Showing posts with label B minus. Show all posts
Showing posts with label B minus. Show all posts

Thursday, January 10, 2019

After the Fire - ATF (1982)


Released: August 1982 (Epic)
Produced by: Mack, John Eden, ATF, Muff Winwood.
Peak on the US Billboard 200: #25

Side One Side Two
Laser Love
One Rule for You
Dancing in the Shadows
Sometimes
Sailing Ship
Carry Home
Frozen Rivers
Love Will Always Make You Cry
Starflight
Der Kommissar
1980-F





This is the US release of songs compiled from this UK band's previous three albums: Laser Love (1979), 80-f (1980), and Batteries Not Included (1982) and one new release. The compilation was meant to break the band in the US and might have gone unnoticed if it hadn't been for the top five hit "Der Kommissar," the aforementioned new release. That hit earned the band a place on the recently compiled 'Official' list of MFD One-Hit Wonders 1976-85.

My high school buddy Jim hipped me to this album in the fall or winter of 1982. He bought the record, played it for me, I was immediately hooked by the lead track, and promptly dubbed myself a copy and subjected to riders in my car to said copy. Many years later, I picked up a 1998 greatest hits CD with a few different tracks, then once I reacquired a turntable, finally purchased my own vinyl copy. I think the tunes are catchy as hell, but at this point I don't know if that's actually true or if nostalgia has simply gotten the better of me. In any case, I still enjoy listening to it. Plus, I had heard of the band before "Der Kommissar" hit big in March-April 1983, which meant I got to be a know-it-all pompous ass at school that spring (not that I normally needed such an excuse). To me, the music comes off as a cross between The Fixx and Bruce Woolley and The Camera Club.

The band opened some dates for Van Halen on their 1982 tour. Exposure is exposure but I can't imagine the VH fans' reactions to "Der Kommissar." Being booed off the stage every night has got to take a toll, right? But if the Van Halen backstage stories are true, I doubt they remember much about the tour.





  • Laser Love, from the album Laser Love: Lame lyrics and sound effects, but hooks for days. In 1979, it peaked at #62 on the UK charts. 
  • One Rule For You, from the album Laser Love: Mid-tempo the verse and chorus are just okay, but the intro keyboard riff and the bridge make it all better. The band's highest charting single in the UK, this peaked at #40 in the fall of 1979.
  • Dancing in the Shadows, from the album Batteries Not Included: is that an attempt at synth-reggae? I guess it is, but its also got some great melodies/ harmonies along with a fun synth solo. This tune was released as a single in the US, managing only a #85 peak position. 
  • Sometimes, from the album Batteries Not Included: driving power pop tune with another great synth solo. Three minutes and out.
  • Sailing Ship, from the album Batteries Not Included: synth-drenched ballad that i smoody enough to fit its own title. The harmonies on this one are reminding more than a little of Styx, oddly enough.
  • Carry Me Home, from the album Batteries Not Included: love the chord progression on the chorus on this one.

  • Frozen Rivers, from the album Batteries Not Included: another great synth riff to lead off a song that is otherwise unremarkable.
  • Love Will Always Make You Cry, from the album 80-f: they tone down the synths a bit on this one, add some great melodies and come up with a better than average New Wave pop tune.
  • Starflight, from the album 80-f: this instrumental starts off like soundtrack music, then adds a backbeat and completely spoils the mood.
  • Der Kommissar: never liked it from the get-go, but it hit #5 in the US, #47 in the UK.
  • 1980-F, from the album 80-f: A high energy instrumental - great way to end an album.

  1. Laser Love
  2. 1980-F
  3. Love Will Always Make You Cry
  4. Dancing in the Shadows
  5. Carry Me Home
  6. Sometimes
  7. One Rule for You
  8. Sailing Ship
  9. Frozen Rivers
  10. Der Kommissar



Monday, May 1, 2017

Tom Scott feat. Richard Page - Sure Enough (1982)

Sure Enough
Tom Scott feat. Richard Page

Written by: Richard Page, Steve George, John Lang & Tom Scott
Produced by: Jeffrey Weber
Album: Desire (Elektra/Musician, 1982)



Not sure if this qualifies as a "deep album cut" as it was apparently released as a single, but I can't find that it charted anywhere.


Tom Scott is a prolific jazz fusion recording artist, TV show theme composer (Starsky and Hutch, Family Ties) and was a first call session musician for pop musicians back when pop songs had saxophone solos (that's him on McCartney's "Listen to What the Man Said" for example).  I started enjoying his work with his 1981 live album Apple Juice and bought the Desire album when it was released in 1982.  As if he didn't have enough to do, I think Scott was the opening act/backing band for Olivia Newton-John while also in the Blues Brothers band at the time.

