Tuesday, March 22, 2022

The 1981 Listening Post - Midnight Flyer - Midnight Flyer

 Midnight Flyer - Midnight Flyer


#524

October 11 1981

Midnight Flyer

Midnight Flyer

Genre: Straight up Rock and roll 

3.25 out of 5





Highlights:

Whatever I Want



….but with some of the technology of the era. It’s a keyboard tinged deal where the ivory tickler trades fours with the lead guitarist. 

This is what a pretty good pub band sounds like in the 70s/80s. “French Kisses” is the kind of song that makes a crawler say, “You guys should have a record deal!”

To which the response is, “We do! We just put out an album! You can buy it at the record shoppe!”

And you don’t cuz they don’t really amount to much. “Do You Want My Love”, “Sweet Loving Woman”…these are perfectly fine songs for a band that plays at 2pm at the rock festival. 


(Listening to “Midnight Love” this lead singer from Greta Van Fleet sounds an awful lot like singer Maggie Bell. And now I wanna fire up a GVF rekkid.)


Good on them to keep the power ballad at the end of the album so you know when to turn it off and move on to the next one. 




https://music.apple.com/us/album/midnight-flyer/1528026348

The 1981 Listening Post - Bob Welch - Bob Welch

 Bob Welch - Bob Welch


#523

October 1981

Bob Welch

Bob Welch

Genre: Rock

2.75 out of 5




What’s wrong with this?:


“All songs written by Bob Welch except where noted.

  1. "Two to Do" (Michael Clark) – 3:33
  2. "Remember" (Bryan Adams, Jim Vallance) – 3:53
  3. "Bend Me, Shape Me" (Larry Weiss, Scott English) – 3:01
  4. "That's What We Said" – 3:07
  5. "If You Think You Know How to Love Me" (Mike Chapman, Nicky Chinn) – 3:55
  6. "It's What Ya Don't Say" (Steve Diamond) – 2:45
  7. "You Can't Do That" – 2:36
  8. "Secrets" – 3:09
  9. "Imaginary Fool" – 3:22
  10. "To My Heart Again" (Tom Snow) – 3:04
  11. "Drive" – 0:49


Um….Wikipedia…maybe Bob doesn’t need that first line. If you’ve written <45% of your record you don’t deserve that disclaimer. (Claimer?)

I can’t make a “requisite cover” list because a lot of this record is either a cover or written by someone else. 

The first two tracks actually pop even though they go nowhere and then they fade out. Now, here’s the thing about the “fade out”: It’s not used anymore but the purpose was for the song to linger as the next one ramped up. You SHOULD still be tapping your foot as the faded song disappears. But no one does it anymore. However, these songs fade out and don’t feel complete. Like they just have nowhere else to go. 

That’s just the first two. After that the album sort of gets its footing with that Outsiders cover and then we finally hear Bob’s own track and it’s probably the best of side one and yet there’s no way it’s a single. Instead if comes across as a hackneyed Jan and Dean tune.
Then we get to the Smokie song, “If You Think You Know How to Love Me”. Everyone knows that I’m a huge ChinniChap fan. But this is just ChinniChap-by-the-numbers. 

Side Two is where the Welch songs live and that should tell us everything we need to know about this record.

Welch isn’t a strong writer, nor is he much of an engaging player or singer. 

So, this whole album is one big meh. 


https://music.apple.com/us/album/bob-welch/838786260

The 1981 Listening Post - The Bee Gees - Living Eyes

 Bee Gees - Living Eyes



#522

By John Tommasino

October 1981

Bee Gees

Living Eyes

Genre: Post-Disco/soft rock/ music to shed tears with.....

Allen’s Rating: 2 out of 5

John’s Rating: ......John's Rating 1 out of 5 stars and that's being generous....



Highlights: 

Soldiers

Don't Fall in Love With Me


Disco is dead. Ronald Reagan is President of the United States and the Bee Gees are an act in search of a new sound. 

It seems like a lot of bands go through stages like what the Kings of the Disco Era were going through in 1981. 


Full confession: I don't care for disco, it seemed insincere to me even as a kid and I've never seen "Saturday Night Fever" although it was my older sister's favorite movie at the time....I don't know, a whole movie about a young Scientologist trying to learn how to dance? Really? They made a movie out of that? And there are sequels? I'm not digressing because if you've ever seen the 2000 sci-fi flop "Battlefield: Earth"(that's a sequel to SNF, right?)- well this is its musical equivalent. 


