From New Wave to the 'NOW', experience the thrill of NEW WAVE from it's beginnings in the late '70s to the modern bands so obviously influenced by it! So, if you grew up in the '80s and still enjoy discovering new sounds as well as rediscovering old favorites, then read on!
PUNK! POWER POP! SYNTH POP! NEW WAVE! POST-PUNK!
·Fronted by Mancunian
singer-songwriter Clive Gregson, Crewe-based band Any Trouble were signed to
Stiff Records in 1980 and touted by the music press as the next Elvis Costello
& The Attractions.
·Any Trouble’s debut album Where Are All The Nice
Girls was critically acclaimed at the time. The band followed with a second
studio album, Wheels In Motion (1981). Stiff also circulated a promotional
in-concert album, Live At The Venue, which only enjoyed a commercial release in
Germany. The band then signed with EMI America before disbanding at the end of
1984.
·Compiled with help from Clive Gregson and boasting
the involvement of all the band members, this definitive collection offers the
band’s complete Stiff recordings, as a comprehensive ‘Early Years’ package of
the band’s musical history across 1980 and 1981.
·In addition to the three albums, the package also
includes myriad non-album A-sides and B-sides, including their pre-Stiff debut
single ‘Yesterday’s Love’. Many of these tracks are extremely hard-to-find on
CD now and Live At The Venue makes its CD debut (apart from a German CD reissue on Line in 1988).
·Clive Gregson later launched a productive
collaboration with Christine Collister. In 2007, Any Trouble reunited with a
brand new album and Clive continues to enjoy critical and creative success as a
singer-songwriter to this day, releasing his thirteenth solo album This Is Now
in May 2013.
I remember very vividly the first time I heard Roman Holliday. I was at Camel Records in Huntington Beach looking through their new releases and I happened upon the imported (from the UK) 12" single for "Don't Try To Stop It". Up to this point, the band had never even entered my radar. But I was intrigued by the unique retro look of the band and I believe that I immediately thought of both Madness and JoBoxers. While I didn't know what to expect musically, I took a chance and bought the single. And even though I had limited funds, taking chances on bands is what I always did in those days... and still do to a certain extent. When I got home after a few hours of record shopping, the first thing I threw on was "Don't Try To Stop It". I was an immediate fan. Their sound was energetic, fun, melodic, punchy and had a Swing vibe to it, which was certainly not the norm in 1983. (In fact, it would be another decade before a Swing revival would be in full...er... swing!) A month or two later, the song was in constant rotation at KROQ along with their other two singles "Stand By" and "Motormania", all three of which had been combined to create their self-titled debut American EP.
So, later that year, the band released their debut album, Cookin' On The Roof, and it was - and remains - one of the truly great Pop records of it's day. While I don't know what went on behind the scenes, record-company wise, I have never felt that the band's image and music was contrived or manufactured during this period. These guys were great musicians, knew how to write a snappy, catchy tune and they were fully aware of Pop music history. Their love of what they were doing bleeds through on Cookin' On The Roof. Their musical angle at this point focused on Swing Jazz complete with a horn section. Frontman Steve Lambert was a Pop vocalist who was more than able to hold his own in this musical setting, but it was also a bridge between the then-modern Pop scene and the Swing orientation of the band. Peter Collins' production is very busy and at times a little too confining for the seven piece band, but he does add his usual flair to the proceedings and the album is tight and to the point. There is not one song that overstays it's welcome. Apart from the aforementioned singles, the original album also features eight additional gems including "I.O.U", "Serious Situation", "No Ball Games" and so many more. A spirited and sprightly treat from beginning to end.
In a sense, its really hard to convey the 'feeling' that I have for this album. Words can express my thoughts, but an album like this really meant something then and now. It may not have offered solutions to life's mysteries or cured the ills of the world, but it sure made it far more tolerable... and blissful! The innocence of the band's image and sound offered excitement and hope. Theirs was a happy sound without any sign of pretentiousness. Roman Holliday seemed to live and breathe their music. They reached back into the past and brought some great Swing and Jazz elements to the music while also keeping it Pop-oriented and accessible to a new generation of listeners who hadn't been exposed to much Swing before. They were unique and fun, which was what really made them stand out in a sea of or bands content with following trends and making music that was dictated by whoever was in the Top Ten at the time. The only other bands that were carving out their own niches at the time were Dexys Midnight Runners, JoBoxers and few others.
