours, Karen Carpenter, Beckley, Izzy James, Emilie Surtees, Gunship)
• Ian Hunter - Vox, Mixing (Mott the Hoople, Mick Ronson, Choir of St. Paul's Cathedral, Genya Ravan, Iron City Houserockers, Scott Folsom, Mick Jones, Brian May, Corky Laing, Ozzy Osbourne, Def Leppard, Dennis Dunaway, Aleandro Escovedo, Rebelles, Cloud District, Bronco, Ellen Foley, David Johanson, Payola$, Mountain, Michael Monroe, Ringo Starr  many)
• Maxine Dixon - Vox (Looking Glass, Elliot Lurie, DC LaRue, Tom Scott, Kiss, Murray McLaughlan, Little Feat, Lowell George)
• Bob Clearmountain - Recording, Mixing (Chic, Silencers, Bruce Springsteen)
• Jeff Hendrickson - Recording, Additional, Asst. Engineer 
• Roy Willard - Asst. Engineer
• Ed Evans - Tech. Ingenuity
• Janet Perr - Design
• Paula Scher - Design
• Benno Friedman - Photos

Unknown-ness: I've never heard of David Werner. It looks like he is a New Wave Singer Songwriter, based on his attire on the full body spread artwork, plus all the technical and musical credits he lists.

Album Review: There is more power chords in these classic rock / pub rock tracks than typical nervous, fast paced jittery new wave, but the vocals do fall back on a nasally tone. "Hold On Tight" has a hook that sounds like Michael Jackson's "Black or White." Single "What's Right" follows a bluesy southern rock hook [Glam] that sounds like T-Rex "Get it On [Bang a Gong].

Biggest claim to fame? Writing Billy Idol's 90's hit "Cradle of Love." when he was a house writer for EMI. He recorded 2 albums for RCA in 1974 & 1975 before signing with Epic for 2 albums in 1979 (this one & a promotional one-sided album: Live). In his first life (label) he was touted as a Glam artist and Bowie rival, even through they shared the same label (and those albums sound much better than this one).

Stand Out Track: Can't Imagine

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Werner's Whizz Kid via Vinyl Treasures

Rex Smith - Rex

Name: Rex Smith
Album: Rex
Year: 1976
Style: Glam, Power Pop, Hard Rock
Similar Bands: T. Rex, Alice Cooper, Rick Springfield, Leif Garrett, ZZ Top
"One-Word" Review: 70's Pretty-Glam-Boy Power Rocker
Based Out Of: Jacksonville Florida
Label: Columbia, CBS

Cover, Sleeve, Record

Back, Sleeve, Record

Rex (1976)

1. Trouble 4:11 (Single)
2. Ten Seconds of Love 4:02
3. Feeling Better 4:27
4. Stay With Me 4:41 (Lorraine Ellison cover)/
5. Call Her "Easy" 4:20
6. Dead End Kids 3:35
7. I Can't Explain 2:59 (Who cover, single B-Side)
8. Rock & Roll Dream 2:40
9. Violent Playground 3:21

Album Rating (1-10): 8.0

Members & Other Bands:

• Orville Davis - Bass (Hydra, Starz)
• Lars Hanson - Guitar, Backing Vox (Genya Ravan, Ronnie Spector, Rudolf's Nightmare, Benny Mardones)
• Mike Ratti - Drums, Percussion (Heavy Balloon, Morgen, The Nails, Shorud of Lowell)
• Rex Smith - Vox (Phaedra, Rachel Sweet, Frank Wildhorn )
• Lou Vandora - Guitar, backing Vox (Lou's Blues Revue)
• Eddie Leonetti - Producer
• Lee De Carlo - Engineer
• Jay Krugman - Asst. Engineer
• Rod O'Brein - Asst. Engineer
• David Krebs - Direction

Unknown-ness: Never heard of Rex, but that could be short for, or have changed for a number of acts. The cover and band photo make him look to be a typical power pop with a prog edge, with a touch of androgyny.

Album Review: The album is def power pop, but leans heavy on hard rock and glam. Many songs sound like they are going to transition into ZZ Top's "Tush." Vocals take cues from Robert Plant. But the album sounds good with talented musicians and a solid, thick, heavy rock feel, typical of the mid-70's era. The album is attributed to a band named "Rex" but most cataloging databases file this as a Rex Smith album, and i'm following suit. His pretty-boy looks made him a teen idol in the late 70's and early 80s. Rex was just as poplar as an actor as a music. This album came 2 years before he made his debut on broadway in Grease. He was also in the tv series Street Hawk, and is the Quizzo answer to "Who is the first live action actor to portray Marvel Comic's Daredevil." He has had two  top 40 singles with "You Take My Breath Away" (#10 and was on his soundtrack to the film he also starred in Sooner or Later) in 1979, and "Everlasting Love" (#32) as a duet with Rachel Sweet. You can get a personal message made from Rex for $75 bucks on Cameo.

