Loz Netto - s/t

Name: Loz Netto
Album: s/t
Year: 1986
Style: Synth Pop/Rock
Similar Bands: Taco, David Bowie, ABC, Thomas Dolby, INXS
"One-Word" Review: Overproduced smooth synthetic back alley
Based Out Of: Brighton / Coventry UK
Label: Atlantic, Warner

Cover, Record

Record, Back

Loz Netto (1986)

1. Walking in the Dark 4:15 (single)
2. We Touch 4:45 (Single, on Miami Vice)
3. Dance to the Music 5:05 (single)
4. No Reaction 3:22
5. Silent Movie 4:48 /
6. Fat City 3:13
7. Do What You Want 5:27
8. One Night Out 3:46
9. Substitute 3:58

Album Rating (1-10): 6.5

Members & Other Bands:

• Loz Netto - Vox, B. Box, Guitar (Moon, Sniff N' The Tears, Los Pacaminos, Tasmin Archer, Sharpeez, Ben E King, Thomas Dolby, Lene Lovich, Paul Young, Eye Talk, Brian Copsey & the Commotions, )
• Tessa Niles - B. Vox (George's Band, OPbsession, Sharpe & Niles, Strictly Unreasonable Zang Tuum Tum Big Beat Colossus, ABC, Morrissey Mullen, Tik & Tok, Caroline Munro, Higsons, Gary Numan, Flesh For Lulu, Tina Turner, Shakin' Stevens, Bowie & Jagger, Grace Jones, Explorers, Gloria Gaynor, The The, Everything But the Girl, Eric Clapton, Paul Hardcastle, Duran Duran, Berlin, Julian Cope, Cabaret Voltaire, Marillion, Pet Shop Boys, Escape Club, Steve Winwood, Sad Cafe, Spandau Ballet, Tears for Fears, Liza Minnelli, Rolling Stones, Dusty Springfield more)
• Steve Butler - B. Vox (Kartoon, Russ Abbot, Martyn Lacey, Party Boppers, Silver Screen Orch, The Law, Wendy James, London Theater Orch, Newton. High Jinx, Andrew Lloyd Webber, Don Estelle, Enlightenment, russell Watson, kevin Kennedy, Nigel Stonier, Barclay James Harvest, Thea Gilmore, Keith Hopwood, Malcolm Rowe)
• Paul Young - B. Vox (Gyro, Mike & the Mechanics, Sad Cafe, Measles, Toggery (5), Young Bros, Young & Renshaw, Roger Cook, Mandalaband, Union, Sir John Betjeman, SAS band, Streetband)
• Ian Wilson - B. Vox (Barclay James Harvest, Greasy Bear, Gyro, Mandalaband, Sad Cafe, Ramones, Kartoon, Sign System, Jon Astley, Martyn Lacey, The Law, Chippendales, Wendy James, Deborah Harry, Newton, Don Estelle, Kevin Kennedy, House of Saints, Keith Hopwood, Malcolm Rowe, Oleta Adams, Bunk Dogger, Paul Young, Casey Abrams, Johann Sebastian Bach, Joanna Eden)
• Richie Close - Keys (Annette, Both Hands Free, Frequency 9, Masters of Acid, T-Coy, Mainstream, Mike Harding, Maddy prior. Mandalaband, Heebeegeebees, Corey Hart, Allan Taylor, Camel, Tracey Carmen, Kartoon, Hombres G, Michael Chapman, Icicle Works, Jon Astley, Marilyn Martin, Jim Capaldi, Shadowland, Texido, ABC, Roger Spencer, Houghton Weavers, Danza Invisible, M People, Big Country, Thomas Lang, Barclay James Harvest, Keith Hopwood, Malcolm Rowe, 2AM, David Alexander)
• Jon Carin - Keys (Industry, Fishermen, Pink Floyd, Pete Towsend, David Gilmour, Bryan Ferry, Corey Hart, Psychedelic Furs, Escape Club, Dream Academy, Roger Daltry, Live, Love Spit Love, Soul Asylum, Gipsy Kings, NWO, Who, Richard Butler more)
• Phil Palmer - Guitar (Bob Geldof & Vegetarians of Love, Dragonfly, K Wallis B and the Dark Shades of Night, Legacy, Spin 1ne 2wo, Symphnoica Band, Bliss Band, House Band, Troll, Dire Straits, David Gilmour, Chris de Burgh, Shakin' Stevens, Joan Armatrading, Frank Zappa, Ian Matthews, Joe Egan, David Essex, Sheena Easton, Tears for Fears, Murray Head, Scott Walker, Toyah, Howard Jones, Alphaville, Swing Out Sister, Sam brown, Eric Clapton, Tina Turner, George Michael, Dusty Springfield, Celine Dion, Tasmin Archer, Pete Townshend, Katy Sagal, Milla, Take That, Bryan Adams, Robbie Williams  more)
• Mike Hehir - Guitar (Barclay James Harvest, Sad Cafe, Sneaky Pierre, Corey Hart, Jon Astley, Greenway, Jim Capaldi, The Law, Marie Claire, Deborah Harry, Alan Simon, Paul Young)
• Ashley Mulford - Guitar, Producer (Champion, Mandalaband, Sad Cafe, Chilliwack, Therapy, Tim Hart, Mark Haines, Candi, Michael Learns to Rock, Tears For Jeanie, Jascha Richter, Paul Young, Riversea, Last Knight)
• Dave Irving - Drums Overdubs (Dianno, Eddie Cave & the Fyx, Sad Cafe, Supercharge, Paul Young)
• Jon Astley - Fairlight, Producer (Virginia Astley, Corey Hart, Tori Amos, Heavy Metal Kids, Gary Shearston, Sandy mcLelland & the Backline, Sad Cafe, The Law, Deborah Harry, Wendy James, The Who,  more)
• Steve Piggot - Keys (10cc, Living In A Box, Dogs D'Amour. Jon Astley, Ian Thomas, Brother Beyond, Escape Club, Gary Moore, Sad Cafe, Mark V, Vicki Morgan, Celine Dion, The Law, Mike & the Mechanics, Phillip Boa & the Voodooclub, Mikel Erentxun, Cliff Richard, Deborah Harry. Mitch Malloy, Jaki Graham, Sheena Easton, Zazie, Edyta Gorniak, Julien Clerc, Gipsy Kings, Joe Cocker, Jennifer Rush, Loreena McKennitt, Russell Watson, Preacher Boy, Rod Stewart, Barclay James Harvest, Kevin Kennedy, Dzal Martin, Nazareth, Keith Hopwood, Malcolm Rowe)
• Snake Davis - Sax (James Brown, Smokey Robinson, Chaka Khan, Eutythmics, Massive Attack, M People, B*Witched, Lisa Stansfield, Blue Shoes, Was (not Was), Sad Cafe, Swing Out Sister, Paul McCartney, Dusty Springfield, Shirley Bassey, OMD, Robert Palmer, Soul II Soul, Dionne Warwick, Pet Shop Boys, Denise Williams, Tina Turner, George Michael, Spice Girls, Paul Hardcastle more)
• Andy "Heavy" Macpherson - Producer, Recording, Guitar
• Phil Chapman - Asst Producer
• Michael Hoppen - Photos, Concept
• C-More Tone Studios - Graphics, Design
• Bob Defrin - Art Direction
• Robert Raymond - Mgmt

Unknown-ness: Never heard of this artist. And i'm not sure what to make of the prediction. From the name Loz and the dude on the motorcycle i presume is Netto, i first thought this may have a Hispanic / Latin influence. The year makes it hard to deduce what will be on it...86 was a year without one popular guessable style.  

Album Review: The album sounds like there is not one real instrument on it, which was popular at the time. So it is pretty smooth in production, and the vocal style is smooth as well and relaxed, and a little Bowie + Michael Hutchence-like. Fat City shares a very similar intro as Prince's 1999.