Sadly, it didn't last long. A year later, the band had dumped the horn section and re-fashioned themselves as Duran Duran-lite. They lost their uniqueness, their innocence, their joy and their spirit. The album they released in '84, Fire Me Up, was not bad. But it was an album that could have been made by anyone else at the time. Cookin' On The Roof, on the other hand, was something entirely different and entirely wonderful.
This remastered reissue is much better than the Japanese CD that was released and deleted more than a decade ago, so stop searching for that and buy this one. Why? Because this annotated reissue also contains six bonus tracks including two non-album b-sides ("Round And Round" and "Beat My Time") plus extended and acapella versions of "Don't Try To Stop It" and "Motor Mania". If that isn't enough to make you run out to your local shop or order online, then perhaps you need to rethink your lot in life and find your 'happy place'. Perhaps you should spend more time 'cookin' on the roof'!?
You can read Part One of my Cherry Best series HERE
Anyone that knows me is fully aware that I LOVE Cherry Red Records and the myriad of labels under it's umbrella. From the Punk classics that make up ANAGRAM RECORDS' catalog to the constant flow of great R&B/Soul/Funk reissues under the BBR banner, I have nothing but pure, unadulterated love for what they do. Each label is run by folks that seem to share the same passion that I have for music. I admire and envy everyone involved with all the label imprints that Cherry Red releases. Yeah, I'm a fan to say the least.
Cherry Red is more than just about music distribution: it's about music education. There are so many genres to choose from: Country, Rock, New Wave, Metal, R&B, Bossa Nova, Post Punk, Prog Rock, Jazz, Punk and any other genre you can think of. Their releases are mostly reissues (with bonus tracks!) but they do unleash new music by veteran artists and up and coming acts alike.
As for me, I've been an avid collector of reissues, mostly stuff from the '70s and '80s, on labels such as Cherry Pop, Lemon, BBR, Hot Shot and others. Almost everything I have from the label were titles that I used to own the vinyl when they were first released. But with bonus tracks and liner notes, I obviously upgraded my collection and now own them on CD. I'm not one of those that bothers with the 'vinyl vs. CD' sound quality debate. I think CDs sound great and Cherry Red releases are worth every hard earned penny you pay for them.
I've decided to list some of my favorites below. There are titles that I've written about elsewhere on this blog (check them out here) but these are releases that I may have acquired before I started blogging or maybe they are things that I finally got around to purchasing recently. Either way, I wanted to share them in a series of posts and bring them to your attention. I've listed them alphabetically to make it easier to read/skim through...
While late to the Synthpop party, Frazier Chorus' 1989 debut album was a fantastic collection of Electronic Pop that may have been too late to compete with the brilliantly coiffed early '80s Synth brigade, but they made it up with great tunes, Synths, honest to goodness real clarinets, oboes and flutes, a keen sense of humor and leader Tim Freeman's whispered vocals. While the rest of the UK were gearing up for the whole Baggy/Manchester scene, Frazier Chorus were creating Pop gems that defied categorization yet were zesty enough to be huge hits.
They did release an earlier single on the 4AD label, but by the time Suewas released, the band were a full-fledged Pop quartet with the potential to be a worldwide success. They did achieve some success, but the fickle public were too high on Ecstasy to notice that a great band was in their midst.
Imagine The Dream Academy with a sense of mischief and keyboards instead of gently strummed acoustic guitars. Then add a bit of Morrissey's dry humor (minus the pretentiousness) and you're only half-way to understanding just how fine Frazier Chorus really were. There are moments here that are astounding as well as outstanding.
Cherry Red's CD reissue adds eight bonus tracks including their brilliant cover of "Anarchy In The UK", some more b-sides and three extended mixes. Stunning.
The '80s were full of fascinating and colorful artists who came, saw, conquered then quickly faded away. Being a fan of many of those one or two hit wonders, there were some that deserved only a moment in the spotlight, but then there were artists like vocalist Paul King, who had plenty of talent and a lot of potential, but his audience moved on, leaving him and his King bandmates behind. But while they were in the spotlight, the quartet made the best of their 15 minutes and cranked out some wonderful tunes.
