The 1980 Listening Post - Peter Hammill - A Black Box

Peter Hammill - A Black Box

#60

1980 Housekeeping

Peter Hammill

A Black Box

Genre: Experimental Rock Indulgence

2.25 out of 5

I don’t have much to say about Hammil. He never fails to disappoint me, despite the reputation of Van Der Graff Generator. On this one he comes across as a David Bowie disciple who heard Peter Gabriel’s solo work and decided he wanted to play in that arena as well, only no one else wanted to play with him so he did all the work himself. This, of course, means that there was no one to edit him, arrange him, help him or just say, “Peter, Petey, what in the actual fuck are you trying to say here?”

To which he would have gurgled something about writing a stage show that no one would ever see and had no book or story. 

There. I guess I had a wee bit to say. 

https://music.apple.com/us/album/a-black-box/714570675

The 1980 Listening Post - Bryan Adams - Bryan Adams

Bryan Adams - Bryan Adams

#59

Reviewed by Thom Bowers

Bryan Adams

Bryan Adams

Allen’s Rating: 2 out of 5

Thom’s Rating 2 out of 5

Tom’s Highlights:

Hiding From Love
Give Me Your Love
Remember (cause I'm a sucker for synth solos) 

By Thom Bowers

What does Bryan Adams bring to the party?

The question was constantly running through my mind since my first listen to this, his debut record. I had neever seriously considered it before. 

Since my initiation into pop music is largely inseparable from early Mtv, I do not clearly remember a pre-Adams era. He was always just...there, alongside other solid but unremarkable white guy solo acts with solid but umremarkable songs. But those songs did click with people and light up the charts, and he has enjoyed an impressively enduring career as an A-lister, despite not standing out much as a personality or performer.

So I suppose what he brings to the party are the songs, and I was pleasantly surprised to learn that those songs, by and large, came from him. My assumption, even before he scored with that Frankenstein's monster of a monster ballad from the Robin Hood movie, is that he was a blank slate propped up by larger forces. But delving into his backstory, he seems instead to be more of a journeyman songwriter who, at the time of this recording, still hadn't quite landed on whether he and his frequent collaorator Jim Vallance were writing for others or himself. It's worth noting that while this record didn't make any noise on the US charts, quite a few of the tunes were covered by (or intended to be covered by) artists such as Scandal and BTO, as well as lesser-known groups at the time.

The songs themselves also seem to bear that out, mostly coming across as grayscale demo sketches with spaces left for artists with a little more flair to color in: "Give Me Your Love" is a decent template of 70s era Hall & Oates, and "Don't You Say It" could have easily fit in on a Pablo Cruise record. Instances of stylistic stretching like these tend to be the album's more interesting moments, while the rest is...well, solid but unremarkable bare bones pop-rock being produced by a solid but unremarkable performer. But to be fair, one who both got in and pushed forward based on the strength of his own craft, and that ain't nothing.

Also, the chorus of Hiding From Love is still stuck in my head a week later, and that ain't nothing either. 

https://open.spotify.com/album/6IKA8Pe9HZoJWqxeKIb27C?si=cJ9b8C-HTs-Yjj4aG9F8wQ

The 1980 Listening Post - John Wetton - Caught in the Crossfire

John Wetton - Caught in the Crossfire

#58

1980 Housekeeping

John Wetton

Caught in the Crossfire

Genre: Power Pop Prog Rock

3.25 out of 5

Highlights:

Turn On the Radio

I am not an Asia expert, I’ve heard Astra and Alpha and we all know that big big hit. So, I don’t really know Wetton’s past work with Roxy Music or UK. But he was also in Uriah Heep and Wishbone Ash and King Crimson and Roxy Music so, either John was a great contributor or he had access to the best drugs. Or he is the Cliff Richard of Prog Rock.

This is so close to being what that first Asia record will sound like. He needs a producer. 

When I hear songs like “Get Away” what I think is that this is what it would have sounded like if the Moody Blues had a producer like Mutt Lange in the 80s. 