Loz was a nickname acquired back in elementary school growing up in the UK by Netto. He grew up in a variety of bands but first made it big in Sniff N' the Tears until a motorcycle accident put him in a cast and caused his departure. This only led to a recovery time full of songwriting, which in turn, catapulted his solo career. He's produced and created his own studio and recorded with many artists which all links back to his past connections. Still making music today, he never gained notable popularity, especially not in the US.

Stand Out Track: Fat City

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Nite City - s/t

Name: Nite City
Album: s/t
Year:1977
Style: Garage Psych, Synthy Prog, Power Pop
Similar Bands: Doors, Tubes, Sniff N The Tears, Supertramp
"One-Word" Review: Psych Tinged Garage Power Pop
Based Out Of: Los Angeles, CA
Label: 20th Century Fox Records

Cover, Photo Insert, Record

Back, Lyrics, Record

Nite City (1977)

1. Summer Eyes 4:26
2. Nite City 4:55
3. Love Will Make You Mellow 4:50
4. Angel W/No Freedom 6:39 /
5. Midnight Queen 3:55 (single)
6. Bitter Sky Blue 3:12
7. Caught In A Panic 4:41
8. In the Pyramid 3:48
9. Game of Skill 4:40

Album Rating (1-10): 7.5

Members & Other Bands:

• Ray Manzarek - Producer, Keys, Vox (Doors, Rick & the Ravens, Skrillex, Mamas & Papas, X, Robby Krieger, Annabel Lamb, Bruce Joyner & the Plantations, Echo & the Bunnymen, Michael C Ford, Darryl Reed, Bill Walton, The Knack, Jurassic 5, Earthling, Pauyl & Georgia, D21C, Santana, Sly Stone, Weird Al Yankovic,  )
• Jay Senter - Producer
• Noah James - Vox (Nova Casanova)
• Paul Warren - Guitar, Vox (Rod Stewart, Rare Earth, Pacific Gas & Electric, Explorer, Jack Wagner, Robin Trower, Neil Norman, Bobby Sexton, Richard Marx, Ventures, Temptations, Undisputed Truth, Funkadelic, Elkie Brooks, Prism, Tina Turner, USA for Africa, Richard Marx, Tamara Champlin, Eros Ramazzotti, Alessandro Mara, Joe Cocker, Her Name is Death, ABC, Actual Russian Brides)
• Nigel Harrison - Bass (Blondie, BP Fallon & the Bandits, Chequered Past, Silverhead, The Grabs, Tamdrin, The Runaways, Michael Des Barres, Syar, Iggy Pop )
• Jimmy Hunter - Drums Vox (Paul Warren & Explorer, Hilary Laddin, Nick Gilder, David London, Gabriele Morgan, Fortune, Bobby Barth)
• Roger Dollarhide - Recording Engineer
• Leonard Kovner - Mixing Engineer
• Zox - Art & Illustration
• Todd Gray - Photos
• Clyde Terry - Lettering

Unknown-ness: Never heard of Nite City, but they look like a bunch of long haired power pop hippies. I'm guessing this is straight ahead pub rock. But the dudes in the band look a little old for a new band or a one off album.

Album Review: The main draw of this band is the presence of ex-Doors keyboardist Ray Manzarek. His Doors-like keys can be heard throughout the album, but perhaps never as much as the opening track. He also historcially "discovered & Produced the LA cow punk band X. Bass player Nigel Harrison would move on to join Blondie. This is a collection of 70's harmonic power pop tracks with a slight edge that puts them basically as pub rock. It was theorized that Iggy Pop was a potential singer for this outfit, but he decided to join Bowie in Berlin at the time (place, not band). Influence and member history aside, this is a decent set of power/pub rock songs that don't do anything unique, but are not bad tracks. They were probably a huge let down for Doors fans looking for closure or a rebirth. Perhaps most notable are the lyrics on Angel W/ No Freedom, an obvious tribute to Morrison, featuring lyrics like "Wild Child Dreaming Wild" and "Bury all your sadness deep within you arm." And if that was not obvious enough, there's the final line "Heroin...killed my friend"

Stand Out Track: Bitter Sky Blue

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Neon Judgement (The) - Blood & Thunder

Name: The Neon Judgement
Album: Blood & Thunder
Year: 1989
Style: Cold Wave, Industrial, EDM/EBM
Similar Bands: Borghesia, Ed Schrader's Music Beat, KMFDM, Front 242, Cabaret Voltaire, Nitzer Ebb
"One-Word" Review: Electric Propeganda Cow Punk
Based Out Of: Brussles, Belgium
Label: Play It Again Sam Records, Waxtrax

Cover, Sleeve, Record

Back, Lyrics, Record

Blood & Thunder (1989)

1. Facing Pictures 5:27
2. 1313 4:44 (single)
3. Damned I Love You 4:41
4. Games of Love 4:06 (single) /
5. Don't Wish Me Luck 3:58
6. This City 4:36
7. Ritual of Earth 5:43
8. Le Suicide Beau Serge 7:18

Album Rating (1-10): 5.5

Members & Other Bands:

• Jean-Marie Aerts - Producer, Slide Guitar, Percussion, Bass (Lala, Louisette, Luk Vankessel & Spirit, Specimen & the Rizikoos, TC Matic, more)
• Luc Van Acker - Producer, Guitar, Backing Vox (Arbeid Adelt!, Danceable Weird Shit, MLYTTKK, Noise Abroad, primitive Race, Revolting Cocks, Spinegrinder, Three Angry Poles, more)
• Dirk Da Davo - Vox, Guitar, Samples, Synths, Korg DDD1, Bass, Percussion (Neon Electronics, Implant, Dave Inox, If It Moves, Vandal X )
• TB Frank - Guitar, Vox, Korg DDD1, Bass, Synths (Aimless Device, Neon Electrics)
• Beatrice - Backing Vox 
• Fats (Mark Devroy) - Harp
• Stoy Stoffelen - Hi Hat, Drums (De Ritme Kings, Lenny & De Wespen, Luk Vankessel & Spirit, Machitun De Chile, Specimen & the Rizikoos, The Centimeters, The Millionaires, Raymond van het Groenewoud, Big Bill, Snaar, Urbanus Van Anus, JM Troisfontaine, Garden, Chirojeugd, Walter Verdin, Jan De Wilse, Jean Blaute, De Kreet, Pas De Deux, Roland, Kazzen, Anne Mie Gills, De Nieuwe Snaar, Dr Feestkapoentjes, Hugo Matthysen, Koen Crucke, Kamagurka, Won Ton Ton, De Kreuners, Tom Wolf, Bart Kaell, Johan Verminnen, The Choice, Suske En Wiske, Bart Van den Bossche, JMX, K's Choice, Yevgueni, Raf Coppens, Aroma Di Amore, Wreed & Plezant, De Grugblavers, Stef Gie & Chris)
• Christian Ramon - Remastering
• Michel Dierickx - Engineer
• Ferre Baelen - Bass (Afro Erotica, Aimless Device, Air of Gloom, Edwards & Armani, inocube, Lala, Le Mystere, Little Little, Panthera, Partisan, Revenge 88, Rossi, Sleepwalker, Stagebeast, TC Matic, Trance Trax, Two Thumbs, Von Coburg & Armani, Zsa Zsa "La Boum", Tjens Couter, Sonia Dufour, Jo Lemaire, Ginger Morris, Niki Mono, Kamiel Kafka & Co, Arno)
• JP Everaerts - Engineer
• Jean Le Belge - Percussion, Bass, Vox 
• Daniel Muffat - Congas (Patrick Nuissier, Johan Verminnen, Vaya Con Dios)
• Wim Wenders - Sleeve Pics 
• Hugues De Wurstemberger - Inner Sleeve Pics
• Stephan Barbery - Sleeve Design

Unknown-ness: I've never heard of this band, but from the bleak photo and an americana mid-western landscape. I can only imagine this will be a sort of western sweeping soundscape record. The packaging reminds me of the band Lone Justice for some reason. 