Stand Out Track: Trouble

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Good Rats - From Rats to Riches

Name: Good Rats
Album: From Rats to Riches
Year:1978
Style: Glam, Metal, Powerpop, Prog
Similar Bands: Journey, Def Leppard, Queen, Cheap Trick, Kiss, Alex Harvey Band, Black Sabbath, Rush
"One-Word" Review: Theatrical Metal
Based Out Of: Long Island, NYC
Label: Passport, JEM

Cover, Credits, Record

Back, Lyrics, Record

From Rats to Riches (1978)

1. Taking It To Detroit 3:36
2. Just Found me A Lady 2:50
3. Mr. Mechanic 3:39
4. Dear Sir 3:12
5. Let Me 4:45 /
6. Victory In Space 3:06
7. Coo Coo Coo Blues 4:37
8. Don't hate the Pnes Who Bring You Rock n' Roll 3:18
9. Could be Tonight 2:54
10. Local Zero 5:08

Album Rating (1-10): 7.5

Members & Other Bands:

• Micky Marchello - Guitar, Vox, Guitar Arrangements
• Joe Franco - Drums (Twisted Sister, Chiliwack, Fiona, Widowmaker, Vinnie Moore, Blues Saraceno, Leslie West, Jack Bruce, Mariah Carey, Celine Dion, Taylor Dayne, Diana Ross, Hall & Oates, Desperado, The Ladder, Ellen Shipley, Barry Manilow, Natalie Cole, Annie Haslam, Donnie Osmond, Natasha's Brother, Baton Rouge, Henry Lee Summer,Kathy Troccoli, Sheena Easton, Jennifer Holiday, Francesca Beghe, Doro, Mojo Bros. Hammerhead, Magellan, Vanm Helsing's Curse, Mecano, Eddie Ojeda, Steve Walsh, James LaBrie, Leslie West)
• Peppi Marchello - Lead Vox, Writer (U-Men, Popzarocca, Marchello, Dum, Intergalactic Touring Band)
• John "the cat" Gatto - Guitar, Keys
• Lenny Kotke - Bass, Vox
• Flo & Eddie (Mark Volman & Howard Kaylan) - Producer, Ba Ba Ba's (Phlorescent Leech & Eddie, The Turtles, Frank Zappa)
• John Hansen - Engineer, Mixing
• Clay Hutchinson - Second Engineer
• Stephen Galfas - Project Coordinator, Co-Producer, Engineer
• David Sonenberg - Business Director
• Alan MacMillan - String Arrangement & Conduction (Hollywood Vampires, Lou Reed, Alice Cooper, Babys, UFO, Del Erickson, Staccatos, Poco, Guess Who, Barnaby Bye, Kiss, Dave Mason, American Flyer, Mike Finnigan) 
• Tom Juliano - Sax (Gentle Giants, Kip Carmen)
• Brian Cuomo - Piano (Fireballet, Sylvia, First Class, Brook Benton, Jack McDuff, Intergalactic Touring Band, Martha Velez, Brother to Brother, Eon, First Class, Bill Perkins, Strawbs)
• Joe Hosey - Art Direction, Layout & Design
• Murray Brenman - Art Direction, Layout & Design
• Bob Friedman - Photos
• Bob Sherbow - Photos
• Tom Macchi - Album Title

Unknown-ness: Never heard of this band. But they have some solid facial hair going on the cover, and they really look like a bunch of musicians, rather than models posing as a band. Between the cover & smokey back, they seem like this might be a slightly experimental, possibly punk or prog-centered band with a sense of humor.

Album Review: This album spans a gamut of Def Leppard Metal, Queen Glam Pop, catchy Cheap Trick Power-Punk and even some orchestral sections. hard to truly put this band in one genre- in a good way- as the songs still sound cohesive. Some times they go heavy with prog, sometimes harmonized hairband rock, sometime theatrical ballad or showtunes...even throwing in some Beach Boys harmonies. Their 1974 Tasty was their biggest release. And they played with huge superstars at some of the biggest venues- mostly on the East coast, however.

Stand Out Track: Victory in Space

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Citizen - Sex & Society

Name: Citizen
Album: Sex & Society
Year: 1980
Style: New Wave, Power Pop, Glam
Similar Bands: Split Enz, Mental As Anything, A's
"One-Word" Review: Theatrical Power Wave
Based Out Of: Illinois
Label: Ovation

 Cover, Lyrics, Record

Back, Lyrics, Record

Sex & Society (1980)

1. You're So Cool 3:25
2. I Like You 3:32
3. Secret Rock N' Roller 3:44
4. Thought I Was Tough 3:45
5. Feel So Good 3:26 /
6. I'm A Citizen 4:10
7. Advertising (Rock! Rock!) 5:44
8. Sex & Society 5:07
9. Nuclear Love 4:01

Album Rating (1-10): 7.5

Members & Other Bands:

• Marier- Composer, Vox, Guitar, Photography
• Ken Marier - Composer, Creative Mgmt, Album Cover Concept
• Tom Pabich - Tails Out Productions
• David Webb - Tails Out Production, Photography
• Ernst Wiatrowski - Keys, Vox, Photography
• Craig Gillispe - Bass, Vox, Photography
• Robert Horn - Drums, Vox, Desigh, Artwork, Art Direction, Photography
• Dominic Busemi - Guitar, Vox, Photography (Inside Out)
• Cary Baker - Press Relations
• Frank Giuliano - National Promotions
• Lauren Kornman - National Promotions
• Susan Gayford - Costuming, Photography
• Mary Holmes - Hair Design
• Alex Bachnick - Photography
• Jane Senastian - Photography
• Rose Haave - Photography
• Darlene Murphy - Photography
• Tom Pabich - Photography
• Trisha Smythe - Photography
• Richard Fairbanks - Live Sound
• Tom Labus - Live Sound
• Javier Cruz - Synthesizist (Skafish)
• Dick Schoy - Cymbals
• George "Yanos" Danos - Dentist
• Mark Hayes - Muscle
• Bob Gasper - Favors
• Jim Scheffler - Education
• Jim Dolan - Production Assisted, Engineered, Mixed
• Ron Gresham - Asst Engineer/Mixer

Unknown-ness: I've never heard of this band. From the cover costuming, the band comes off as a uniformed futuristic/alien prog band delivering a concept album. I imagine the songs about space, other planets, and militarization, as a metaphor for our society.