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

The 1980 Listening Post - Martha and the Muffins - Metro Music

#57

February 1980

Martha and the Muffins

Metro Music

Genre: Everything you think of when you think of “New Wave”

4.25 out of 5

Highlights:

Echo Beach

Paint By Number Heart

Indecisive

Cheesies and Gum

There’s something about “Echo Beach” the big hit off this record that sets it apart from other “New Wave” music. It’s that guitar. The riff and then the rhythm sounds like a 70s classic rock band. The saxophone gives it that classic 80s flair. So, somewhere in the nexus between Blondie and Romeo Void and Quarterflash is that song. 

Down stream it just gets better. I adore the duet interplay between the Marthas on Paint By Number Heart. And the 3rd single, which is the 3rd song in a row of singles, “Saigon” is also a nice slice of NW. 

In fact, the whole record is. 

Why isn’t this available to stream? Darn.

YouTube: https://www.youtube.com/watch?v=WNy8ePVkPVk&list=PLlvn8uktX5LuZ0PVEe6VLdNv07DgOLOgD  (Missing 1 track - Revenge (Against The World))

The 1980 Listening Post - Orchestral Manouevres in the Dark - Orchestral Manouevres in the Dark

Orchestral Manouevres in the Dark - Orchestral Manouevres in the Dark

#56

Reviewed by Tom Mott

February 22 1980

Orchestral Manouevres in the Dark

Orchestral Manouevres in the Dark

Genre: SynthPop

Allen’s Rating: 3.5 out of 5

Tom’s Rating: 4 out of 5

Tom’s Highlights: 

Electricity

Messershmitt Twins

Julia's Song

Red Frame/White Light

Dancing

tl;dr: Stars out like the less-interesting sibling to Tubeway Army and Depeche Mode, but starting with Track 4 they forge their own path and by the end I was cheering them on.

Long version: Where to start? Some 19 year olds who clearly love Kraftwerk (and Neu! and Gong and Tubeway Army) mess around with synthesizers, tape loops, and drum machines. This is what the world needs. My inner art teacher says A++. I mean, right? Teenagers dicking around with gadgets and inventing new noises. I love them for that. Also, they used their advance for this album to build their own home studio. Double love.

Backstory #1: Prior to this, OMD intersected with my life in two ways: their insipid synth-pop ballads that were everywhere in 1985-86. And their single Enola Gay which is on Urgh! A Music War -- and is much interesting and full of potential energy.

Backstory #2: My favorite song on The Police album "Synchronicity" is Mother. Because the rest of that album had been polished down to a glossy, blank turd, but Mother is a glorious sonic onslaught in 7/4 time. Plus, let's hear it for the underdogs: that song is all about Andy Summers and Stewart Copeland. Plus, my mother used to sing "Oh the telephone is ringing, is that your mother on the phone?" to me over the phone whenever she called, and that's awesome. Plus, fuck Sting. How is this relevant? I like the mess over the gloss.

Anyways ... let's dive in track by track: 

1. Bunker Soldiers. Ruh-roh. First thought is "boring." Somewhere between Kraftwerk, Depeche Mode, and Tubeway Army. That fat synth sound is fun. It catches on after a couple listens, but still: the center doesn't hold. This is honestly what I was expecting when I approached this album. My second thought is INXS ripped them off for "Don't Change." So it goes. Next! 

2. Almost. Sounds like a lost Kraftwerk single, until that croony voice I remember from their horrid mid-80s singles appears. Ugh. Next!

3. Mystereality. This track is where it sinks in that these guys are exploring blind, trying to create as new genre. There are bits of early-70s electronic sounds ("Popcorn"), bits of cheesy MIDI video game music. Some icy German synths. They're on the verge of ... something. But wow I have a hard time with his horrible nasal drone. I decide I hate his voice. A saxophone appears midway through, and it gets more interesting. Or does it? Next!

Three tracks in and so far, it's an A for effort, but lacking. But then .... BUT THEN!!!!!