You can tell right from the start that the Bee Gees must have been a frustrated lot- disco is over and maybe they weren't sure what was next? I'll just break down a few songs here so you get the picture. "Living Eyes" is a weak title track, it's just not engaging in any way. And what do the Gibbs mean when they say "Living Eyes" as opposed to what?  "He's a Liar"- Yes, he is....and that was the clerk at the record store when he sold you this turd of an album. 


"Paradise"- next. Not a good song, the Bee Gees fired three supporting musicians before making this album- they didn't find paradise. 


"Don't fall in love with me."- Don't worry, no one will at this point. I'm a little puzzled why they just didn't call this one "It's gonna be a lonely night" as it is the chorus and it is an engaging chorus...but the song and the band are so down on themselves-.you just want to turn the music off. 


"Soldiers" is a standout but that's not saying much here...but I'm not going to say it's worth a listen. 


"I Still Love You" is a sappy song about loneliness. 


"Nothing Could Be Good" - another weak song that could easily be a replacement for the title of this record. 


You get the picture. 


1981 was a memorable year for me...I was in sixth grade and someone tried to assassinate the president and another would-be assassin tried to kill the pope...we talked about these turbulent topics and the arms race, the Cold War in history and current events class. But nobody was talking about the Bee Gees in 1981.....this album sold less than one million units compared to the 16 million mark reached on their previous efforts. Thanks for reading this. Do yourself a favor, avoid this effort.


https://open.spotify.com/album/1Gkwm2bYBSKGBFBwcGhVj5?si=Z-BqT7wDQLuEIOY61S7ssg

The 1981 Listening Post - The Stepmothers - You Were Never My Age

 The Stepmothers - You Were Never My Age



#521

October 15 1981

The Stepmothers

You Were Never My Age

Genre: The nexus of glam and metal…before it became a cash cow. 

3.75 out of 



Highlights:

I Hear a Rumble

Guardian Angel

Inland Empire


Requisite 80s cover: “To Sir with Love” a song I never knew needed a punk version but, yes, it indeed did. 


A glam rock band had intense but loving sex with an up and coming (yes, on purpose) metal outfit in the bathroom of The Whiskey A Go Go on Sunset and gave birth to a weirdly heady and fun bunch of leather clad losers who know their way around a hook. They stay away from them by being “around” the hooks but, nevertheless, each track they come up with is trashy and kind of terrific. 


This is 1981 but the sound is decidedly mid-80s rock/metal. And it’s a hoot. 


https://www.epicurious.com/recipes/food/views/classic-dry-martini-237574

The 1981 Listening Post - Social Climbers - Social Climbers

 Social Climbers - Social Climbers



#520

1981 Housekeeping

Social Climbers

Social Climbers

Genre: No Wave

4 out of 5



Highlights: 

Chicken 80

Chris & Debbie

Palm Springs



There’s precious little about this band so Imma just say this reminds me of xex in that it sounds very DIY electronic stuff with a bit of sardonic wit and a whole lot more proficiency. 

And it borders on the early days of hip hop. I’m thinking of the drum programming on “Chris & Debbie” which is also an heir apparent to latter day Clash. Keyboardist Dick Connette has been putting his stamp on music for decades, as evidenced by his website catalog. He’s worked with the likes of Louden Wainwright III and others but it’s not extensive and this project lasted one record. 

It’s a headset joint that doesn’t require much of the listener. Just have it on and check in once in a while and I’m noticing a lot of that in the 80s: artists are playing with form and what “music” is and none of this would be heard anywhere outside of the club where they play or wayyyyyy left of the dial on a college radio station. 

This would definitely find it’s way onto the WFMU playlist at some point. 

And I would not have hesitated to put Social Climbers on a bill with The Feelies. As an opener, of course. But it would have worked. For Pere Ubu as well. 