Album Review: They were apparently trying to take advantage of MTV as it was lifting off, as I've read that their video ran on the early days (although not in the first 24 hrs). They  have a very bouncy, jovial approach to power pop and new wave, with a lot of style adjustments coming off as theatrical. It is a fun album, lots of harmonies, but does not have a star quality. I do really like the jittery, twittery keyboard in "I Like You," which really drives home the New Wave sound.

Stand Out Track: I Like You

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(the Sensational) Alex Harvey Band - The Impossible Dream

Name: The Sensational Alex Harvey Band

Album: The Impossible Dream

Year: 1974

Style: Theatrical Glam

Similar Bands: Kiss, Kinks, Bonzo Dog Band, Sparks

One-Word Review: Over-the-top Glammy Rock
Based Out Of: Glasgow, Scotland

Label: Vertigo, Phonogram, Inc

 Cover & Record

Back & Record

The Impossible Dream (1974)

1. The Hot City Symphony Part 1 Vambo 5:02
2. Part 2 Man in the Jar 8:11
3. River of Love 3:10
4. Long Hair Music 4:36 /
5. Sergeant Fury 3:26
6. Weights Made of Lead 2:36
7. (a) Money Honey, (b) Impossible Dream 2:06
8. Tomahawk Kid 4:30
9. Anthem 7:42

Album Rating (1-10): 7.5

Members & Other Bands:

• David Batchelor - Producer
• Derek Wadsworth - Producer
• Gilbert Kong - Mastering
• Peter Waldman - Photography
• Alex Harvey - Vox, Rhythm Guitar (Hair, Alex Harvey's Big Soul Band, Big Beat Band, Rock Workshop, )
• Zal Cleminson - Guitars (Tear Gas, Nazareth, Tandoori Cassette, Zal Band)
• Chris Glen - Bass (Tear Gas, Cafe Jacques, Michael Schneker Fest, Vengence )
• Hugh McKenna - Keys & Synth (Tear Gas, Stoics)
• Ted McKenna - Drums (Tear Gas, Phenomena, Michael Schneker Fest)
• Martin Rushent - Engineer
• Cyrano - Engineer
• Vicki Silva - Vox (Mick Ronson, Nazareth, Everything But The Girl, Cornelius Cardew)
• London Scottish TAVR - Pipes & Drums

Unknown-ness: I've never heard of them, but I picked this up as it looks fun, somewhere between Bonzo Dog Band and Frank Zappa...probably a very Cabaret version of Glam-meets-Prog...guessing some Alice Cooper influence too, perhaps. And the way the tracks are laid out, it looks like it may be a rock opera.

Album Review: Before this band, Harvey was responsible for writing music for a London Stage performance of Hair, and that theatrical element can easily be picked up on this record, even more than just how the tracks are broken out. At times, the theatrical rock music sounds like the Kinks, Sparks, Elton John, and many others which he makes his own. Before that, he was in a couple Scottish big, jazz, and skiffle bands, one of which opened for a band that would become the Beatles in Scotland/1960.

Stand Out Track: Sergeant Fury

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New England - s/t

Name: New England
Album: s/t
Year: 1979
Style: Hard Rock / Glam / PowerPop
Similar Bands: Journey, Ace, Rush, ELO, Max Demian Band
One-Word Review: Safety-Net Glam
Based Out Of: Boston, MA
Label: Infinity Records, MCA Distribution

Cover, Sleeve, & Record

Back, Lyrics, Record

New England (1979)

1. Hello, Hello, Hello 3:36
2. Don't Ever Wanna Lose Ya 5:22
3. P.U.N.K 3:24
4. Shall I Run Away 5:10
5. Alone Tonight 3:39 /
6. Nothing to Fear 5:04
7. Shoot 4:00
8. Turn Out the Light 3:26
9. The Last Show 3:51
10. Encore 3:13

Album Rating: 6.5

Members & Other Bands:

• Paul Stanley - Producer (Kiss)
• Mike Stone - Producer, Engineer (Queen, Asia)
• John Fannon - Guitars, Vox
• Jimmy Waldo - Keys, Vox (Alcatrazz, Graham Bonnet Band, Murderer's Row, Spirit Nation, The Sounds of Tyme, Warrior, Waterbone, Quiet Riot, Under Fire)
• Hirsh Gardner - Drums, Vox (Warrior)
• Gary Shea - Bass (Alcatrazz, Warrior)
• Patrick Van Wiegandg - Asst Engineer
• Chris Desmonde - Asst Engineer
• John Brand - Asst Mixing
• George Marino - Mastering
• Peter Corriston - Art Direction
• Andre Haluska - Photography
• Alen MaxWeeney  - Photography
• Hubert Kretzschmar - Photography
• Garrett Loube - Logo Design

Unknown-ness: I feel like many bands tried to go the prog route via artwork of freezing themselves inside a flat square, ala Superman, as cover art. This is not done as precisely as that, but the lightning in the background and big hair does suggest this will be typical prog/hard rock. And Paul Stanley of Kiss producing things...the sound *could* be interesting.