4. Electricity*. Starts off as another lost Kraftwerk single, straight out of the Radioactivity era. And that's OK. Have I heard this before?!?! Wow, it sounds like "OMFG Dogs" on YouTube. It also sounds like their track from Urgh! -- "Enola Gay." I like this. He's still too nasal for me. It's a Kraftwerk knock-off, but they're really trying here, and they've made something new. The throbbing bass adds a lot too. If someone had given me this in 1980 as "the secret stuff" I would have been excited.

5. Messershmitt Twins* That German title: another nod to Kraftwerk. Starts out atmospherically. Old school drum machine. First thoughts are that Tears for Fears did this far better with Ideas As Opiates. Young Marble Giants and Suicide did the minimal thing better too. But ... it holds up and expands on repeated listens. Well done! 

6. Messages. Sounds like a B-Side for Electricity. Boring. 

7. Julia's Song* OK ... Up until this song, I found the lead singer's nasal voice to be really irritating. On this song, he goes full-throttle and weaponizes it. And it works! Now I love him. Reminds me of Voice Farm (who probably listened to this.) Sounds like Yoko Ono dropped by and nudged him to go all-in, and I love her for giving him that advice, even though it only happened in my mind. Plus, the bass is this song is fantastic.

8. Red Frame/White Light* Another highlight. Sounds an awful lot like Tubeway Army, but then it veers into weird "My Super Mario cartridge is glitching" territory. Cool! Is the title a nod to the Velvet Underground? I wonder ... but sonically I don't hear the connection.

9. Dancing*. This is their Revolution #9 but with electronic singing dolphin sounds. If an art school gal had danced to this with me in college I would have melted into a puddle of unrequited love. Crazy and delirious.

10. Pretending to See the Future. Sort of points the way to their later wretched synth-pop output. But it's in its raw, embrionic form, so I give it a pass, barely.

The later re-releases include a cover of the Velvet Underground's "Waiting for the Man." A-ha! I thought I sniffed something earlier. It doesn't add anything over the original. And that's OK. They're playing songs they love.

So -- yeah! give it a couple listens then add your favorites into some playlists. Definitely worth the listen.

SONGS & BANDS NAME-CHECKED IN THIS REVIEW THAT ARE WORTH 20-SECONDS OF YOUR TIME:

The Police "Mother"

https://www.youtube.com/watch?v=2A9RvEzCYoc

Hot Butter "Popcorn" (with a nod to Gershon Kingsley)

https://www.youtube.com/watch?v=YfdLh0MHqKw

Kraftwerk "Radioactivity"

https://www.youtube.com/watch?v=M0D7MBBI2Ik

Tubeway Army "Are Friends Electric?"

https://www.youtube.com/watch?v=QzSM3pRtgcM 

"OMFG Dogs!"

https://www.youtube.com/watch?v=1Sqi-AvRiC8

Tears for Fears "Ideas as Opiates"

https://www.youtube.com/watch?v=8gEp9WRn8dk

Young Marble Giants "Final Day" 

https://www.youtube.com/watch?v=lzt3LffDGdw

Voice Farm "Sleep"

https://www.youtube.com/watch?v=X-yBWJmvm7A

Neu! "Hallogallo"

https://www.youtube.com/watch?v=zndpi8tNZyQ

Velvet Underground "Waiting for the Man"

https://www.youtube.com/watch?v=EwdH09vJwwU

https://open.spotify.com/album/5AN8aqTrcuMZO7rpD9U2yF?si=50NJwX3zRtSWIO8xgGDUPA

The 1980 Listening Post - Bruford - Gradually Going Tornado

Bruford - Gradually Going Tornado

#55

February 1980

Bruford

Gradually Going Tornado

Genre: You got Jazz in my rock! You got Rock in my Jazz! Either way, I still hate it!

2.25 out of 5

Highlights:

The Sliding Floor

Tornados. 

Prog rock seems obsessed with them.

Bruford. Yes (Even though they threw a tomato at the cover…ha ha…it’s a tomato tornado.

Pink Floyd. Don’t believe me? Play the first side of Dark Side of the Moon with The Wizard of Oz. It lines up perfectly. Right to the Tin Man’s heartbeat. 