Album Review: The album does begin with a harmonica, but the synth drum beats added in give it a sterile western vibe. The vocals have an authoritarian Eastern European delivery to them, not unlike Ed Schrader. Some of the tracks are a little dancier, but still with that cold propaganda appeal. The band consists of two members, who have programmed mechanical cold dance tracks since the early 80's, and are somewhat considered to be pioneers in the EBM genre. The album before this one was their first break into the US market. Their last effort (as of 2020) was in 2012.

Stand Out Track: Facing Pictures

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Nails (the) - Dangerous Dreams

Name: The Nails
Album: Dangerous Dreams
Year: 1986
Style: Dark New Wave
Similar Bands: The The, Church, Fad Gadget, Wolfgang Press, The Cult, Sisters of Mercy
"One-Word" Review: Darkwave for Arenas
Based Out Of: Boulder, CO
Label: RCA Victor

Cover, Record

Record, Back

Dangerous Dreams (1986)

1. Dig Myself a Hole 4:40
2. Hello Janine 4:57
3. Voices 3:32
4. The First Time 3:45
5. The Veil 5:07/
6. Things You Left Behind 4:02 (single)
7. Save Me 4:33
8. Dangerous Dreams 4:02
9. Darkness Grows Uncivilized 4:15
10. Ocean 4:16

Album Rating (1-10): 6.0

Members & Other Bands:

• Pete Solley - Producer
• Marc Campbell - Vox (Ravers, Jack Mack, Misterwives)
• David Kaufman - Keys (Phil Gammage, Longboard Ranch)
• George Kaufman - Bass (Ravers)
• Steve O'Rourke - Guitars (The Scruffs, The Shroud of Lowell, Mike Magoo)
• Douglas Guthrie - Sax (Safi Abdullah)
• Mike Ratti - Drums (Heavy Balloon, Morgen, Rex Smith, Jay & the Americans, Shroud of Lowell)
• Joe Galdo - Percussion, Emulator (Foxy, The Jerks, Sunergyans, Barry manilow, George & Gwen mcCrae, Toni Bishop, Betty Wright, Bobby Caldwell, Ish, Niteflyte, ABBA, Leif Garrett, Dion, Ron Dante, bee Gees, Billy Luke Burton, Firefall, Ship, Viola Wills, Eddie Money, Alliance, Space people, jeannie Cruz, KC, Miami Sound Machine, Timmy Thomas, Lissette, Stephen Stills, Bellamy Bros, Rudy, Miguelito, 97 A-1-A, Hugger, Jimmy Bo Horne, Margaret Reynolds, Celi Bee, Nicole, Steve Alaimo, Donna Allen, ted Nugent, Julio Iglesias, Gloria Estefan, Bandera, Gene Ryder, Angelique Kidjo, Martika, CSN, Mink Deville, Professor Trance, Andres Calamaro, David Byrne, Flayer, Baaba Maal, ApeX)
• Soozie Kirschner - Electric Violin, Backing Vox (Southside Johnny & Asbury Jukes, David Johansen, Crosstalk)
• Trevor Hallesy - Engineer
• Dave Axelbaum- Asst. Engineer
• Mike Fuller - Mastering
• Michael McClure - album quote
• Terry Dunne - Mgmt
• Luis Cruz Azacata - Cover Painting 

Unknown-ness: Never heard of this band, but based on the dark cover, and abstract skull collage artwork + year, i'm going to guess they are dark, brooding new wave, not too different than The The.

Album Review: So yeah, the album is dark and brooding, vocals a little like the modern band Ceremony's non-hardcore songs, which grow from calculated, deep chants to angry and aggressive emo. There is also an element of Cowpunk to the songs composition, too. This was a follow-up record (2 of 3) to their much more praised debut, which featured a hit with "88 Lines About 44 Girls." Before that, they were known as the ravers, and had a very yet-to-be famous roadie in Eric Boucher, AKA Jello Biafra. 

Stand Out Track: Things You Left Behind

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Neighborhoods (the) - Reptile Men

Name: The Neighborhoods
Album: Reptile Men
Year: 1987
Style: Power Pop, Janglepop, Metal
Similar Bands: Cheap Trick, The Db's, Dramarama, Material Issue, Moistboys
"One-Word" Review: Collegiate Metal
Based Out Of: Boston, Mass
Label: Roadrunner, Important, Emergo

 Cover & Back + Record

Gatefold & Record

Reptile Men (1987)

1. Pure & Easy 3:45
2. Modern Cowboy 4:13
3. Reptile Men 3:50
4. Tommy 4:04
5. Dangerous 3:35 /
6. The Man 2:30
7. Peeping Tom 1:49
8. Out Of Reach 3:34
9. Wailing Wall 2:53
10. Cliches 4:25

Album Rating (1-10): 6.0

Members & Other Bands:
Phil Greene - Producer, Engineer
Ralph Petrarca - Asst Engineer
Davis Minehan - Guitar, Vox (Paul Westerberg, Stardarts, Modifiers, Freeze, Lucky 57, John Surrette, Dirty Truckers, AM Stereo, Kickovers, Little Big Wheel, Cassavettes, Street Dogs, Buffalo Tom, Gang Green, Firecat, Tree)
Michael Quaglia - Drums, Vox (Lord Manuel)
Lee Harrington - Bass, Vox (Future Dads, Outlets, Barrens)
Bill Robinson - Asst Engineer
Vic Steffens - Pre-Production
Chuck Miller - Hoods Crew
Ralph Quaglia - Sound Engineer
Tyler Sweet - Sound Engineer
Nancy Harrington - Concept, Design, Artwork
B.C. Kagan - Photos
Lee - Reptiles

Unknown-ness: Never heard of this band. But they sure seem wacky and alternative. I bet this is mainly jangly college rock with a tinge of punk attitude...but just s little.

Album Review: Apparently they were 10 years old by the time this record came out. In 1979, they won a battle of the bands over Mission of Burma. Their momentum was stopped when they broke up from 80-81, and never regained as big of a following. They even had a song on Guitar Hero 2, and are still active today (2020). The record starts out with power pop, quietly heads toward jangley college radio rock, and dives into some heavier hooks and speedy metal guitars.

Stand Out Track: Pure & Easy

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Nowherefast - s/t

Name: Nowherefast
Album: s/t
Year: 1982
Style: Power Pop, New Wave, Hair Rock
Similar Bands: Def Leppard, Walkmen, Scorpions, Cheap Trick, Journey, Kansas, Thomas Dolby
"One-Word" Review: Melodic Hair Wave
Based Out Of: California
Label: Scotti Brothers, CBS Records

 Cover, Record

Back Record

Nowhere Fast (1982)

1. First Time 3:32
2. Sometimes I Wonder 7:08
3. Feeling Better 4:35
4. Strange Reason 3:39 /
5. Nowhere to Run 3:07
6. View Through a Tear 3:23
7. As I Am 4:26
8. No One With Nothing 3:36
9. Feelin' Like Loving You 3:47

Album Rating (1-10): 7.5

Members & Other Bands:

• Jimmy Hansen - Drums, Percussion (Mark Hoffman & the Rabble, Dan Havens & the Missisippi Mudcats)
• Bob Fredrickson - Guitar, Bass, Vox (Robin Miller)
• Jeff Naideau - Keys, Guitars, Vox (Life by Night, House of Lords, Eyes)
• Steve Bock - Bass, Vox (Truth & Janey)
• Bill Walker - Exec Producer
• Sol Saffian - Exec. Producer
• Al Vaides - Exec Producer
• Mark Woldson - Engineer
• Jamey Dell - Engineer
• Tony Papa - Mixing
• Tom Drennon - Design
• John Exley - Photography
• Frank Gargani - 112 degrees Desert Rat-Pack Film Drew
• Peter Haskell - 112 degrees Desert Rat-Pack Film Drew
• Diane Duarte - Model
• Bill Nicholas - 365-GTB/4

Unknown-ness: Never heard of ths band, but the artwork reminds me of the Producers, so i assume it will be some sort of Powerpop. But the story laid out by the artwork of gearheads taking apart a model's car might project a little greasier, harder edge.