Album Review: So the sons straddle the sounds of typical, generic hard rock with power pop elements, and even a little glammy at times...sure those are all neighboring genres with hands in each other's pies. Nothing on this record is really too memorable or stands out...nice harmonies, heavy guitars, and the opening track is the most glam-rock of the bunch. And its kinda funny that they have a chugging, driving song called P.U.N.K. that is basically a "get off my lawn" anthem to punks...or "Puny Under Nourished Kids / Painfully Un-Natural Kids." It arranges video-game type music to what sounds like a fast version of Chuck Berry's "Never Can Tell." Early names were Carot Time Cornucopia, The Fossils, Newer England, and Newer England's Newest Hitmakers.

Stand Out Track: P.U.N.K

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(the) Real Heroes - Greetings from Russia

Name: (the) Real Heroes

Album: Greetings from Russia

Year: 2005

Style: Glam Pop, Pub Rock, Alternative

Similar Bands: Velvet Underground, Bowie, The Presidents of USA, Urge Overkill, Zeppelin, The Sweet, 

"One Word" Review: Barroom Sequined Revivalists

Based Out Of: Austin TX

Label: PCT Music, Rec Center Records

 Greetings from Russia - Cover

Greetings from Russia - Back & CD

Greetings from Russia (2005)

1. Elise, Elise 2:58
2. The French Song 4:37
3. Adjust Your Nightmare 4:16
4. Ghost Tonight 3:06
5. Animals, Animals, Animals 6:14
6. Me is the Drug 3:37
7. Move That Strut 3:00
8. Beeswax 4:04
9. You Medicate Me Baby 2:57
10. All Made Up Friends 3:13

Album Rating (1-10): 7.5

Members & Other Bands:
Benjamin Hotchkiss - Vox, Guitars, Piano, Producer (Duckhills, Bongo Hate, Skyrocket)
Paul English - Lead Guitar, Vox (Skyrocket)
Kenneth Dowling - Bass, Vox
Kyle Crusham - Guitar, Synth, Vox, Production
Joey Spivey - Drums
Darin Murano - Photograph

Unknown-ness: I've never heard of this band. But the back of the record says it all with mid 00's style angular dance pop being the main critique, with a little Bowie comparison. Sounds good, but those are some high bars to reach, and there was an abundance of bands like that trying to break the surface back then.

Album Review: Real Heroes were a small three album band from Austin who reached peak potential in 2005 when their CD was released in Target stores. This version appears to be an edited version, perhaps the Target version, as the curse words are faded down in the final production.

“Elise, Elise” sounds like it is going to start out as an angular post punk band with the guitar. But the vocals have much more diverse energy and a The Presidents of the USA – meets Ted Leo style (which is comes off as a little embarrassing). They have some solid pub rock guitar solos, and a gritty sound.

“The French Song” is a quiet, relaxed song in comparison, evoking a little slyness like if Urge Overkill would cover “Watching The Detectives,” or maybe a little like Spoon’s earlier stripped down material. Lyrically, it is sexually forward, but I don’t feel the confidence it would need to come across as justified.

“Adjust Your Nightmare” is a guitar heavy, slow plodding, limp foot dragging song. It maintains the quiet reserve from the prior song, and stumbles around like alternative songs used to build. The vocals are full of emotion, and evoke a comparison to Led Zeppelin done in a Glam style.

“Ghost Tonight” pulses in with a beating keyboard. Power guitar chords support a soaring Glam / Detroit Rock music style vocal.
“Animals, Animals, Animals” starts out slow and drowsy, with a fast tapping drum. This is the first instance where the vocals fade down, assuming for cursing. The song floats along, kind of like a ballad, but with an uncomfortable, unfinished start stopping energy, channeling a little Bowie. The song takes a long time to end, stringing itself along on a couple piano notes and finger snaps. It regroups, and finishes out with an unnecessary, jammy classic rock section.

“Me is the Drug” is a fast, “Whole Lotta Love” paced power pop number, mixed with a glammed up “Ballroom Blitz.” I imagine this would be a fun song to perform live, with a sweaty result.

“Move That Strut” comes back to a more straightforward power pop intro, with Lou Reed Velvet Underground style lead vocals. Maybe a little Kinks too. The only problem is that it does not take advantage of the build into a satisfying chorus delivery. The monotone spoken vocals suck all the momentum from the bridge with “Ah-Ah-Ah-Ah’s” Otherwise, it could have been a solid power pop song.

“Beeswax” buzzes in with feedback and smooths out for a keyboard driven mellow pop song. The chorus reminds me of Guided By Voices, and is quite catchy. The vocals are delicate and wispy enough to disappear at any notice. But the chorus has a harmonized backing vocal, and some general alternative production in chord strength and a slacker melody. But this is probably the most straightforward and catchy song.

“You Medicate Me Baby” begins with a jangly hook, and crooning vocals (that try a little too much to be smooth) sung with a Shins-like melody. It never really builds into much more than the simple verse and melodic drifting, even if the jangly guitar continues on through the entire song unchanging.

“All Made Up Friends” has a marching drum beat and bass line to introduce the song. The Glam vocal melody is sung as if through a megaphone in back of the studio in a whiny, straining to be heard. The chorus repeats often, as the verse becomes truncated. It is a song with a fun, throw-away energy.