While most of Scott's music is instrumental, track two of Desire, "Sure Enough," includes vocals from Richard Page of the band Pages. In fact, it's written by three members of Pages (plus Scott) and Steve George sings backup. Let's just admit it: this is essentially a lost Pages track and as such, it's smooth AOR/West Coast goodness with an average verse but a chorus that's catchy as all get-out.

The track gets more impressive when you consider it was recorded in one take: no overdubs, no editing between takes, etc.:


Would this have been better with some Jay Graydon prodcution? Sure, but then Graydon would have fought Scott over who got the solo. This is just fine the way it is and Scott scorches his solo, so I won't pick at nits here.





Wednesday, January 4, 2017

Joe Jackson - Mike's Murder Soundtrack (1983)


Released: August 30, 1983 (A&M)
Produced by: Joe Jackson
Peak on the US Billboard 200: 64

Side One Side Two
Cosmopolitan
1-2-3-Go (This Town's a Fairground)
Laundromat Monday
Memphis
Moonlight
Zémio
Breakdown
Moonlight Theme



 Charted singles: Hot 100
 Memphis85



Night and Day was my first Joe Jackson album and I listened to it constantly in late '82/early '83. I was starved for more of the same so I purchased this soundtrack album as soon as I saw it. It reminds me of early morning marching band practices on dew covered football fields not because of the music but because that's what was going on in my life every morning around the time I was listening to this album. It's no Night and Day but what is? However, it is in the same vein and uses the same musicians as Night and Day and for a musical chameleon like Jackson, that's saying something. And that was good enough for me.

It's got a couple of strong songs, a couple of good songs, a derivative single, and extended instrumental soundtrack cuts. It's hit-or-miss, mostly enjoyable, and four of the tracks held me over until the next album. So why did this flop after the success of Night and Day?

Rolling Stone, October 13, 1983, p. 11

What a mess. Turns out most of the music on here wasn't even used in the movie. The director recut the movie and had the movie rescored by industry legend John Barry. By the way, I have seen the movie and can't recommend it whatsoever; even the lovely Debra Winger couldn't save that thing.

Rolling Stone, March 15, 1984, p. 15




  • Cosmopolitan:  If the syncopated mallet percussion in the intro isn't immediately identifiable as early '80s Joe Jackson, I don't know what could be. Released as a single in other countries but not the US. Even Jackson's sax solo ain't bad.
  • 1-2-3-Go (This Town's a Fairground):  Filler, but good filler. Joe couldn't think of chorus lyrics so he counts instead. However, the profane lyrics in the second chorus appealed greatly to 17 year old me.
  • Laundromat Monday:  Laid back Latin groove featuring piano and vibraphone. Speaking of vibes, there's a tasty vibe solo at the end of this one and that's not something you hear very often in pop music.
  • Memphis: This is the derivative single I referred to earlier. It's not very good and features what Robert Christgau correctly called a "Booker T. Winwood organ part." Lyrically, we get "Where the hell is Memphis" as a chorus if that tells you anything. No wonder it flopped.
  • Moonlight: A beautiful ballad featuring piano over electric piano. Gets its groove from Stephen Bishop's "On and On" but takes it to a soaring chorus. Released as single in the Netherlands, apparently.

  • Zémio:  And now we start the instrumental soundtrack side of the album. This track features a bass melody over Latin percussion which is transferred to sax and piano. Like most soundtrack music, it's intentionally monotonous with meandering solos - I count three chords in the whole eleven minute track.
  • Breakdown:  Starts out with creepy synths over a bass drum, then alludes to "Moonlight" before going back to the creepy synths. I don't love it, but can see it being effective soundtrack music. This track was nominated for the Grammy Award for Best Pop Instrumental Performance, losing to George Benson's "Being With You."
  • Moonlight Theme: a shorter, instrumental version of "Moonlight" perfect for your karaoke needs.

  1. Cosmopolitan
  2. Moonlight
  3. Laundromat Monday
  4. 1-2-3-Go (This Town's a Fairground)
  5. Moonlight Theme
  6. Breakdown
  7. Memphis
  8. Zémio

Monday, November 14, 2016

Billboard Chart Scrapers: Jan Akkerman (1977)


Fourth in a series.  To be considered a "chart scraper" album, an artist must have had only one album make the Billboard 200 album chart during the years 1976-85.  Said album spent no more than two weeks on the chart, placing no higher than 196.  They're all new to me.