Influenced by '70s artists like Marc Bolan and David Bowie and spurred on by the sights and sounds of their '80s contemporaries, King cranked out a some memorable hits and videos and it looks like they had the time of their lives doing it. Their debut album, Steps In Time, features their two biggest hits - "Love And Pride" and "Won't You Hold My Hand Now" - and some extremely enjoyable album cuts that seemed a bit more advanced than what their teen audience was prepared for. The band certainly gave it their all on tracks like "Fish", "Trouble" and the oddly titled "I Kissed The Spikey Fridge", three more highlights from this thoroughly enjoyable album.
Their next album, Bittersweet, would prove to be a better album, songwise, but Steps In Time was a pleasure from start to finish. With seven bonus tracks including non-album b-sides and remixes, this is a treat for '80s fans... and King fans, of course.
The musical landscape is littered with bands that released albums that should have reached a wider audience but somehow did not. But what about bands that had the potential to make their mark but never released an album to begin with? The bands that instantly come to mind are The Donkeys, New Hearts (who morphed into Mod favorites Secret Affair) and Tours. Of all of these bands, Tours, led by Ronnie Mayor and Richard Mazda (later a solo artist, producer and actor), were the hottest band in the UK for a brief time...
With an indie single, "Language School", in their back pocket and support from John Peel, the band signed a multi-album deal in 1979 with Virgin Records and set about recording demos for their debut full-length, which was never to be released. Egos and clashes with Virgin caused them to split even before an album could be properly recorded. They did manage to release one single for Virgin - "Tourist Information" - but the rest of their studio work languished in the vaults until Cherry Red and the band went back and put this excellent compilation together.
Featuring 17 tracks, The Album Of The Year... (That Never Was) is chock full of edgy Power Pop and Punk Pop. Both sides of their two singles are included along with loads of other melodic nuggets. One of the other standouts, "Can't Get Through", should have been a single and was possibly earmarked as such... if the band had survived long enough to release it.
Constant comparisons to The Undertones are not entirely accurate since Tours' didn't always rely on the Ramones-like guitar attack that the great 'Tones did. On the other hand, their tunes are short and snappy, so its safe to say if you like the 'Tones and the aforementioned Donkeys and New Hearts, you're going to love Tours!
Though Tracie Young may not have scaled the charts in the U.S., she most certainly made her mark in the UK during her short career. Some may remember her as guest vocalist on The Jam's last single, "Beat Surrender" and The Style Council's debut single, "Speak Like A Child" but it was her solo album (and singles) that showed her true talents. As one of the first signing's to Paul Weller's Respond Records label,
Tracie was a Weller protege who released only one album but it remains the most popular of all the releases on Respond.
Recorded and released while Weller was fronting The Style Council, Far From The Hurting Kind has his fingerprints all over it. The songs are soulful, melodic and very Style Council-like, although that band's intricate and tight arrangements are not as apparent here. Far From The Hurting Kind is filled with soulful Pop tunes that are not unlike some of the Council's better b-sides. While that may not sound like a compliment, judging by Weller's top notch output a this time, it is high praise indeed. In fact, the tender "Spring, Summer, Autumn" was an actual Council b-side (albeit a completely different recording with Weller on vocals)!
High points on the CD include "The House That Jack Built" (which wasn't on the original UK vinyl LP but has been added as the first track here, where it truly belonged) and the touching "(I Love You) When You Sleep", which was penned by non other than Elvis Costello! With a load of non-album b-sides, a few newer interpretations of album tracks and more, this edition is loads more fun than the extended Japanese version released many years ago.
For fans of '80s girl pop, The Style Council, The Jam, Paul Weller and Respond Records releases!
Like JoBoxers, Dexys Midnight Runners, Haircut 100 and a few other bands, Roman Holliday stepped outside the box when creating music. The guys in RH wrote a set of crackin' Pop tunes that other bands would kill for.. However, instead of slashing away at guitars or plonking a few keys on the synthesizer, they added a Swing beat, some horns and put out a top notch debut album in 1983 that pre-dated the Swing revival by about 10 years!
With two non-album b-sides (which I believe were on the U.S. cassette?) as well as two acapella versions and two remixes, this is going to be amazing...