I’m super curious how Producer Bob Ludwig got involved in this thing. 



https://www.youtube.com/watch?v=-lkM3RYxmDs

The 1981 Listening Post - J. Geils Band - Freeze Frame

 J. Geils Band - Freeze Frame



#519

October 26 1981

By Jon Lulu with assist from Jeremy Lulu

J Geils Band

Freeze Frame

Genre: new wave / post punk / bluesy party

Allen’s Rating: 4.5 out of 5

Jon’s rating: 3.75 out of 5

Jeremy’s rating: 3.0 out of 5


Highlights: 

Freeze Frame

Centerfold

Angel in Blue



I approached this review from the perspective of having a ton of nostalgic affinity for the two songs everyone knows, and not much else.  I was never a J Geils “fan” (I do not know if such a species exists) and I know next to nothing about them.  But I did have this album at the young formative age of 13 or so.  To add to the fresh-ears approach, I asked my musically talented  son Jeremy (18) along for the ride… A fresh listen, without the nostalgia factor.  I think that explains the 0.75 gap in our ratings. 


FREEZE FRAME!! Is how it starts.  You know this.  The title song - from the jump - says, “this is a party.”  From the shutter clicks that follow the opening exaltation to the bouncy beats, to the keyboards and horns, all the way through to the hand clapping and the minor scat singing and the camera clicks at the end, Freeze Frame, the opening song, is a promise of a party and a follow through to fun.  I don't know what that song is about and I don't care. I'm hooked on the sound and the style from the beginning. Great start. 


Next up, Rage in the Cage tries to continue the vibe and it does an ok job. But if this is a party, then this is the part where you've already said hi to all the people you want to see and and every one is happy to see you too. It’s upbeat but the music kind of fades into the background and is more functional as you grin and pour some drinks. People are dancing. It's working. The next day no one will remember what song was on. 


Centerfold!!  We’re back! The band is commanding attention with its super catchy tune, and a sort of scandalous concept.  Those soft fuzzy sweaters! The neglige! The fall from homeroom purity to the pages in between. So scandalous!  (reader: are you reflecting upon the innocence of that treatment of sex on the radio then, as compared to today’s WAP motif? I was; what a softer time we seemed to grow up in).  "Take you to a motel room and take ‘em off in private!"  OMG. I was maybe 13.  The dark side of sex was here. "I guess I gotta buy it!"  Yup!  But besides all its puerile intrigue, Centerfold is a great catchy pop tune with an uncanny sing-along quality.  Na na na na na na, etc. You’re already singing it in your head I bet.  Pro-tip: this is a killer secret karaoke weapon. Save it for emergencies. 


Do You Remember When is a mediocre filler song that belongs in the shadow of Centerfold. Nothing after that song will likely shine as bright, so this fits here. It kinda sucks.  Maybe useful as a soundtrack to a bad 80s film montage, but that's about it.  I don't know. Don't care. I was ready for it to be over the minute it started. 


Insane Insane Again.  “Pretty good” with a shoulder shrug. That's what my review-mate, Jeremy has to say about it. “Eh. Lot of sound effects” he adds, continuing, “pretty good, not great.” maybe he's right, and I think he's being kind.  But… I see that his toes are tapping. So. Apparently the party is still on.  I don't hate this song either. Does it need to be in my life?  Not exactly. But I won't shut it off when it comes on.  Grab another drink, smile and throw your arm around a pal. We are still having a good time.  (aaand, wait, why is this song still on??  Peter Wolf and company can't seem to kill it). 


Okay, finally.  That one is over, yielding to Flamethrower.  I ask Jeremy, “what do you think of this one?”  “They all kind of sound the same to me,” he answers . Yup, again.  It’s not bad. Not great. And not really necessary except I guess as a vessel to carry the two big ones to market.  This song also Would. Not. Die. Why does it clock in at 5 minutes?  (See the previous sentence).  


River Blindness.  Wait.  Huh?  We are doing West Side Story with a bluesy experiment vibe now?  Was not expecting that.  Jeremy said it sounded more 90s and I can see that.  We both agreed that the theatrical vibe and featured syncopation was a good and welcome break from the tiresome road we had been on for the last three.  But where are we in our party?  It's getting late. Some shit has gotten weird. Most of the best people have left, and that dude no one knows with the Flock of Seagulls look is controlling the music now. Ok whatever. 