Stand-Out Track: Beeswax

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Be Bop Delux - Drastic Plastic

Name: Be Bop Delux

Album: Drastic Plastic

Year: 1978

Style: Art Rock, New Wave

Similar Bands: Talking Heads, Jonathan Richman, Tubes, Television, XTC, Split Enz

"One-Word" Review: Synth-Glam-Pop

Based Out Of: Wakefield, West Yorkshire, England

Label: Harvest, EMI, Capitol

 Drastic Plastic - Cover, Liner Lyrics, Record

Drastic Plastic - Back, Liner Lyrics, Record

 Drastic Plastic (1978)

1. Electric Language 4:47
2. New Precision 4:39
3. New Mysteries 4:44
4. Surreal Estate 4:59
5. Love in Flames 4:08/
6. Panic In the World 5:02
7. Dangerous Stranger 3:04
8. Superenigmatix 2:10
9. Japan 2:34
10. Possession 2:33
11. Islands of the Dead 3:43

Album Rating (1-10): 8.5

Members & Other Bands:

Bill Nelson - Producer, Bells, Cabasa, Composer, Cowbell, Drums, Finger Cymbals, Guitar, Mandolin, Marimba, Mini Moog, Oscillator, Piano, Synthesizer, Tambourine, Train Whistle, Vacuum Cleaner, Vocal, Whistle, Photo Idea(Global Village, Messengers, Gentle Revolution)
Charlie Tumahai - Bass, Vox

John Leckie - Producer, Audio Engineer, Engineer

Paul Bailey - Whistle, Equipment Maintenance
Stuart Monks - Equipment Maintenance

Dylan Bendall - Voices//Comic Relief

Haydn Bendall - Tape Machine

Kevin Cann - Design, Text

Cipher - Artwork

Andy Clark - Keys, Electric Bass, Moog, Piano, Synth (The Skuzzies, Clark-Hutchinson, The dB's, Washington Winds, David Bowie)

Simon Fox - Bottle, Drums, Drum loop, Tom-Tom, Whistle (Jack Green)

Geoff Halpin - Graphic Design

Chloe Leckie - Voices/Comic Relief

Chris Leckie - Food Stylist
Marinette Bendall -  Exquisite Food
Mick McKenna - Mobile Studio
Pete Crump - Mobile Studio
Jan "Mrs Deluxe" Nelson - Secretary, Nurse Mistress to Mr Nelson, Exquisit Food, Whistles
Hipgnosis - Photography, Sleeve Design
Mike Dolan - Management

Unknown-ness:
I’ve seen the name in passing, but never heard or really know who they are. But with this album cover, album title and back band picture, this looks like pure new wave. The modern art cover and the TV heads on the back hint at the disconnect with modern technology and society that only jittery new wave can offer. The rhyming title also paints a picture of nervousness with cold futurism, which only adds to the mystique. And 1978 was a good year for the genre. It would seem not much could go wrong.

Album Review: 
So apparently, this was one of the band’s last art-albums, fully transitioning from Glam to electronic new wave, but done well, keeping some of the older elements. Bill Nelson is widely known (just not by me) as one of the finest guitarists in British rock, unfavorably (by Nelson) compared to David Bowie in style and song.
“Electric Language” begins with a stomping bass and drum, but is quickly overtaken by quirky, almost Chinese electronic synth tones. The melody is nicely fluid and catchy, with semi deep but smooth vocals roll up and down over the melody. From what I’ve read about this band, this being the first song seems like it was not a mistake to put a synth heavy song as a compass of how they were changing from a guitar centered band. The effects of the vocal wash through an echo and bounce around as if they are sung from the back of a cave. There are guitar moments, but they are easily forgotten with how bold the synth is. At the end of the song, the main hook repeats as it fades out in echo, and is pushed to the back behind mass produced electronic and guitar flourishes, finally ending with a repetitive down scale keyboard section.
“New Precision” begins with a steady drum beat, picked up by what sounds like a synth bass, and reminds me of the 2-bit music from the Atari game Reactor. The melody reminds me a lot of talking heads, with the slight nervousness in his voice reminding me of David Byrne. And the guitar work in the background reminds me of early pre-ant music Adam Ant. The overall tone of the song is dark and steadily driving.
“New Mysteries” carries along the David Byrne sounding vocals with an equally dark song, almost sounding like an unsure dream sequence with the atmosphere the chorus creates. The verse is a 4 note bass line accented by a squealing guitar.
“Surreal Estate” begins with a Victorian piano section, but quickly changes direction (still carrying the piano as the underlying melody) as something that would be directly off of later XTC albums like Big Express of Skylarking. There is lots of pleasant clanging and clinking and horse clopping effects making up the percussion. The verse is very pleasant and no-threatening, and overall, very sweeping and grand. The chorus is a great slow and steady hook that is very reminiscent of a slowed down version of The Meeting Place. A friend told me they were a big influence on Andy Partridge, and I can see why from this song, since XTC was still in their early punkier phase in 78, from here, one could draw a straight line to where they were headed. The ending instrumental feels much like the production of Big Express, human and train whistling included.
“Love in Flames” harkens back to where XTC was at the very time. Once the drum beat finishes in the intro, the song feels like it will launch into Radios in Motion. But it takes a darker turn with an evil sounding bass line, and the vocals begins, also sounding like XTC, as they are sung fast, trying to fit all the syllables within the musical boundaries. The punk and pure fast driving beat feels smoother and more calculated than a care free and perfectly neurotic XTC song, but the song is incredibly fun. Halfway through they bring in a new melody which takes the song to a whole new level and direction. Overall, the song is bounded together with the fast-played organ that offers all the urgency you could ask for. There is also fast guitar work at the end that gives it one last boost of energy before it winds down in true pub rock fashion with all the instruments finale-ing at the same time.