·ROMAN HOLLIDAY were an early 1980s pop band who mixed swing jazz into their sound to great effect.
·In 1983, the band scored a memorable hit single with ‘Don’t Try To Stop It’, which peaked at No. 14 in the UK and made the US Billboard Top 75.
·Debut album COOKIN’ ON THE ROOF reached the UK Top 40 and also graced the US Billboard listings, opening with their hit but also including the band’s earlier, minor hit ‘Stand By’ and subsequent Top 40 hit ‘Motormania.’
·This is the first time that COOKIN’ ON THE ROOF has been on CD in the UK (it was only previously issued in Japan). It’s remastered from the original tapes with six bonus tracks.
·Original members of ROMAN HOLLIDAY are helping out with this long-overdue reissue, contributing rare photos and pictures for the booklet as well as being involved with the sleeve-notes.
When Captain Sensible briefly stepped away from his duties as bassist/guitarist in Punk legends The Damned and decided to record a solo album, the last producer anyone expected him to work with was Tony Mansfield. Not that there was anything wrong with Mansfield: he was an enormously talented songwriter, guitarist, producer and musical visionary. The real issue was that the good Captain was in a PUNK band and Mansfield was best known at that time for fronting Synthpop band New Musik. (Note: you can read my appreciation for New Musik HERE).
What people didn't take in to account at the time was that the Captain was a superb Pop songwriter and whether his tunes were fuelled by slashing guitars or bleeping synths, it was the song that mattered. And judging by his 1982 debut solo album Women And Captains First, Mr. Sensible's gamble paid off... in spades!
The album's big UK hit out of the box was a cover of "Happy Talk", originally from the soundtrack of South Pacific. An odd choice, but a brilliant single. Captain is in fine form, vocally and Mansfield's production lets the synths do the talking... but without taking it to Human League/Soft Cell territory. It's jolly, it's happy and it still sounds wonderful, overblown and fun.
The album's opener, the funky rappy "Wot", managed to creep into U.S. radio (including L.A.'s KROQ) and helped build the Captain a fanbase who probably had never heard a single note from The Damned. The song was also a decent sized hit in the UK.
Elsewhere, the album is as eclectic and the Captain is eccentric. There's a healthy dose of great Synth-based pop ("Brenda", "Martha The Mouth" and "Croydon"), some poppy Punk-inspired rave-ups ("Yanks With Guns"), Dixieland swing ("Nobody's Sweetheart") and so much more. This Cherry Red reissue adds bonus tracks from the single b-sides (ranging from experimental to Pop to Psychedelic) plus the previously unreleased instrumental gem "Joe Meek" (why this was never released remains a mystery!). This is a treat from beginning to end. To be honest, it may be TOO eclectic for some listeners, but you'll end up coming back and listening to it over and over eventually...
After the success of Women And Captains First, Mr. Sensible bowed out of the Damned and pursued his solo career, heading back into the studio with Mansfield for a second album that would capitalize on the success of his debut.
The Power Of Love was not as eclectic as Women... but, on many levels, is actually a better album for it. The anti-war hit, "Glad It's All Over" continues in the same Synth vein as the debut, although the song has more depth, musically and lyrically, than any of his solo recordings up to this point. While the album didn't have any singles as popular as "Happy Talk" or "Wot", The Power Of Love is a great, cohesive Pop album filled with delectable little Pop nuggets that demand to be heard.
"It's Hard To Believe I'm Not", "It Would Be So Nice", "Thanks For The Night" and "The Power Of Love" are guitar pop gems that are hook-filled and instantly hummable. "Stop The World", "I'm A Spider", "Royal Rave-Up" and "Secrets" are synth-dominated slices of pop pleasure that won't leave your head for days afterwards. The Captain even shows his sweet side on "I Love Her" and "I Love You", two songs that are quite pretty and touching... but you're really not quite sure if ol' Cappy is being sincere or taking the piss! Either way, they are classics.
The bonus tracks on this Cherry Red reissue are excellent additions, including the non-album singles "There Are More Snakes Than Ladders", "One Christmas Catalogue", "Come On Down" and "Revolution Now" plus the odd B-sides. Another must-have for any '80s pop collection... or ANY pop collection for that matter!