It’s been a long road since Centerfold.  What ever happened to our homeroom angel?  We get a clue in Angel in Blue, the darker and much more wholly tragic deeper dive from Centerfold. What happened to her is… not good.  But this is a good song, with depth.  Maybe some of that other boring stuff in the saggy middle had meaning too but I was not paying attention. Perhaps it was the cleaner melody, catchy production and darker mood of this one, but suddenly I am paying attention to the music and the lyrics.   Our Angel has traveled a hard road too, from a girlie magazine to "scoring in cars" and doing lap dances in bars.  Her soul is dead.  “And the bees they had stung her, The birds they had flown; There were guys she could number; But none had she known; And she never had dreams; So they never came true.”  Man, the J Geils Band went deep and dark.  I had no idea. 


This is it. The party's nearly over. People are sizing up who they may end up with or what's next for a night that's getting foggier… and sadder. It's time to rally, put that depressing stuff back in the dark corner of the mind and try to salvage a little rebellious fun before the sun comes up. 


What do you do to close out the night after hearing about how badly things ended up for that cute girl from homeroom class?  Go outside and take a Piss On the Wall.  The final song gives the world and this night a solid middle finger. "All I know is I just gotta take a wiz."  It's a fitting and satisfying quick-hit catchy end.   The night’s over. As Peter tells us, all that's left is to try to "hold it steady while I piss on the wall." 


With those final words from this album, it's now time to get some sleep and hope the hangover isn't too bad. 


https://open.spotify.com/album/48joW5905AMbTFLvy8ZWch?si=OcV-oyVfRl2TtiaYuSl_Dg

Then 1981 Listening Post - Slow Children - Slow Children

Slow Children - Slow Children



#518

1981 Housekeeping

Slow Children

Slow Children

Genre: New Wave

4.25 out of 5



Highlights:

Brazilian Magazines

Malicious

Ticket to France



I listened to this in the order of the original UK release and boy am I glad I did. 

Not that I would know differently because I didn’t listen to the other track listing but opening with the hyper energetic “Brazilian Magazines” is a kick in the new wave teeth. I’m curious how and why Missing Persons were able to make a killing off this sound when Slow Children were doing it just as well and earlier. 

Okay, I know….Terry Bozzio. I get it. But this is like listening to a lost MP album that is actually terrific. 

And you know why? 

Jules Shear. He’s the guitarist here as well as a producer. He and Pal Shazar, the lead singer would marry and collaborate throughout the 90s and beyond. I’d never heard of her and I wish I had. 

In a way it reminds me of Mates of State in that the songs are all excellent but nothing is really sticky. The production is stellar and crisp. If the highlights intrigue you, put the whole record on.


https://open.spotify.com/album/6Xax4NJMPyVTk86eW1vdGD?si=y3JOJYnHQCeRjZZCSJVIdA

The 1981 Listening Post - Santers - Shot Down in Flames

Santers - Shot Down in Flames 



#516

1981 Housekeeping

Santers

Shot Down in Flames

Genre: American Rawk

3 out of 5




Highlights:

Points of Resistance




We’ve reached that point, dear readers. 

~ 3000 records reviewed. 

I’ve got nothing more to offer for records that offer little. 


This is generic metal rawk and it has be wanting to hear a Stryper record.


Do you hear me, Santers! You’ve turned me to STRYPER!

GTFOH.


And then….I found myself watching some dog videos on Twitter and tapping my feet during “Time After Time”.

Tapping. 

My.

Feet.


Dammit. 



https://music.apple.com/us/album/shot-down-in-flames-the-definitive-remasters/577907777

The 1981 Listening Post - The Associates - 4th Drawer Down

The Associates - 4th Drawer Down  


#516

By Julia Talbot

October 7, 1981

The Associates

4th Drawer Down

Genre: Scottish post punk easy listening electronic dirges

Allen’s Rating: 3 out of 5

Julia’s Rating: 3.5 out 5



So… full confession here. When I signed up for this review, I had the Association on my mind. Not the Associates. Very different genres. Very different bands. My, was I surprised when I was ready to tuck into whatever the Association had to say in 1981 (their last actual album was released in 1971, it was gonna be great!) and realized that I had misread the list and signed up for something, um, different. Despite both bands speaking English and all the members being human, white males, there is really not a lot of crossover between the Association’s California sunshine pop stylings and the Associates’ Scottish post-punk/new wave genre-wise. Maybe they all used a lot of Dippity Doo? Chain smoked? Were not vegetarians? Hard to know, and I for one am too lazy to bother to find out. 