“Panic In the World” is a more straight forward rock song. There is s twittering synth line just under the surface of the guitar driven song. The harmonized Uh-Oh chorus really gives it an everyday-joe sort of feel. Also the power pop guitar hooks drive home the blue collar image. This feels kinda like an A’s song.
“Dangerous Stranger” sounds just like I fought the Law, then it relaxes on the angsty authority and pucks up a Buddy Holly / Roy Orbison 50’s rock feeling. The song employs a weird vocal distortion that I heard on the Ebn Ozn album (in their cover of Rockin’ Robin), the one that is deep and grotesque, also used in Ween’s son I’m Fat. I just don’t like the sound to the vocal, because I feel like it is really distracting from the song.
“Superenigmatix” transitions right out of the previous song with light guitar and piano playing, then it picks up with a fast sung verse that is bold, yet non-threatening and reminds me a little of Devo. That leads right up to an abrupt but welcome genre change into pure Power Pop on the Glam side. It comes off just feeling like a very silly song.
“Japan” features just that, very Japanese sounding synth effects, and a very Japanese melody. It moves forward with a slow, steady march. The chorus features an overlapping yet harmonized vocal section traveling down scale of the word Japan. Apparently, this song replaced the song “Visions of Endless Hope” on the American version, since Japan was a single over in the UK, but not on the album.
“Possession” Is a disjointed pop song and the vocals remind me of Jonathan Richman or Television (I think) They are full of energy, and a little bit of Adam Ant in the way he finishes some of the lines. The song has a very dark, almost metal vibe about the chorus, even if the verse and bridge are catchy and power-poppy.
“Islands of the Dead” is an album ending power ballad with some picked acoustic guitar and sad, respectful melancholy that borders on country.

Stand Out Track: Surreal Estate
Love In Flames

Links:

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Head Heritage

NIck Gilder - Frequency

Name: Nick Gilder
Album(s): Frequency
Year: 1979
Style: Glam, Power Pop
Similar Bands: Bowie, ELO, Big Star, Cheap Trick, Bad Finger, Jellyfish, Journey
"One-Word" Review: Catchy-As-Hell Build and Deliver Glam-Pop
Based Out Of: Vancouver, Canada
Label: Chrysalis

 Frequency - Cover & Record

Frequency - Back & Record

Frequency (1979)

1. (You Really) Rock Me 2:45
2. Time After Time 4:21
3. Metro Jets 4:05
4. Electric Love 3:10
5. The Brightest Star 3:35/
6. Watcher of the Night 3:41
7. Worlds Collide 4:54
8. Hold on Me Tonight 6:02
9. Into The 80’s  2:53

Album Rating (1-10): 9.5

Members & Other Bands:
Nick Gilder – Vox (Sweeny Todd)
Peter Coleman - Producer
James McCulloch - Composer, Guitars
Jamie Herndon - Keys, Synth, Guitars, Backing Vox
Eric Nelson - Bass, Backing Vox
Craig Krampf - Drums, Percussion, Backing Vox
Doug Schwartz - Asst. Engineer
Lloyd Segal - Management
Barry Samuels - Management
Rod Dyer - Art Direction & Design
Mike Haggerty - Photography
CD Taylor - Photography

Unknownness: I’ve never heard of this band. But it looks sorta new wave, with the out of focus fuzzy TV screen, with the hint of a long haired man on the set. The cool colors of the TVs on the back also create the illusion of a power pop looking band, but the fuzzy TVs, aside from the album title of frequency seem to note lo-fi sound. I’m interested to see if this is a raw, sound exploration or if it really is power pop.

“(You Really) Rock Me” kicks off with a rowdy guitar hook, and gets even crazier hooky. Then the awesome vocals begin over a bouncy Elvis Costello style organ. Each different section of the song is catchier than the first. Then the chorus comes in, tying in the electric guitars with the super catchy and rollicking power pop of the verse & bridge. This formula weaves its way through, and this ends up sounding like a first rate track by the likes of Jellyfish. My version of the song skips, but it is still an amazing song, ending with a Queen like harmony of chanting the title.
“Time After Time” slows down a little, and is steeped in glam, with a whiny, stretched vocal. Backing synth is a swirling prog sound. The bridge is bold, and comes back with a harmonized chant. Then the chorus is the median between the verse and bold bridge. These are perfectly crafted pop songs. Production is top notch, and the sections are short, repetitive but so diverse that they are constantly interesting. They just keep chugging along and never let down. The synth in the back, now I’m getting a Cars feel, just pops in and out of the sound spotlight, adding more depth and another interesting aspect to listen out for.
“Metro Jets” begins slow, with what sounds like a Moog. The vocals are smooth and yet feminine. The teaser bridge shows a bit of boldness and strutting. The true bridge comes back, building to an anticipated catchy climax. And the chorus delivers with power and strength. The whining guitar in the background screams glam, and is utilized excellently here, and has to be borrowed from by the likes of Suede. This is such a great song that has the focus of building to a promised delivery of an excellent hook.
“Electric Love” begins with Bowie like vocals, if he’d be covering the Cars. It is paired with a great guitar sound that is tinny, yet hollow, but in a good way. The bridge is short, but powerfully fast, which slides right into the chorus that would fit right into a Fast Times at Ridgemont High love scene. After the instrumental, it is unsure if the chorus will come in powerful or smooth, but he chooses smooth and consistently builds in emotion.
“The Brightest Star” starts with a bluesy drum and bass, which quickly morphs into a power ballad with surprising fitting synth and whining guitar. Again, the bridge builds wonderfully into the chorus, which is a angelic choir overlaid with stepping and strutting confident vocals. Each section is so short, that the changes happen rapidly, and they are constantly interesting. The breakdown after the chorus reminds me of guitar from Big Star. And the vocals may or may not sound a bit like Rush here.