One would assume, from this title, that the album would eventually pick up steam and become a whirling vortex gathering everything in it’s past. 

It does not. 

This reminds me of that other jazz/rock passion project, Brand X by Phil Collins. Only that album, Unorthodox Behavior had a catchy number, at least. This is a noodle-fest and I’m not qualified to rate it correctly. 

Toward the end of “Q.E.D.” I seriously thought I was listening to hold music for a 70s era, Alex Trebek hosted game show. 

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

The 1980 Listening Post - The Blasters - American Music

The Blasters - American Music

#54

February 1980

The Blasters

American Music

3.75 out of 5

Highlights:

American Music

Marie Marie

In 1981 (I believe), I was reading Time Magazine. This was not a regular occurrence, I assure you. I am nowhere near as erudite as I wish I was. There was a kid on the bus to school when I was 10 who would brag that he red, for fun, the dictionary, to learn new words. I can not express how happy I was to learn that he failed out of college with a sever addiction problem. I’ve probably lost a few months of my life for just writing that sentence. Hate and bile are more corrosive than bacon fat but a helluva lot of fun to write. 

In that issue of Time they listed the “best albums of the year”. The 1-2 punch was X’s Wild Gift and The Blasters self titled. It took me a while to realize that both albums were distributed by….Warner entertainment. Which also owned Time. 

I eschewed The Blasters. I loved the name. Hated the cover. 

X, on the other hand? Just that one letter screamed punk to me. Edge. Anger. The music of adolescence.

Over the years I eventually came to listen and appreciate the Blasters. Especially when one of the Alvin Brothers co-wrote X’s biggest hit, “4th of July”. 

But I wasn’t wrong. 

X was new punk. A razor blade of poetry and magically stripped down rock. 

The Blasters, on the other hand, were straight up rock and roll revival, out of the a Saturday Night hoedown. Their version of it was precise and spot on. And, for a 50s revival, the timing was also perfect. So, why didn’t they break through the way Stray Cats did? 

I can’t really say. Except that Setzer added sex to the music, which was all about sex to begin with and The Blasters seemed to be your Uncle’s best friend. The guy who elbows your uncle hard in the ribs every time Uncle Stanley makes some unctuous and snide comment about your daughter, his niece. 

And Uncle Best Friend doesn’t take that opportunity to bang your daughter. Nope. He teaches her how to play guitar instead. 

Which is fine. It’s great, even. 

But it doesn’t sell records for Uncle Best Friend’s band. 

However, the daughter grows up to be a 90s Riot Grrl rocker and that’s fucking great. Points for that!

https://music.apple.com/us/album/american-music/1491412860

The 1980 Listening Post - Tommy Tutone - Tommy Tutone

Tommy Tutone - Tommy Tutone

#53

Reviewed by Craig Fitzgerald

February 17 1980

Tommy Tutone

Tommy Tutone

Allen’s Rating: 3 out of 5

Craig’s Rating: 2 out of 5

Genre: Great Value Rick Springfield

Allen’s Highlights:

Angel Say No

Craig’s Highlights:

The Blame

Rachel

By Craig Fitzgerald

This entire album sounds like a bunch of rejected songs that the songwriters wanted to sell to bands like .38 Special, Greg Kihn and The Tubes. This whole record clocks in at 33 minutes 38 seconds. It felt like an hour and a half.

The opening track is a wildly forgettable song called "Angel Say No," which apparently hit number 38 on the Billboard Hot 100 on June 21, 1980, a week after my 12th birthday. It was beat out by such classics as Rupert Holmes's "Answering Machine," "Two Places at the Same Time" by Ray Parker and "We Were Meant to Be Lovers" by some band named Photoglo. 

Like every song on this record, "Cheap Date" has a decent opening riff and then dies when the lyrics come in. This song is a trainwreck. It begins with a guy asking some chick named June for a date, and ends with her father jumping six stories to his death. What is this even supposed to be?

"Girl in the Back Seat" includes the cringeworthy lyrics "There's a girl in the back seat/Goin' down slowly/Lookin' for the promised land/Do the roly-poly/Sally's on the see-saw/Johnny's actin' holy."