In other cases of mistaken identification, I’ve been watching the first season of Star Trek: Discovery lately and while this particular incarnation of the Star Trek universe is not as horribly sexist as I recall the original series being (Bonus - the uniforms are just as adorable), the fact that the douche-baggy captain is the same guy who played Lucius Malfoy in all the Harry Potter movies never fails to trip me up. I spend a lot of time wondering if I am just biased and knee-jerk writing this character off because I so hate Slytherin. In other not really relevant news, I recently reviewed a Cliff Richards album and doing my diligence on the review listened to the album several times. This has completely confused the Spotify algorithm, one that I count on to show me stuff I LIKE… like every cover ever produced of Neil Young’s Harvest Moon and old R&B stuff. Now it’s less of that and more Cliff Richards. Nooooooo. 2021 is not off to a good start, I mean aside from the rebel insurrection and all the rest. It is because of this that I did not listen to this album a ton. 


So, getting back to the Association and “4th Drawer Down”.  This is a band that is well regarded and well-reviewed by music critics but really never experienced much commercial success in America (one song, Fire and Ice, made it to #30 in 1990) and only modest success in Britain – with a total of seven of their songs cracking the top 75. As far as I could tell, the record sales never much followed. People were happy to hear them on the radio and let it stay at that. Of the band members and production team that put out this album, the bassist, Michael Demsey, played in the Cure and Roxy Music but hardly became a household name. The production team: Mike Hedges and Flood are much more successful. Both subsequently went on to produce much more famous albums and bands. 


So as for the music itself. When I began my reviews for this page, I think I started with Spandau Ballet, which represented a kicking off point in the musical offerings and genres of 1981. While the album I reviewed was pretty uninspiring, the Association’s album, released at the end of the 1981 does indicate progress in the new romantic style, coming at the genre from a post punk starting point and incorporating electronica and synthesized dance elements that were still fairly new to everyone’s ears back then. Their prior album, “The Affectionate Punch” released in 1980 has an overall sound that is a lot rawer and more unpolished. “4th Drawer Down” has a tighter, more controlled, dance music-y feel to it. From an academic standpoint, it is interesting to listen to these two albums for comparative purposes. I am not sure if would listen to either of just because I wanted to rock out to these largely forgettable tunes. Without some sort of sentimental hook, they just aren’t that gripping. 


https://open.spotify.com/album/3K15ES8t2CF51i4QWpaz2c?si=HmDinCD-Q56V93GRh7KSXg 

The 1981 Listening Post - XL Capris - Weeds

 XL Xcapris - Weeds



#515

October 1981

XL Capris

Weeds

Genre: More XL Capris

2.5 out of 5




XL Capris is back for the second time in 1981, presumably to shoot the wad of songs they came up with before disbanding. 

So, what more to say except that it’s a bunch of songs written and performed by the same Aussies who didn’t make much of a dent the first time around.


Here’s the previous review. It applies here:


“Another one of those Australian bands that no one’s heard of who made a record at least as good as anything Split Enz ever did and have nothing to show for it. 

Maybe it’s cuz there’s no potential hit but, I would argue that all that separates “Refrigerator Town” from “I Got You” is the latter is a boy-wants-girl tune and the former is a really dumb tune where the bridge is “The light goes out when you close the door” but that don’t make it not good. 

This entire album feels like a lark and that’s what makes it work. “Evelyn” is the kind of track that you’d get from Epoxies in the early 00s. I don’t think the band was trying to make a career out of it as much as have a good time doing it. 



Fun Fact: Kimball Rendall, a founding member of this band, went on to be the second unit director of the Matrix Movies as well as a found member of Hoodoo Gurus. Who knew-doo gurus?”



Listen to a few seconds of “Please excuse Me” and then tell me you don’t immediately stop and fire up Its a Condition. Cuz that’s so much better than this but that’s what this wants to be. 




https://www.youtube.com/watch?v=DHg75vWhMd8

Monday, March 21, 2022

The 1981 Listening Post - Human Switchboard - Who's Landing in My Hanger?

 Human Switchboard - Who's Landing in My Hanger?



#514

October 1981 LISTENING POST DISCOVERY

Human Switchboard

Who’s Landing In My Hanger?

Genre: New Wave VU

4.5 out of 5




Highlights:

Say No to Saturday’s Girl

Who’s Landing In My Hanger?