“Watcher of the Night” creaks onto the record with a motor growing louder and then chugging guitar and drums give the power pop nature of the song, with Cars “Just What I Needed” like two note guitar crunches. The main vocals are high and feminine as they have been, and a masculine chorus backs up. The chorus is fun, and reminds me a bit of journey, with out the note holding so much. There is a section of synthesized vocals filling in a verse. And the stop starting of the bridge pauses the song, creating the perfect atmosphere of the chorus delivery. Sure it is the same song writing trick, but it works every time. In this one, they even added synthesized horns in the background. Naturally, from the lyrics, I am reminded of Manfred Mann’s “Blinded by the Night.”
“Worlds Collide” comes into play with a solid drum intro. Guitars back it up, and the song is a sneering pop song, with a bit of a metal edge. It runs verse, false bridge (which kicks the song up an octave), verse, and true bridge, and then chorus. The lyrics are a little cheesy…“don’t keep secrets, make our worlds collide” but they are delivered passionately, and with an amazing confidence. The instrumental veers from the synth diddlings into an acoustic and all guitar section presentation of the same melody done with strings. There are also some great accenting piano key rolls.
“Hold on Me Tonight” begins with a gong. Then a ballady guitar hook, and a solid driving drum beat is laid down. Then, 37 second in, is perhaps the best guitar hook ever created. My version of the song skips, unfortunately. The band knows the guitar hook IS the chorus, as the crafted the song’s verse and bridge to lead up to the instrumental guitar chorus. The rest of the song is brilliantly sparse to showcase the hook. The bridge has a Bee-Gees like chorus of backing harmonies. Even after the short instrumental (without THE hook) the verse builds slowly up to the teaser bridge, which repeats rather than lets loose into the “chorus.” Then the last minute and a half is the hook layered over with arena chants, and a double guitar version of the hook with a higher octave guitar runs through. Then a synthesizer is added over top, even driving the hook further. Goddamn if they don’t abuse the hook. But the production rides it out into a fade.
“Into The 80’s” is dated, yes, but it is optimistic of what is to come, and is the most electronic of the songs. It reminds me a little of the Who’s 80’s period of disputed catalog. It is also a reflection of the past. The musical interludes feature angelic chants. There is no real chorus to this song, so it falls somewhat flat, but it is still a good bouncy song. It is short, and feels like it could have been longer, but they ran out of room. Anyway, I’m going back to that guitar hook/chorus.

Stand Out Track: (You Really) Rock Me, Metro Jets, Hold On Me Tonight

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 Canadian Classic Rock
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Roderick Falconder - Victory In Rock City

Name: Roderick (Taylor) Falconer
Album: Victory In Rock City
Year: 1977
Style: Glam Rock, Pub Rock
Similar Bands: David Bowie, Billy Joel, Wings, J Geils Band, (late) Beatles, John Lennon
"One-Word" Review: A Pint of Glam Light Beer
Based Out Of: Los Angeles, Ca
Label: United Artists Records

Victory In Rock City - Cover & Sleeve Picture
Victory In Rock City - Back & Lyrics

Victory In Rock City - Record

Victory In Rock City (1977)

1. Rock City 3:14
2. That's Not Normal 4:44
3. Show Me Something More 4:47
4. Empire Man 4:24 /
5. Hard Times 4:22
6. Rock City 2 3:57
7. Fame is a Ball & Chain 4:43
8. Prologue 2:05
9. Victory 4:55

Album Rating (1-10): 7.0

Members & Other Bands:

Roderick (Taylor) Falconer - Guitar, Synth, Vox, Production

Bruce Gary - Drums (The Knack, The Game)

Jimmie Greenspoon - Keys (Three Dog Night, New Dimensions, East Side Kids)

Wendy Haas - Vox

Brie Howard - Vox (Santana)

Peter Ivers - Producer

Mike Japp -Guitars (Marmalade)

Reggie McBride - Bass (Rare Earth)

Patti Quatro - Vox (Pleasure Seekers, Fanny)

Dee Robb - Engineer

Joe Robb - Engineer
Bernie Grundmann - Mastering
Ria Lewerke - Art Direction
Mosh Brakha - Photography
Donna Arost - Uniforms
Allen Levy - Minestry of Information
Steve Binder - Representation
Barbara Gosa - Representation
Krista L.T. - Prima Falconite
Dr. Taylor Kross - Advisor
Jeff Samuels - US Album Coordinator

Unknown-ness: I’ve never heard of this guy and/or his band. From the shiny silver jumpsuits and the driving gloves, not to mention “rock city” silhouetted in the background, I have to imagine this to be some kind of futuristic blade runner take on modern (at the time) music. Smooth cold lines, a slick and confident look, and some kind of medallion icon that blends Russian and American aesthetics together paints a speed racer type world.

Album Review: Apparently, Roderich Falconer has made the transition from musician to screenwriter and producer as well as writing professor at Stanford University.

“Rock City” begins with a pub rocking sound. And the vocals come on like David Bowie trying to sing in a Billy Joel style. The electric guitar is not as in your face as it could be, which is a nice mixing choice. The song is a little show tuney, due to its repetitive chorus of male and female voices.
“That's Not Normal” has a whining guitar that continues throughout the song which sets a glam backdrop for Ziggy Stardust type sung/spoken lyrics.
“Show Me Something More” is a laid back bluesy Eric Clapton like number with a little Wings mixed in there as well. It is basically a slow dance ballad.
“Empire Man” begins with a straight forward Pub Rock n’ Roll guitar lick that sounds so familiar that it is perhaps the dictionary definition of Rock N’ Roll guitar. The vocals are nothing like Bowie, but more along the lines of a gritty J Geils.