Album Review: With higher raspy Def Leppard like vocals, this hair power pop band puts out their melodic rock with an edge. They had 3 songs appear in an 1981 movie Prowler, with View Through a Tear being the only album track. The first track as an odd vocal melody- in a good way- that sounds like something from either Thomas Dolby or the Walkmen. A bit of that Walkmen sound is also on the second track's chorus.

Stand Out Track: First Time

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Novo Combo - The Animation Generation

Name: Novo Combo
Album: The Animation Generation
Year: 1982
Style: Power Pop
Similar Bands: Police, Survivor, REO Speedwagon, Journey, ELO
"One-Word" Review: Whispy-Commercial-Ready-AOR
Based Out Of: NYC, NY
Label: Polydor, PolyGram Records

 Cover, Sleeve, Record

Back, Liner Notes, Record

The Animation Generation (1982)

1. Animation Generation 5:32
2. Too Long Gone 3:51
3. Slow Fade 5:17
4. Keep Your Love Alive 3:28
5. Anyone Can See 4:10 /
6. Welcome Innervision 5:38
7. Chained Man 4:08
8. Follow the Love 3:53
9. She Runs 4:22
10. No Wonder 4:10

Album Rating (1-10): 5.0

Members & Other Bands:

• Elliot Scheiner - Producer, Remix
• Stephen Dees - Vox, Bass (Hall & Oats, Tony Carey, Bandees, Pat Travers, Victor Wainwright)
• Pete Hewlett - Vox, Guirar (Billy Joel, Carly Simon, Joe Jackson, Julian Lennon, Amy Grant, Eric Carmen, Peter's Pipers, Sweet Lightning, Euclid Beach Band, The Hit Men)
• Carlos Rios - Guitar, Backing Vox (Gino Vannelli, Lionel Richie, Boz Scaggs, Herb Alpert)
• Michael Shrieve - Drums, Percussion, Backing Vox (Santana, Abraxas Pool, Automatic Man, HSAS, Stomu Yamashta's Go)
• Sanford "Sandy" Ross - Personal Mgmt
• Glenn Orsher - Personal Mgmt
• Ted Jensen - Mastering
• Rob Mounsey - Synth Programming
• Wayne Yurgelun - Digital Doctor
• Bill Roach - Digital Doctor
• Larry Franke - Asst. Engineer
• Gregory Mann - Asst. Engineer
• Michael Morongell - Asst. Engineer
• Kevin Halpin - Asst. Engineer
• Cheryl Smith - Asst. Engineer
• Dean Janoff- Photography
• SchaefferBoehm - Art Direction
• Ronnie Cooke - Styling

Unknown-ness: I've never heard of this band. Based on their name, I assume it is has an adult contemporary sound, with attention to genres that have specific dances, be it Cha-Cha, Foxtrot, Salsa, Mambo, etc. However, the artwork shows a group of four, slightly hipper guys that are trying to look cool, but come off as a bunch of parents trying on their kid's stylistic clothes. They are tapping into the popular-at-the-time idea of animation, but also the popularity of arcade games, further trying to adapt to a youthful culture. I imagine this to be some very light AM radio music trying to fit into a New Wave world.

Album Review: For having some musical greats...or at least folks that worked beside musical greats (Santana, Hall & Oats, Billy Joel, Joe Jackson) , this is a light forgettable album whispy and floating radio pop with nothing that seems challenging or deep. There are some lofty island jams, and musician's musician performances, so i can see why there was comparison to the police. Many of the songs are repetitive and irritating, basically good fodder for advertisements. There are not really any good tracks, but the title track at least has some fun dated lyrics about arcades and computers.

Stand Out Track: Animation Generation

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No Dice - s/t

Name: No Dice
Album: s/t
Year: 1978
Style: Pub, Hard, Blues Rock
Similar Bands: J. Geils Band, Cheap Trick, Who, Rod Stewart, Joe Cocker
One-Word Review: Five-Drinks-In-Bar-Rock
Based Out Of: London, UK
Label: Capitol

 Cover, Sleeve, Record

Back, Liner Notes, Record

No Dice (1978)

1. Why Sugar 3:52
2. Crystal Clear 3:51
3. Foolin' 3:21
4. Silly Girl 3:45
5. Down N' Dry 3:55/
6. Happy In The Skoolyard 4:24
7. Spacey Romance 3:47
8. Salt in The Wound 5:39
9. Someone Else's Gold 5:08

Album Rating: 7.5

Members & Other Bands:

• Roger "Peaches" Ferris - Vox (Konrads, Shooting Party)
• Dzal "Deezal" Martin - Guitar (March Hare, Mona Liza Overdrive, Box of Frogs, Adrian Snell)
• Gary Strange - Bass, Writer (March Hare, Merlin, Shooting Party)
• Chris "Kitty" Wyles - Drums (Victims of Pleasure, Shakin' Stevens, Paul Roberts, David Studdert's Mumbo Jumbo, Auteurs, Placebo, Black Box Recorder)
• Robert Wace - Producer
• Phill Brown - Producer, Engineer
• Steve Smith - Producer
• Dick Palmer - Engineer
• Carter - Remix
• Warren Dewey - Remix
• Ken Perry - Mastering
• Dice Section - Backing Vox
• Dave Moore - Keys (Bop Brothers, Strangeways, Thea Gilmore)
• STEVIE Smith - Harmonica
• Roy Kohara - Art Direction
• Ken Anderson - Design
• Paul Nugent - Photography

Unknown-ness: Never heard of No Dice. But to be on Capitol records, there must have been something special about them at some time. They too, employ the red, black, and white color scheme, which makes me think they were also going for the new wave pub rock sound of the time. Art direction paints them as bad boys with the arrest photos, no nonsense facial expressions, big X on the back, and contrasting names like Peaches and Kitty.

Album Review: Vocals somewhere between Roger Daltry and Rod Stewart, and a fun, energetic pub rock sound puts these guys a dime a dozen bands like this absorbing the new wave image, but still playing "classic rock." A little Honky Tonk and harmonicas further perpetuate the blue collar good times drinking soundtrack like a roadside pub's house band. Apparently the singer "Peaches" was in a band called the Konrads in the 60's, whom also accounted David Bowie as a member at one period of time.

Stand-Out track: why sugar 

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Nitro Brothers - Images

Name: Nitro Brothers
Album: Images
Year: 1983
Style: New Wave, Power Pop
Similar Bands: Romantics, Knack, A's, Dire Straits
One-Word Review: Freewheelin' Party-Wave
Based Out Of: Devils Lake, Minnesota
Label: Stickface Records

Cover, Record

Back, Record

Images (1983)

1. You Say You're Sorry 3:48
2. Private Girl 3:19
3. Cablevision 2:37
4. Waiting for You 4:48
5. Jukebox Rock 2:24
6. Bad Weather 2:19 /
7. Images 3:47
8. Social Security 3:12
9. I Want You To Stay 2:49
10. Why Doncha Love Me 2:54
11. I Don't Like To Wait 2:37
12. Love Is Fun 3:03

Album Rating (1-10): 8.5

Members & Other Bands:

• Mark Glasser - Vox
• Curt Ozzy Osmundson - Drums
• Mike Maxon - Sound Engineer, Business Manager
• Nick Michalski - Guitar, Vox
• Mike Michalski - Guitar, Keys, Vox
• Jon Ziegler - Bass, Vox

Unknown-ness: Never heard of this band. From the band photo on the cover, they look like they think they are really cool. I do like their use of red, white and black like the Romantics or White Stripes, with a wardrobe out of the hipster end of the 80's. This could be really good, wacky new wave, or really bad party band pub rock.