Jan Akkerman
Released: 1977 (Atlantic)
Produced by: Richard DeBois

Side One Side Two
Crackers
Angel Watch
Pavane

Streetwalker
Skydancer
Floatin'
Gate to Europe




WeekPosition
April 8, 1978199
April 15, 1978198


click photos to enlarge

Jan Akkerman, Guitars
Joachim Kühn, Keyboards
Cees van der Laarse, Bass
Bruno Castelucci, Drums
Pierre van der Linden, Drums on "Floatin"
Neppie Noya, Percussion

Recorded at the Soundpush Studios - Blaricum - Holland
Recording Engineer : Jan Schuurman
Strings Recorded at the Morgan Studios - London
Strings Conducted by Roger Webb
Mixed by Richard DeBois, Jan Schuurman ("Angel Watch", "Pavane" and "Gate to Europe") and Jay Denson
Mastered at the EMI Studios - Heemstede - Holland
Mastered by Henk Horden and André Leenders
Cover Design : Rens Benerink
Photography : Joost Noordhoek
Retouch : Four Colors - Amsterdam
Jan Akkerman logo : Wim Ballendux
Art-Direction : Rens Benerink & Hans Tonino
Guitars customised by Anno Galema
Executive producer : Hans Tonino




Billboard, February 11, 1978, p. 62
Rolling Stone, May 18, 1978, p. 95

RateYourMusic.com
Get Ready to Rock


Akkerman's roots are in the prog-rock band Focus, and here he switches from prog-rock to jazz fusion. And, given that turnaround, this album is better than it deserves to be. It's no Jeff Beck from the same time period, but good nonetheless. The weaknesses are listed in the above Rolling Stone review: no hooks and no structure. In other words, the focus (see what I did there?) is dazzling artistry and technical skills, not writing. I enjoy this music while listening, but immediately forget it afterwards. For my money, the best cut here is the gentle closer, "Gate to Europe." Bonus points for a sweet album cover.


Allmusic
Discogs





Wednesday, April 13, 2016

Cash Box Chart Scrapers: Facts of Life - Sometimes (1977)


Last in a series of ten. To be considered a "chart scraper" album, an artist must have had only one album make the Cash Box 200 album chart* during the years 1976-85. Said album spent no more than two weeks on the chart, placing no higher than 196. They're all new to me.




Sometimes
Released: 1977 (Kayvette)
Produced by: Millie Jackson

Side One Side Two
Sometimes
Caught in the Act (Of Getting It On)
Bitter Woman
Lost Inside of You
Looks Like We Made It
A Hundred Pounds of Pain
Uphill Places of Mind
What Would Your Mama Say?
Givin' Me Your Love
That Kind of Fire
Love is the Final Truth




WeekPosition
April 23, 1977199
April 30, 1977198


click photos to enlarge







Billboard, April 9, 1977

Amazon
RateYourMusic.com


A hit-or-miss Southern soul album.  The good cuts are down-and-dirty and really good: "Sometimes," "Caught in the Act (Of Getting It On)," "A Hundred Pound of Pain," "Uphill Places of Mind," and "That Kind of Fire." The misses include covers of Barbra Streisand's "Lost Inside of You" and Barry Manilow's "Looks Like We Made It." The Muscle Shoals session musicians are always first-rate but are hampered on occasion by weak material.  The album fared slightly better on the Billboard charts than in Cash Box: it spent 7 weeks in the Billboard 200, peaking at #146; and 5 weeks in the Billboard R&B albums chart, peaking at #33.



Allmusic
Wikipedia
Discogs






*CashBox chart information was taken from the book The CashBox Album Charts, 1976-1985 (Scarecrow Press, 1987)

Monday, February 1, 2016

Desdemona - The Kids from "Fame" (1982)

Desdemona
The Kids from "Fame"

Written by: Barry Fasman & Steve Sperry
Produced by: Barry Fasman
Album: The Kids from "Fame" (RCA, 1982)



You got big dreams...you want fame? Well, fame costs...and right here's where you start paying...in sweat!

So my sister had this cassette tape and I would steal it from her room (risky business) and listen to it from time to time as I loved the Fame movie and subsequent TV show about 23 year old actors who were still in high school.  I watched religiously as I thought I should attend a school like that (still do).  The album peaked at #146 on the Billboard 200 and didn't produce any top 40 hits here in the US, but it was huge in the UK.  Go figure.

Anyhoo, "Desdemona" quickly became my favorite song on the album.  I guess the students were doing a musical version of Othello?  I'm fuzzy on the details.  The song could be described as baroque power pop with disco strings, but whatever it is, it's full of hooks.  It hasn't aged well and I couldn't care less.  I've listened to it about ten times this morning and now I want to see if the TV series is available on blu-ray.