Ugh. Gross.

"The Blame" is one song that's not half bad, in that its lyrics don't sound like the script to a bad porno film. "Dancing Girl" has what might be the single most uninspiring bass solo ever committed to acetate. 

Almost every song on this record sounds like a collection of stuff sampled from other songs. The coda at the end of "Dancing Girl" is from "Talk You You Later" from the Tubes. The end of "What 'Cha Doin' to Me" is the same as the end of Link Wray's "Rumble." "Hide-Out"'s opening riff is put to much better effect 25 years later in the Soledad Brothers' "Teenage Heart Attack." "Am I Supposed To Lie" is an inverted "Jessie's Girl."

On the plus side, there's some really good rock and roll guitar playing by Jim Keller on this record, but it's surrounded by such shit it's easy to miss it. That, and Tommy Heath's unmistakable voice have to be the only reason this band got a second bite at stardom a year later.

https://open.spotify.com/album/1B04IYAKg68BlApikAIU9J?si=V46rx30iQ9ORVMobWQ7qOw

The 1980 Listening Post - Urban Verbs - Urban Verbs

Urban Verbs - Urban Verbs

#52

February 29 1980

Urban Verbs

Urban Verbs

Genre: New Wave

4 out of 5

Highlights:

Frenzy

The Only One of You

Luca Brasi

Fun Fact: Urban Verbs were slated to open for Joy Division on their ill-fated US tour. I’m not sure that would have helped.  Singing songs about how you’re not getting off at your subway stop isn’t really going to get into the psyche of American club going youth, is it? 

Each song starts off with such delicious post-rock/New Wave promise and then the lyrics kick in and, it doesn’t matter to me that Roddy Frank is a caterwauling punk nabob, what matters is that there’s no melody/yelping to match the excitement of Robert Goldstein’s guitar work. 

Aside from Green Day, I can’t recall an American band that worked so hard to sound British as Urban Verbs. 

Extra 1/2 point for having a song called “Luca Brasi” and it being so weirdly and perfectly New Wave.

https://music.apple.com/us/album/urban-verbs/268055849

https://music.apple.com/us/album/urban-verbs/268055849

The 1980 Listening Post - Mr. Partridge- Take Away/The Lure of Salvage

Mr. Partridge- Take Away/The Lure of Salvage

#51

February 29 1980

Mr. Partridge

Take Away/The Lure of Salvage

Genre: The Self-Importance Boredom Factory

2.25 out of 5

I had no idea this was a thing that existed. I know of XTC. I know Dukes of Stratosphere. I didn’t know there was a minimalist experimental art wave record that Andy Partridge put out. Am I the only one?

Sadly, I like this about as much as I did Go2. 

The back cover reads: “This used to be some XTC records. It is now a collection of tracks that have been electronically processed/shattered and layered with other sounds or lyrical pieces. All initial sound by XTC.

Additional sound/lyrics by Andy Partridge. Put and take by John Leckie and Andy Partridge on 10/10/79. Alan Jakoby was the tapir. Destructed/constructed at Regents Park Recording Company.

If you liked Go+ then this record weighs approximately the same amount.”

As I said, I didn’t like Go2.

However. There is a gentleness to the digital music here. It’s devoid of joy, even snarky joy ala Xex but, when was Andy Partridge ever accused of being joyful? 

If you were someone who did not like being in front of many people and preferred to make your music in a studio and release it to people with whom you never have to come into contact with, this is the album you make.

That said, sometimes it reminds me of Kid A. And I imagine Thom and the boys heard this thing. Or the simplicity of The Postal Service. 

But, these are often not songs. They are studio musings. Take, for instance, “The Forgotten Language of Light”, which is digital tribal music with singing in tongues mouth sounds. Do we need it? I think Andy did. For catharsis. No one else, though. 

YouTube: https://www.youtube.com/watch?v=lcROh-CfnCY&list=PLlvn8uktX5Ltk5rgHbzwb9TDa3tu1EBOm