Album Review: The Nitro Brothers deliver on their artistic promise of explosive and fun tracks. The album is full of upbeat, bouncy melodies full of fresh keyboard effects and power pop chords. At times, they even throw in some honky-tonk melodies, but it always seems to have a crowd-pleasing party atmosphere. Sure, there are some cringe-worthy lyrics that would not fly today. And there are varying reports on the internet that they are from Minneapolis or somewhere in North Dakota...but the MN label seems to hold more water.

Stand Out Track: I Want You To Stay, I Don't Like To Wait

Links
spotify
CD Baby
A Sound Deal
MySpace
Discogs

New York Rock and Roll Ensemble (Manos Hadjidakis) - Reflections

Name: New York Rock and Roll Ensemble (Manos Hadjidakis)
Album: Reflections
Year: 1970
Style: Folk, Baroque, Chamber Music, World Music
Similar Bands: Theodore Bikel, Kaveret,
One Word Review: Folksy-Classical Pop
Based Out Of: NYC, NY
Label: Atlantic Recording Corp. ATCO

 Cover & Record

Back & Record

Reflections (1970)

1. Orpheus 2:31
2. The Day 3:40
3. Love Her 4:17
4. Dance of the Dogs 2:58
5. Kemal 4:01 /
6. Dedication 2:47
7. The Three Answers 3:48
8. Street Song 3:26
9. Bitter Way 4:15
10. Noble Dame 3:11

Album Rating: 4.5

Members & Other Bands:

• Dorian Rudnytsky - Vox, Bass, Cello (Invicta)
• Brian Corrigan - Vox, Guitar (Invicta)
• Clifton Nivison - Vox, Guitar (Invicta)
• Mike Kamen - Vox, Keys , Oboe (Emil & the Detectives, Bowie, Metallica, Eric Clapton, Pink Floyd...many more big names)
• Martin Fulterman - Drums, Oboe (Emil & the Detectives, X-Files Theme)
• Manos Hadjidakis - Composer, Producer
• Adrian Barber - Recording Engineer, Producer
• Chuck Davidson - Cover Photo
• Alyse Kaylan - Album Design
• Bruce Tergesen - Producer

Unknown-ness: I never heard of this band, and have no idea what to expect. Will it be chamber style ensemble music? It says Rock & Roll, but what is their definition of that style? The cover art & photo location makes them look like a wedding band playing classical music in full rock band uniforms, but that begs the question, what could that sound like?

Album Review: This 5 man band has taken composer Manos Hadjidakis (never heard of him either), and put lyrics over 8/10 of his songs, which was to become a film score (was never made). Some sound like Israeli traditional scores, some are just folky, and some are classical music with male vocal choirs over top. Kemal sounds like a klezmer version of Nightmare Before Christmas b-sides.

Stand out Track: Kemal

Links:
Wiki
Discogs
Allmusic
Rate Your Music
Rockasteria
Darius

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

Links:
spotify
Wiki
Facebook
NE Rocks
Discogs
Prog Archives
Allmusic

Willie Nile - s/t

Name: Willie Nile
Album: s/t
Year: 1980
Style: Singer/Songwriter
Similar Bands: Springsteen, Dylan, Steve Forbert, etc.
One-Word Review: folksy-piano-based-upbeat-troubadour
Based Out Of: NYC, NY
Label: Artista

Cover, Lyrics, Record

 Back, Lyrics, Record

Willie Nile (1980)

1. Vagabond Moon 4.06
2. Dear Lord 2.52
3. It's All Over 3.34
4. Across the River 4:15
5. She's So Cold 2:36 /
6. I'm Not Waiting 2:31
7. That's The Reason 2:25
8. They'll Build a Statue of You 3:57
9. Old Men Sleeping on the Bowery 3:32
10. Behind the Cathedral 3:05
11. Sing Me a Song 5:20

Album Rating (1-10): 6.5

Members & Other Bands:

• Willie Nile - Guitar, Piano, Vocal
• Clay Barnes - Guitar, Backing Vox (Steve Forbert)
• Peter Hoffman - Guitar
• Tom Ethridge - Bass
• Jay Dee Daugherty - Drums, Percussion (Patti Smith, Tom Verlaine, The Church)
• Roy Halee - Producer
• Mark Johnson - Backing Vox
• Greg Calbi - Mastering
• John Mathias - Recording
• Phil Jamtass - Asst Recording
• Christine Olympia Rodin - Front & Back Cover photography
• John Noonan - Back Photography
• Ron Kellum -  - Back Photography, Design, Art Direction

Unknown-ness: From the cover, it looks like a classic album from someone of Dylan or Waits caliber. The Artsy b/w bohemian smoking photo exudes an air of off-beat literature and street-learned wisdom.

Album Review: Surprisingly, the album is quite upbeat and poppy at times for a singer/songwriter living in Greenwich Village in the late 70's. The vocals are higher and cleared than expected. Before he even put this album out, he came down with pneumonia, which forced him to write music while bedridden. This is Nile's first of only two record released in the 80's due to legal issues, but critics suggest he maintained an equal level of production once he began recording and playing again in the 90's. He has often performed with other "legendary artists at benefits and ensembles. New album due out 5/15/20

Stand Out Track: She's So Cold

Links:
spotify
website
wiki
Facebook
Allmusic
Discogs
Madison House

New Adventures - S/T

Name: New Adventures
Album: s/t
Year: 1980
Style: Pub Rock & Blues
Similar Bands: J. Geils Band, Foriegner
One-Word Review: heavy-greasy-back-alley-pub-rock
Based Out Of: Winschoten, Groningen, Netherlands
Label: Polydor

 Cover & Record

Back & Record

New Adventures

1. Come On 3:00
2. Drive Me Wild 2:52
3. Spacelab Cowboy 2:49
4. You Can't Do That 2:45
5. Right to Cry 2:57
6. Bachus Beckett 3:18
7. Money 2:10 /
8. Backdoor Lovers 3:26
9. Late Late Show 3:15
10. If Your Mamma Don't Like It 3:43
11. Rock & Roll Woman 2:40
12. Genie Dance 3:13
13. Back to the Pit 2:30

Album Rating (1-10): 7.0

Members & Other Bands:

• Peter Bootsman - Guitar Vox (New Legend, AA & The Doctors, Home Flight Selection, Doggersbank, Harley Jay, Wild Romance )
• Harry de Winter - Bass, Keys, Vox (New Legend, Roxette, Purcus Education)
• Henk Torpedo - Drums, Percussion (New Legend, Upsidedown)
• George Kooymans - Producer (Golden Earring)
• John Kreik - Engineered
• George Cramer - Art Direction
• Fernando van Teylingen - Photography

Unknown-ness: Never heard of this band. From the album cover, it looks like an edgy new wave band, promising to be neurotic, jittery keyboard heavy pop. Year checks out, 1979-1980.

Album Review: This Dutch band was an award winning band back from 1978 - present day, as they will still get together to perform on occasion. With 5 albums between 1980 - 1985, they played straight forward blues inspired pub rock, with a heavy edge. Covers of Beatles and Chuck Berry are on the album, and their Berry cover, "Come On" was their biggest single.

Stand Out Track: Come On [*]

Links
New Adventures Bootsman's site (in Dutch)
Facebook
Wikipedia
Discogs
Soundcloud
Interview- Blues Mag

1994 - Please Stand By...