Peace, love & Captains Stephen SPAZ Schnee
(Most of this review was originally featured on this blog in December of 2009)
The late '80s was a strange time in music. The New Wave movement was already a thing of the past, although many of the bands were still around making music. Metal was now giving birth to a whole new breed of Hair Bands, House Music was big in the clubs, and R&B was all over the charts. With such changes happening seemingly overnight, there didn't seem like there was enough room for a new Pop band to make a dent in the charts. And for Breathe, it almost didn't happen...
Though they had been releasing singles since 1986, it took two years for the band to release their debut album, All That Jazz. Issued in the UK on Circa and in the U.S. on A&M, All That Jazz seemed almost dead in the water. When the trio of David Glasper (vocals), Marcus Lillington (guitar) and Ian 'Spike' Spice (drums) came over to the U.S. to do some promo work, there wasn't much hope. I met the band when they stopped by Abbey Road Distributors and we had a nice chat about music. They were a bit disappointed by their lack of success but really appreciative of my enthusiasm for the band and their album. Glasper signed my LP with the words "With a few more like you, it could have happened'.
Shortly after our meeting, A&M released "Hands To Heaven" as a single and then everything changed. Now, 25 years later, people may not always remember the band name but "Hands To Heaven" remains a radio staple. It's one of those songs that everybody knows. A gorgeous and haunting ballad, "Hands To Heaven" has become a classic slice of late '80s pop that still makes lovers swoon.
And since it's the album's 25th Anniversary, Cherry Pop has released the ultimate edition of the album. It not only contains the original 10 tracks from the album ("Don't Tell Me Lies" was added to the U.S. edition and later UK pressings as well) but it also contains every b-side, single edit, extended remix and rarity that could fit on a double CD set. This deluxe edition now features a total of 33 tracks with roughly half of them making their CD debut here.
For anyone who loved the album's smooth blend of Pop and R&B are going to love the generous amount of bonus tracks. The non-album b-sides equal anything off the album, although the production does date some of the recordings. Sometimes sounding like a mix of Wham and Steely Dan, Breathe wrote some smart and sophisticated yet chart-friendly pop tunes including "All That Jazz", which is the song that first caught my ear all of those years ago when I first laid the needle down on the album. With two more hit singles, "How Can I Fall?" and "Don't Tell Me Lies", the album was one of the strongest releases that year and earned the band a huge fanbase of devoted fans.
Unfortunately for Breathe, their next album, Peace Of Mind, was released in 1990 to little fanfare and, when the album didn't scale the upper regions of the charts, they quietly split. But perhaps that was all A&M's fault. They were already preparing to alter the band's name to David Glasper & Breathe and eventually make Glasper a solo artist. But alas, that never came to fruition. Perhaps it was their shift in focus that made them drop the ball. Peace Of Mind was actually a better album as a whole then All That Jazz but had fewer hits (only "Say A Prayer" got much airplay in the States)
This deluxe edition of All That Jazz is everything that a fan could want... and more. But just because you may not be a fan doesn't mean you shouldn't get it. If you loved late '80s bands like Johnny Hates Jazz, Go West, and Waterfront, then this is a no-brainer. It was great Pop music then and it's great Pop music now.
For a song that's nearly 40 years old, "Rock Your Baby" by George McCrae has continued to live on and remains one of the biggest One Hit Wonders in the history of Rock, Soul, Pop and R&B. Not only that, it's one of the earliest and most popular Disco songs of all time. Those of us who were around when it was first a hit in 1974 remember it well, yet, surprisingly, there are also young teens today who are just as familiar with it thanks to it's longevity on oldies radio stations (yes, even on the internet). But does anyone remember any other hits from George McCrae? No? Has anyone bothered to give anything else a listen apart from the hit? Did you know that he actually released some mighty fine albums? No? Well, that's a real shame... but never fear - that's why SPAZ is here!