(I Used To) Believe In You

Book on Looks

Where the Light Breaks 



I almost forgot what it was like to enjoy simple song crafting about heartache and heartbreak and love. 

The title track could have been a Boomtown Rats joint if they had a sweet farfisa organ played with abandon. 

The bassist produced this and it sounds like a bassist produced it. Which is a damned shame because it sounds muddy as hell and the songs deserve better.

If you like Velvet Underground “Refrigerator Door” pulls on all those strings but I like the give and take here more than anything Nico ever did. And they never wrote anything as lacerating as “(I Used To) Believe In You”. Maybe they did and I didn’t hear it. But this is a decade later and I prefer this. 


But the songs don’t linger in the memory. I do wonder what they might have come up with had they stuck around but…they didn’t. I’ll keep the highlights, tho. 


https://music.apple.com/us/album/whos-landing-in-my-hangar/1462791814


The 1981 Listening Post - Bow Wow Wow - See Jungle! See Jungle! Go Join Your Gang, Yeah! City All Over! Go Ape Crazy!

 Bow Wow Wow - See Jungle! See Jungle! Go Join Your Gang, Yeah! City All Over! Go Ape Crazy!


#513

October 1981

Bow Wow Wow

See Jungle! See Jungle! Go Join Your Gang, Yeah! City All Over! Go Ape Crazy!

Genre: Malcolm Mclaren

4.25 out of 5



Highlights:

Jungle Boy

Chihuahua

(I’m a) T.V. Savage

Golly! Golly! Go Buddy!






(I took this one for myself)


The Listening Post group started because of a conversation that I had on my main feed about Malcolm McLaren’s Duck Rock, how I’d never heard it and how Paul Simon owed him royalties and credit for Graceland. 

That album is two years away from this one but all you had to do was listen to this and know that Malcolm was on to something.

In fact, it’s obvious that Adam Ant took the sound in a fit of pique. 

Old story: Adam is a post-rock punker who, with eyes on success gets Mal to manage him. Mal realizes that his vision will never come to fruition with Adam at the front. But he’s obsessed with African rhythms, especially the Burundi Beat. He stays Adam’s band, Adam hooks up with Marco Pirroni and the two of them incorporate those ideas into something brilliant and magical.


Meanwhile, Malcolm doubles down on his Machiavellian dream, finds a cute girl in a laundromat, makes her the lead singer, puts her, naked, on the cover of their first album and the world explodes in shock.


Because of all that back story and my affection for Adam and his Ants I had to get my hands on this one. I still have my vinyl copy (albeit with the American cover).


I haven’t listened to it in it’s entirety in over 20 years. 


Where Adam and Marco played around with guitar tones and a multitude of styles from Burundi to Post-Punk to Sergio Leone and even pirate music, Bow Wow Wow has one lane and they stick to it. This is all percussion and David Barbarossa is the star. That isn’t say that anyone is weak, certainly not Matthew Ashman’s sparse but sparkling guitar or Gorman’s in the pocket bass (listen to “Mickey Put It Down” & “Golly Golly Go Buddy” to get a sense of what Gorman was bringing to the party). Lwin is perfect for what she’s being tasked with, yelping the snot of a 14 year old. (To be fair, BWW tries to get into Spaghetti Western with “Orang-Outan” but it’s not close to the kitsch that Adam brings. 



There are many producers who are hailed as game changers and we talk about them in conversations from Mutt Lange to Steve Lillywhite to Bob Ezrin and Roy Thomas Baker and when Kim Fowley is mentioned as a Svengali, along with The Colonel no one ever talks about Malcolm Mclaren. He was abrasive and he foisted John Lydon and Sid Vicious on the world. But his impact is enormous and should be reckoned with. 


This album is a perfect companion to Kings of the Wild Frontier and together they represent the part of the 80s that doesn’t get the love or amplification it deserves but it’s all right here on those two records. It falters only by being very repetitive and by the end you might be reaching for your Bananarama records to get the same sensibilities of say “Why are Babies So Wise” but without the incessant tribal drumming. 


As a stand alone record it’s not available but the humble compiling staff at The Listening Post has created this playlist: https://www.youtube.com/watch?v=KK2HBndkVdQ&list=PLlvn8uktX5Lun98gNSXYCk8ApSwkT5EXL