Name: 1994

Album: Please Stand By

Year: 1979

Style: Hard Rock, Power Pop
Similar Bands: Kim Carnes, Patty Smyth, Scandal, Pat Benatar, Blondie, Girlschool, Heart, Joan Jett

"One Word" Review: Defenseless, Hair Rock

Based Out Of: Los Angeles (?)
Label: A&M

Please Stand By - Cover & Record

Please Stand By - Back & Record

Please Stand By (1979)

1. Please Stand By 3:56
2. Wait For Me 4:34
3. Don't Break It Up 3:57
4. Our Time Will Come 4:40 /
5. Wild In The Streets 3:34
6. Stop the Heartache 3:31
7. So Bad 4:05
8. Nerves of Steel 4:20
9. Keep Ravin' On 4:08

Album Rating (1-10): 6.5

Members & Other Bands:
Karen Lawrence - Vox, Piano, Tubular Bells (LA Jets, KL & The Pins, Blue by Nature, Aerosmith, Jeff Beck, Mark Farner Band, Frankie Miller, Graham Parker, Harlequin, Slash's Snakepit)
Rick Armand - Guitars, Backing Vox, Piano (Sundet Bombers, First Fire
Bill Rhodes - Guitars, Clavinet, Bass, Eboe Guitar (Good Thunder)
Terry Linvill - Bass (LA Jets)
John Desautels - Drums, Percussion (Good Thunder, LA Jets, Daddy Warbucks)
Eddie Leonetti - Producer
Jack Douglas - Executive Producer
Lee DeCarlo - Engineer
Ed F. Thacker - Engineer
Rick DeLina - Asst Engineer
Karat - Asst. Engineer
Lee Ann Unger - Assoc. Engineer
Kristine Desautels - Direction
Jim Alciva - Synth (Montrose, Gamma)
Lanier Greig - Synth (Neal Ford & Fanatics
Jim Horn - Sax
Jay Gruska - Backing Vox (Maxus, Three Dog Night, The Association, WG Snffy Walden)
Sarah Taylor - Backing Vox
Michelle Gruska - Backing VOx (Eddie Rabbit, Shaun Cassidy, John Williams, Nikka Costa)
Fred St John - Writing (Billy Squier)

Unknown-ness: Purely purchased on the cover alone. Was this a prediction what 1994 would be back in 1979? Was that the car of the future? It was too much to pass up, and I think I paid a dollar more than I wanted to (3, not 2), but I had to know what this contained. It could be awesome new wave, or just some terrible Pat Benatar rip off.

Album Review: Singer Karen Lawrence is the heart and soul of the band, starting to perform at the age of 9. They were worked up, and ready to sail high into popularity with the producer from Aerosmith & Alice Cooper, and a trail blazed by female rock acts like Pat Benatar and Heart. In her singing career, Lawrence has sung back up for Aerosmith, and worked with Jeff Beck, and wrote the song “Prisoner,” made famous by Barbara Streisand.

“Please Stand By” starts heavy, with a ticking, pulsating beat. The powerful and confident female vocals are reminiscent of Pat Benatar & Joan Jett. The song relies on chords strummed and held onto for delay and power. There is a melodic, new wave breakdown with la-la-las over the pulsing synth rhythm. It is not an overly exciting song, just steady and radio friendly.

“Wait For Me” slows things down a little, and adds on some emotional, reflective depth. The vocals are calmer, and feel like they are building up to something explosive. While the chorus is a bit of a release, it is timed on an off-beat, and doesn’t pack the punch expected. The whole experience feels a little muted in production, or reigned in at the very least. The song ends with a soaring electric guitar that is expressing the emotion the vocals couldn’t really convey.

“Don't Break It Up” begins with a jangly guitar, and a steel drum guitar sound. It has a playful and energetic pace, and really hits a positive and optimistic groove by the time it hits the chorus. The vocals take it upon themselves to travel a full range of notes and tonal infliction that keeps the song very interesting and fun to follow. There is some shift in tone after the first two sections into a bit of a Hall & Oates bridge, even if the song could benefit from being a little denser.

“Our Time Will Come” is a slow dance ballad. Reflective like “Wait For Me” but slowed down to a stagger. The chorus blasts out from nowhere with a Whitesnake, sturdy hair rock intensity, but quickly retreats as the guitar runs out of steam. But the chorus covers the majority of the second half of the song, and plays the song out with slow motion head banging.

“Wild in the Streets” begins with a strutting power chord tempo. It reaches the chorus early, in a playful beckoning style vaguely similar to Bowie’s “Let’s Dance.” But again, the majority of the song feels sparse. As if any 80’s song about being in the street is not complete without a sax solo, we are treated to a short, requisite sax solo

“Stop the Heartache” takes us back to slinky, back alley rock. It has a very blue collar feel and a bit of a sedated Heart’s “Magic Man” sound.

“So Bad” tries really hard to sound so bad, but it is still Girlschool-lite. This is probably the heaviest of the songs on this album, but the power pop guitars post-chorus blow the image.

“Nerves of Steel” features a bit of a country twang, in the way of Aerosmith’s “Living on the Edge” and Bon Jovi’s “Blaze of Glory.” It is methodical and repetitive, but not a great song.

“Keep Ravin' On” starts out with a wild cat roar from Karen, and it chugs along into a powerful energetic rush of adrenalin. Her vocals span a more experimental gamut here. They are raspy, crack a bit and spew a controlled holler. The slow breakdown sounds a little out of place for the pace of the song, but it is a bit of new wave overtop hair guitars, and sounds good. The song finishes out with fade, but captures the head down jamming of Karen’s vocals with the speed guitars.

Stand Out Track: "Don't Break It Up"

Links:
Discogs
amazon
Heavy Harmonies
Rocktopia
Music of the 70's
NEH Records
Karen's Wiki page

911 - Dial 911

Name: 911

Album: Dial 911

Year: 1981

Style: New Wave

Similar Bands: Cretones, Survivor, Mad At The World

One Word Review: Dark Synth Power Metal

Based Out Of: Philadelphia, PA

Label: World Wide Records

 Dial 911 - Cover, Liner Photo, Record

Dial 911 - Back, Liner Notes, Record

Dial 911 (1981)

1. Working Hard 3:39
2. Final Connection 3:29
3. Gamma Radio 3:43 /
4. Dial 911 3:04
5. Social Risk 2:50
6. Bound & Determined 3:24

Album Rating (1-10): 6.5

Members & Other Bands: X
Joe McSorely - Producer, Engineer (Reds, Shades)
John Masi - Vox, Guitar, Lyrics
Dan Michael - Bass & Vox
Michael Rosato - Piano, Synth, Vox
Dave Columbo - Drums, Percussion, Vox
 Mike Lafferty - Asst. Engineer
Ted Jensen - Mastering
Ken Goodman - Managment
Dave Taylor - Equipment
James Scully - Equipment
Richard Menaquale - Equipment
Anthony Ordille - Equipment
Steve Werblun - Logo Design
CWAM 3 / Mohacey - Photography
Kimberlee Sautter - Album Design
Odile Soroka - Album Design

Unknown-ness: I've never heard of this band. I picked it up, surprisingly, because it is from a bit later of an era than I usually buy. But I liked the simple cover and back, it is a short EP, they are local to Philly, and I like the energy in the liner sleeve’s photos. From the photos, I’d guess they are a typical new wave, pub rock band.

Album Review: Not much is available about these guys out there on the world wide web, even for a record label called world wide records. The one site with a very brief band description (selling a copy of the record) claims them to be Synth Punk / New Wave.

“Working Hard” has a zoomy intro with synth effects and new wave-power pop melody. The build up to the chorus is steady, but it doesn’t deliver with the emotional release it sets up. The break down falls into the same pattern of build up without a release…instead it returns to the verse. The song continually resets itself, and never escapes a droning loop.

“Final Connection” is a pub rock power pop song with lots of new wave energy. The synth effects and what sounds like a synth drum take frontal focus in this driving, exercise montage of a song.

“Gamma Radio” is slow to build, and once it gets going, soaring electric guitars offer the imagery of an defunct & abandoned manufacturing plant. The vocals are a little deeper but still nasally as they interweave with the melody. This is the sound of sleek, yet dirty cop dramas, while still hanging on to the synthesizer. And the fluid vocals sound vaguely British.