As you probably figured out, 'the hit' is on this album. While many are only familiar with the single version, which is way too short at 3:19, the album opens with the full length version that, even at over six minutes and nearly double the length of the radio edit, is still too short! "Rock Your Baby" is pretty much the perfect Pop/Soul/Disco song, which is why the song continues to attract so many new fans with each passing year. What may surprise many folks is that the song was written by - and features musical assistance from - Harry 'KC' Casey and Richard Finch, the two men responsible for KC & The Sunshine Band, who wouldn't hit it big until the following year. While the rest of the album doesn't deviate too much from the "Rock Your Baby" formula, it's jam-packed with great tunes (all of which are Casey/Finch originals). Songs like "You Can Have It All", "I Can't Leave You Alone (I Keep Holding On)", 'I Need Somebody Like You', and 'Look At You' are amazing slices of proto-Disco that are just as hook-filled as they are groove-alicious. With a reprise of "Rock Your Baby" ending the original album, it's a great album that showcases George's amazing vocals and the skilled songwriting of Casey/Finch. Add single edits of "Rock Your Baby" and "Look At You" as bonus tracks, and you've got the perfect introduction to the world of George McCrae. Hell, any CD that has a total of three versions of "Rock Your Baby" is tops in my book!
You know the saying: "If it ain't broke, don't fix it". Well, the music business lives by that credo and when it came time to record his second album, Casey/Finch were back writing all the song and playing on them as well. Oh, and producing the album, too! So, while they follow the same formula as the previous album, the production is warmer and fully realized, giving the instruments a little more breathing room. And while there is no song as glorious as "Rock Your Baby", the album is still a wonderful slab of hook-laden proto-Disco. Album opener "Baby Baby Sweet Baby" paves the way for another album of groove-laden Pop/Soul tunes that definitely fall into the 'feel good' category. If you walk away from an album feeling good, then that is more than have the experience. There is plenty of joy on display here and that is what matters most -well, apart from the good tunes, of which there are plenty. As on his previous album, this self-titled platter is only interested in love, sex and a good time. Tracks like "You Treat Me Good", "Honey I (I'll Live My Life For You", "I Ain't Lyin'", "You Got To Know" and "Take This Love Of Mine" are tasty treats that bear repeated listenings. So why weren't any of them hits? I have no idea...
With his third solo album due and Casey & Finch now busy with KC & The Sunshine Band, McCrae teamed up with songwriter/producer Gregg Diamond, who was best known at that time for writing and producing the massively successful single "More More More" by The Andrea True Connection. While this seemed like the perfect match, McCrae gets lost in what is essentially a Gregg Diamond Disco album. Yes, it's catchy, upbeat, fun and extremely worthwhile, but George isn't given the time to shine on Diamond Touch like previous albums. Yes, he still sounds great and the songs are great, too, but the focus has shifted away from McCrae and, since it's HIS album, that's kind of hard to handle. Still, its great fun and deserves a spot in your ever-growing George McCrae collection. High points include "I'm Gonna Stay With My Baby Tonight", "Givin' Back The Feeling", "Dancin' Through The Storm" and and the Philly-Soul inpired "Loved And Lost".
George McCrae may have only scored one MASSIVE hit, but there was far more to the man than that one hit. There is plenty of proof here, within these grooves, that he should have scored more hits, but I suppose just having "Rock Your Baby" listed on your resume is not a bad thing. Not at all.
The Blow Monkeys of the 2000s are very much the same Blow Monkeys of the '80s, only different. Feels Like A New Morning is their third studio album since reuniting in 2007 and, to be honest, it's a far more consistent affair than anything they've released in their 30 year career.
Now, don't get me wrong... I LOVE The Blow Monkeys. I got into them back when the U.S. EP Forbidden Fruit was released in 1985. I ended up buying their import debut album, Limping For A Generation (1984) and loved it's strange, cool vibe. When the slick and lush Animal Magic came out in '86, I snapped it up. "Digging Your Scene" went on to be a pretty substantial hit for the band, but apart from radio plays, it was the 'alternative' stations like KROQ who continued to play the band after that hit, not Top 40. The album She Was Only Grocer's Daughter (1987) was an even better album than Animal Magic, but here in the U.S., it didn't get as much attention. The band went in a House-flavored direction in '89 with Whoops! There Goes The Neighborhood and 1990's Springtime For The World (neither of which were released here in the States) but split soon afterwards.