“Hard Times” mixes in a little AOR rock with the traditional Pub Rock that it has exemplified as its main style. There is a barroom piano in the background and the song promises a good time amongst hard times. There is a honky tonk piano breakdown at the near end of the song that changes the pace up and breathes life back into the song with a minute to go.
“Rock City 2” is a (mostly) instrumental reprise of the lead off track with a chorus of gospel female vocals hymning and whoooing. It is an upbeat song with lots of syntn and reverb in the guitar.
“Fame is a Ball & Chain” is a straight up Bowie style rip off. This one is like his slower story-songs from Ziggy, with a chorus of female vocals backing him up with ooohs. He has some John Lennon “Yes It Is” thrown in there too. The song has a classic side to side swaying doo-wop rhythm to it. Really it is a mish-mash of some of the best musical styles that pre-date 1977, which is not to say the song is one of the best songs ever made. It does not have enough creativity to make it stand out from being a descent replica.
“Prologue” replaces vocals with a wailing guitar standing in, playing the melody that the vocals would use. A co-worker walked by asking about Pink Floyd, so not knowing Floyd too much, I have to assume this is also what he sounds like.
“Victory” blends right into the end of prologue. It is a very proud and confident song that borrows a lot from late Beatles melodies, and I have to assume Floyd too, because the vocals do sound a little of what I actually know about Floyd. The breakdown possesses a small section of swirling strings, and a progressive breakdown ensues. It is very orchestral, like a scene in a movie of someone walking down a busy city street in an uplifted but excitedly anxious state.

Stand Out Track: Fame is a Ball & Chain

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Babys (the) - s/t

Artist: The Babys
Album: s/t
Year: 1976
Style: Glam Rock, Arena Rock
Similar Bands: Big Star (bad), Foreigner, Journey, Sweet
"One Word" Review: Rhasp-glammy-rock
Based Out Of: London, England
Label: Chrysalis

The Babys Cover Front & Side 2

The Babys Cover Back & Side 2

The Babys (1976)
1. Looking For Love 4.43
2. If You've Got The Time (sample) 2.38
3. I Believe In Love 4.17
4. Wild Man 3.29
5. Laura 5.02/
6. I Love How Your Love Me (sample) 2.21
7. Rodeo 2.58
8. Over & Over 4.47
9. Read My Stars 2.43
10. Dying Man 6.30

Album Rating (1-10):
3.5

Members & Other Bands:
John Waite-Vox (solo, Bad English)
Walt Stocker-lead Guitar (tour guitarist: Air Supply, Rod Stewart, Humble Pie)
Mike Corby-guitar & keys
Tony Brock-drummer, Vox (Spontaneous Combustion, tour drummer: Rod Stewart)
Brian Christian-Producer
Bob Ezrin-Producer
Jon Prew-Photo
My Own Production Co Ltd.

Unknown-ness: I'd never heard of this band. From the cover image of a dirty, greasy 70's rock band, and name Babys, I imagined the album to contain a bunch of loud, whiny, perhaps screechy songs. But on a greater scale in contract, I did like the minimal, refined art direction, rather than over-the-top, brutishly drawn imagery that many mid 70's albums had. I also liked how the name is in a large, normal font, and not incorporated into the imagery. With these elements, I had some hope that this could be a great album.

Album Review:When I first put the record on, I hated it. It incorporated all the wrong elements that, in my eyes, made late 70's bands great. I felt like it was loud in the wrong places, and the vocals just didn't quite have that power or authority to grab your attention. In short, what it lacked was its execution. Nothing stands out. With that said, I don't offer a correction to this critique. Perhaps it is because I don't like John Waites vocals. For me, the vocals really are the key factor in judging bands. And I cannot get on board with what I feel is a mundane, uninspired performance.


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In subsequent listens to the album, it has grown on me a little. The album is introduced with a drum solo, then adds the bass, and launches with the loud, dirty, repetitive guitar hook. And Waites' vocals come in sounding, for the most part, strained and bored. The music does hold things together, and for a driving rock song, it is very solid. "If You've Got the Time" incorporates its title into its chorus with a melody that sounds so very familiar. It sounds as if every rock single of that times had borrowed from or gave its basic construction to this song. "Wild Man" sounds like a poorly executed Bowie throw-a-way track. Every band of this genre needs its slow desire-for-a-girl ballad, and "Laura" is that. It is one of the better songs on the album, complete with is a great (and again familiar) piano hook after they proclaim that they need Laura so. A flip of the record and we continue with the same slow tempo as Waite explains how he loves his girl. Both "Rodeo" and "Read My Stars" are very powerful rocking tunes, but somehow, as loud as Waites' raspy vocals are, he seems faintly there. the album winds down with their 6+ minute epic Dying Man, which ventures into the land of prog.

Over-all, the album is better than I first perceived it to be: it is at least listen-able. But it is still not a great album, and one which I would never turn to to want to put on.

Stand Out Track:
If You've Got The Time

Links:
Babys Allmusic
Babys Wikipedia
Official Unofficial Chronological Babys Site
Babys Myspace
http://www.johnwaite.com/discography/babys/babys.htm
Fan John Waite site: Netwaite
Mike Corby's Myspace