“Dial 911” begins with a bouncy playful synth line that is quickly replaced with a zooming guitar, and them it changes to a different synth effect melody. The song is played in a minor key, offering a desperate and abstract-like dream. Slightly evil, but mostly scared and nervous. It features a close comparison to Squeeze’s Difford/Tilbrook’s overlapping vocals in the chorus. An ambulance siren effect is incorporated into the song. This paranoid dance song changes direction to a power guitar driven song in the very end, and it includes a fade out.

“Social Risk” has a dark power guitar intro with synth effects overlaid. While the music is nervous, the vocals are taking their time while they use the instrument melody as a guide. The first set of synth effects feel more at home with softer, later 80’s adult pop.

“Bound & Determined” is a driving rock song, and it transitions to a dark metal song, with prog keyboard effects. The chorus breaks out of the gloom with sterile crystalline synth effects and a much more upbeat melody. But post-chorus, the song retreats back to the darkness, with the synth effects tagging along to give variety to the song. Overall, it sounds like a much more appealing version of the christian group Mad at the World.

Stand Out Track: Dial 911

Links:
Discogs
Worth Point

New Musik - Sanctuary

Name: New Musik

Album: Sanctuary

Year: 1981

Style: New Wave

Similar Bands: Phil Collins, Buggles, Thomas Dolby, Naked Eyes, A Flock Of Seagulls, Brian Eno, The Planets

"One-Word" Review: Smooth-Sterile-Synth-Pop

Based Out Of: London, UK

Label: Epic, CBS inc, GTO Records

 Sanctuary - Cover & Lyrics

Sanctuary - Back & Record

Sanctuary (1981)

1. They All Run After the Carving Knife4:54
2. Areas 4:08
3. Churches 4:53
4. Sanctuary 4:12
5. Science 3:20
6. Division 4:20 /
7. Luxury 3:49
8. Straight Lines 5:11
9. This World of Water 3:36
10. Dead Fish (Don't Swim Home) 5:23
11. While You Wait 5:04
12. Back To Room One 4:14

Album Rating (1-10): 9.0

Members & Other Bands:
Tony Mansfield - Producer, Vox, Guitar, Keys (Nick Straker Band, Yukihiro Takahashi, Captain Sensible, Naked Eyes, Burning Bridges)
Tony Hibbert - Bass (Nick Straker Band, )
Phil Towner - Drums, Percussion (NIck Straker Band, Buggles, Naked Eyes, Burning Bridges)
Clive Gates - keyboards (Wet)
Paula Scher - Cover Design
Peter Hammond - Engineer

Unknownness: I’ve never heard of this band, and despite it being a good year, 1981, the cover does not tell much about what is in store. It has a bleak look to it, with a “Little Boxes” style housing development. The back has a dark tint to it, but displays the band, who looks like they could be anything from power pop, to new wave, to pub rock (not that there are big jumps in those classifications). Even the band’s name could mean anything. I’ll have to see what we have here.

Album Review: So New Musik put out 3 albums in the UK, and this record, Sanctuary, is a US released compilation of tracks from their two albums From A to B and Anywhere. “Living by Numbers,” their most “successful” track (a top 20 single, yet not included on this record) was used in a Casio digital calculator commercial back in 1980. Their third album, Warp, was released after this compilation, and was recorded after half of the band left in 1982. It was credited as one of the first albums to be recorded only with digital samplers and emulators. The band leader, Mansfield, went on to collect quite the resume of albums produced. I really like this album, through some of its bleakness, these long-running songs contain some simple catchy parts, and they carry on without much downtime, but with confidence. Although, this album is set up in an incredibly awkward way, where putting the atmospheric songs in the line up as batters two and three, and leaving their star song off the record, and the other catchier songs at eight and nine. The casual listener may have given up by the third song, and never reached the gems in the later part of the album

“They All Run After the Carving Knife” combines jangle guitar strums, with cold, synthesizers and a simple two-hit drum beat. The vocals are sung with a precise execution, where every syllable is important. The chorus is a catchy repletion of “See How They Run” over the crystalline synth. This is the lighter side of dark wave, as it treads the fine line between the two new wave genres with as much precision as the vocal delivery. The song does go on a bit much, but it never loses its hook. The song ends in an instrumental section that could still carry the chorus with it if they so chose, but they showcase some of the nuanced tones and effects that they are capable of, as the song fades out.

“Areas” starts with more bleak, airy/watery synth sound choices with a drum kit that at times sounds like crickets. After a minute goes by, the Phil Collins sounding vocals with a Gary Numan cadence begin over the tundra-esq landscape. The song is sullen and quiet. The song reminds me of what Thomas Dolby was doing with his sonic dreamscapes that created feeling more than pop. This is definitely a practice in musical texture rather than catchy hooks and verse-bridge-chorus-repeat rock song. It too, ends with a fade

“Churches” fades up with some warbley electronic sounds, mixed with a marching pace synth-like drum beat. The verse has a sparse-yet-driving tempo that crashes right into the chorus, which simply states, with a mechanically enhanced vocal, “churches” over and over following the musical breakdown in the chorus. The haunting synth “bells” creates the aesthetic feel of being in an empty church. The randomness of the verse-chorus structure feels like either section could go on for as long or as short as the band chooses, and the result would not make the song any different. The song keeps rebooting as you think it is about to wind down, again, a practice in atmospheric resonance and not a precise song out of a mold.

“Sanctuary” continues with the religious tones for the first few seconds, and then the song thrusts itself into a bouncy piano based new wave pop song. The melody on the verse reminds me of the song “All I Want for Xmas Is You” as well as the Airwaves’ song “Nobody Is.” The secondary chorus melody is a very nice reprise on the previously set up melodies. There are a bunch of great hooks all tied together in this song.

“Science” starts off like a general story song. But the chorus comes on quickly, and has a catchy, yet somewhat unconventional melody, reminding me of Brian Eno a little.

“Division” starts off with an echoing synth keyboard that evolves into an upbeat, shiny, and warbley pop number. The band has a tremendous way of crafting their songs by grouping a bunch of related sounded segments together in any order or length and still coming out with a balanced and cohesive song. And this song is no different in the way they blend parts to the song and over lay them, shorten or lengthen them, and always know when to bring it back to the peaceful, uplifting melody. The song even fades out, and then comes back in for a short 30 second segment to end the first side.

“Luxury” starts out as an airy, sparse atmospheric song, but it quickly finds its computer assisted melody, sounding a whole lot like the band The Planets. There is a bit of a broken down carnival feel in the verse, which is flipped over for the chorus. There is a computerized vocal that repeats “This Is Your Life” over a couple times, enhancing the sterile atmosphere the song creates. They mess around with playing some of the vocal parts backwards further enhancing the alien planet effect they’ve created.

“Straight Lines” fades up with the most straightforward, bouncy, new wave song they have on the record, which is still a far cry from bass-drum-guitar driven pop of their counterparts. The entire song is built on catchy interchangeable parts, that builds to the chorus, and like Lucy’s football, is  plucked right out from under our feet when the Charlie brown chorus is supposed to get there, But after the second run through, we connect with the chorus, and its simple and repetitive delivery is quite satisfying. The single note bass line for the majority of the song moves the song along with the drums as a time keeping percussion. You can’t help but tap your foot to this song. So many parts of the song are visited at the same time as the song ends, and the combination/overlapping of the sections is fantastic.  You don’t even realize 5 minutes has gone by, by the time the song fades out.

“This World of Water” starts with some jangley guitars and synth drumming. The song sprints right into the fast tempo and creative rollercoaster melody, breaking from verse to chorus at random whim. The chorus itself is a wackily computer enhanced vocal when he sings the three parts “Swim for the other side / swimming against the tide / drown but you’re still survive” that is unnecessary, but equally essential to the song. This song could go on and on forever with this chorus repeating with slight differences in tone, and it would still be amazing.

“Deadfish (Don't Swim Home)” continues the water theme on this compilation, and starts off with some celestial spacey tones, sounding like it is played in reverse. For the first minute and a half before the drums kick in. The precisely executed vocal punctuate the verse, and the chorus is sung with a very British melody. But there is definitely a specific style of composition that is all New Musik, and is immediately identifiable, if only they became more popular. The chorus in this song is drawn out a little long, and it is a bit too simplistic to carry with it the same attention as “World of Water.”

“While You Wait” has tinkling bells, echoing racquetball sounds and a lonesome space feel to the start. As the vocals start, a slipshod array of overlaid vocals singing different things begins, coming off as more of a remix than an original track. All of the other New Musik elements are here, but this feels like an un-fleshed out idea, rather than a conscious directional song. I’m not sure why this song was included on this record, unless they wanted to illustrate the diversity of the band. Otherwise, I’m to the point where Epic was trying to make the album as unappealing as possible, while still including some of their best material. The song itself gets caught in a loop, and just fades out when the band hits the 4:50 mark.

“Back To Room One” combines the airy synth jingly sound with a driving kick drum. This song has an interesting melody when it comes to the chorus, where it sounds backwards and unfinished, all while employing washing/computer effects, yet overall, a very appealing end product. Like many of their songs, it goes on for a little too long, and gets caught up in its own repetitive ness, and even though strategies are employed to change up the general construction and keep the listener interested, 4-5 minutes is a little too long for these last three songs.

Stand Out Track: This World of Water
Straight Lines

Links:
Wiki
Fan Site
Tony Mansfield
Facebook
Discogs
allmusic
Trouserpress
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(the) Nobodys - No Guarantees

Name: The Nobodys

Album: No Guarantees

Year: 1984

Style: New Wave

Similar Bands: Bolshoi, Foreigner, Mick Smiley, Fad Gadget, Howard Jones, Talking Heads, Thomas Dolby

"One-Word" Review: Creepy-bleak-Spanish-cop-procedural-synth.

Based Out Of: LA, California

Label: Capitol, EMI

 No Guarantees - Cover & Record

No Guarantees - Back & Record

No Guarantees (1984)

1. No Guarantees 4:02
2. I Scratch 3:14
3. They Didn't Offer Me You 4:10
4. Just One of Your Legs 3:13
5. What Can I Do? 3:16/
6. I Am Helpless Without My Computers 4:25
7. Drops of Water 4:05
8. The Gang on Fortune Hill 4:00
9. I Don't Mind 5:20

Album Rating (1-10): 5.0

Members & Other Bands:

Safeway Goya - Vox, Producer (Squid)

Alex Blanc - Guitar, Keys, Vox (Squid, Poe)

Eric Garcia - Bass, Guitar (Poe)

Ken Ypparila - Guitar, Violin, Keys

Timex Burke - Drums (Woody Herman)
Sarco - Engineering

Unknown-news: I’ve never heard of this band. I don’t remember where I picked this up, but I think it was in a stack of thrift store records early on in my collection. Their logo is simple and clean: white on black forms a recognizable image, with a bar across the eyes preventing theoretical identification, to match their generic and anonymous name. I thought the band photo on the back, even though it is a little dark, was a good enough reason to pick up the album. 1984 was not a strong year, but still proved to be worth a discovery for a dollar.

Album Review: The band itself produced general new wave with keys and emotion, even rising to a level of notoriety most bands could only dream of. Their single and album title track was featured in the movie Firstborn, starring Peter Weller & Teri Garr in 1984 and it was in an episode of Miami Vice (#27, "Buddies,"). Yet after the one album, the band disbanded, and the singer (brother to bandmate Alex Blanc [de Rafols]) is now teaching Spanish at the University of Nevada Reno, and has reverted to his original name Fred.  The stage name was taken to represent his Spanish-American roots, with the grocery store Safeway and Spanish artist Carlos Goya comprising his background.

“No Guarantees” is the supposed single that appeared on the big and small screens. It feels right out of Miami Vice, and I would have probably noted it if it wasn’t true. The bouncy synth bass has a sleek 80’s yacht wealth of a sinister kind feel to it. There is a dark keyboard hook too that adds to the creepy underbelly of crime vibe. The lyrics paint a sorrowful, negative picture of life and future to add to the shady nature of the music.

“I Scratch” is a jittery synth bass line and drum beat that is full of drive. The guitar strums and his Bob Dylan style vocals don’t blend very well to the song style, until they become cohesive in chorus: “I Scratch, but you don’t itch.” Again, this song, too, is kind of creepy in production, but is much catchier than the first song. I’m reminded of a poppier version of the song “Magic” from the Ghostbusters soundtrack that plays after the ghosts are re-released. There are plenty of synth effects layered over, like bells and groundswells, the bass / drum line never gives up or changes, except for one full-stop pause.

“They Didn't Offer Me You” has an even deeper and darker pulsating synth bass note, and it is overlaid with optimistic twinkling synth notes. The singing is dark and monotone. A jangely guitar picks up, and creates a bleak, tundra-like songscape. The song has a sort of U2/Midnight Oil anthemic quality to the chorus. The song feels like it goes on for a little too long.

“Just One of Your Legs” starts with a synth ballad like production. I’m talking about the mid-evening slow song at a 1986 middle school dance. This might be a Phil Collins Easy Listening song, with a Howard Jones / Thomas Dolby delivery. Then the lyrics are creepy: the guy just needs one leg to help him get through…something. After a minute 20, the song picks up with a steady drum beat and soaring guitar. And this change makes the song much more enjoyable. And the song ends letting go of the rock mid-section, and reverting back to the beginning ballad

“What Can I Do?” brings the dreamy 80’s synth love song vibe back, but couples it with a dark bass groove, and the song transitions into a sort of salsa tempo, and is later exaggerated with Spanish lyrics and a brass/trumpet section. The song creates a nice tempo and fun Spanish flair, done up under a new wave bow.

“I Am Helpless Without My Computers” has a funky groove to it, starting out with a four beat kick. This song is a good 10 years before the internet took over all of our lives, and before the true home application for a computer was envisioned. I remember the Married with Children episode where the computer nearly took over AL’s life, and he was all get off my lawn, computers are a waste of time. That was a good 5-7 years after this song. So just for that, this is a very interesting concept and song. The execution has a bit of a choreographed dance to it, but the tempo and outlook of the song feel quite organic and pleasant. He even references a Social Media of sorts: “I am helpless without my computer / How Can I relate / All the social madness / gone to waste.” The verse to chorus build up is a pretty good build and deliver one-two punch. It is not as strong as other great example of the anticipation and delivery song structure, but it is good. Toward the end of the song, there is a much darker breakdown. It becomes sinister and brooding, before it breaks free from the dark grip into the proclaiming, lighter chorus.

“Drops of Water” has a Talking Heads dancy guitar and dark bass combo to get the song started. The guitar balances out for the verse and is replaced by a piano as the driving melodic force. It comes back in the bridge between verses, and is added to with other darker synth production elements. The chorus has a light, simplistic Thomas Dolby feel to it. There is an islander breakdown with bongos and deep synth tones. Mixed with it is an Dark Americana guitar section, giving this song a ominous feel. The song kind of just ends

“The Gang on Fortune Hill” starts with Spanish guitars and feels like a folk version of a specific dance style song. Other effects and tempos to the song give it an island feel too, but there is a fine line between the forms. This would be the story song that would introduce a band back out onto the stage after the full set. Low lights shining up from behind the members through a thick veil of fog, casting big, black shadows on the walls while the faceless figures, cast in darkness, play their parts on stage.

“I Don't Mind” is a mix between a cop show (LA Law) montage and a late period Talking Heads middle album track. The song carries with it a knowing, importance, and stomps around childishly trying to not prove its point in a straightforward fashion, but to communicate it through osmosis. Again horns help out support the melody, as well as a lonely back-alley sax. The song takes all these sections, and puts them on repeat, really overstaying its welcome.

Stand-Out Track: I Am Helpless Without My Computer

Links:
Allmusic

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