Frontman Dr. Robert pursued a solo career and even worked alongside Paul Weller in the '90s, but by 2007, the band came back together to try to reclaim their magic. But anyone looking for another "Digging Your Scene" were sorely disappointed. For those looking to hear some new classic Blow Monkeys tunes were, thankfully, paid in spades.
Now, in 2013, the band offers up Feels Like A New Morning, an album that continues to avoid the gloss of the '80s and embraces the warm, earthy feel of the Doctor's solo albums. But this is NOT a Dr. Robert album by any means... it is a band effort that succeeds on every level.
Dr. Robert's voice is deeper, richer and more expressive than the band's early work, while the rest of the Blow Monkeys - Neville Henry (saxophone), Mick Anker (bass) and Tony Kiley (drums) - leave their own individual marks on the album.
"Oh My" is the album's first single and on the surface, it may seem as if it's an average, acoustic Blues inspired track, but they throw a few unexpected chord changes in the mix, lifting the track to a different level. Marc Bolan was great with taking a few standard Rock 'n' Roll chords and then adding a melodic twist by tossing in a fourth chord that changed the course of the song. The Blow Monkeys pull that off here.
The soulful "Chained", with Robert's passionate vocal, sounds like a logical single and, while it doesn't sound like it came from the '80s, it might be the track that lures back their old audience that may not have been paying attention to their post-reunion recordings. It is an extremely moving track that bears repeated listenings. A real stunner and will certainly be one of the best tracks of the year.
If you're looking for some upbeat tracks, then "Feels Like A New Morning" and "Shake It Off" will satisfy your cravings. For those looking for something jazzy will fall in love with "In No Time At All". The band offer up some wonderfully melodic mellow tunes with "Cover Me" and "Hold Everything Dear". And there's plenty of great songs that straddle different genres here. More Wilco than Style Council, the new sound of The Blow Monkeys is stylistically diverse and thoroughly engaging.
Feels Like A New Morning will surprise those who only know the band from "Digging Your Scene" or anything else they recorded in the '80s. The Blow Monkeys prove here that they deserve your love and adulation. They make it all sound so elegant with an edge..
I am totally digging their scene...
P.S. Be sure to pick up the 2CD version which features acoustic versions of Blow Monkeys classics!
THE OSMONDS Their '70s albums On CD In the past, The Osmonds' recorded output has been poorly represented by a slew of collections. Thankfully, 7Ts/Cherry Red Records has rectified this situation by releasing the band's eight albums on four separate 2fers. They are available NOW!
By Stephen SPAZ Schnee
Regardless of what you may think of The Osmonds' music, they were (and are) a cultural phenomenon. Even if you can't remember all the lyrics, chances are you can name at least one Osmonds song off the top of your head right now. And "I'm A Little Bit Country, I'm A Little Bit Rock 'n' Roll" only partially counts (that was a Donny & Marie song, not a bonafide Osmonds recording). It's been over 30 years since their heyday, yet they have become part of Pop music history.
I am surprised that I had more than one argument in the early '70s when the subject of The Osmonds Vs The Beatles came up. How could anyone possibly think The Osmonds were bigger than The Beatles? Can you believe that this argument came up a few times over the course of a year or two. Mainly from my big sister Dana. No, scratch that: EVERY argument in regards to The Osmonds being bigger than The Beatles were with my sister Dana. But she was 11, I was 9... what did I know? Maybe she meant that they were bigger in terms of the number of group members? There were five Osmonds but only four Beatles... If that was the case, then she was right all along! I must write her an apology letter someday...
But for a few golden years in the '70s, The Osmonds were one of the most popular musical groups on the planet. Not only did the five brothers release a slew of singles and albums, but Donny had a successful solo career that ran concurrently with The Osmonds' golden years. Later on, sister Marie chalked up some solo success, as did little brother Jimmy, but when Donny & Marie began performing as a duo, everyone else took a backseat as their radio hits translated into a hit TV show and a not-so-successful movie, Goin' Coconuts in 1978. By the time the '80s rolled around, the Osmond family remained active in the entertainment industry but they never again achieved the amazing popularity they experienced in the early part of the '70s.
It all began in the early '60s when Merril, Alan, Jay and Wayne performed as a barbershop quartet. While they achieved a respectable amount of fame during this period (due to TV appearances on The Andy Williams Show and other variety programs), it wasn't until Donny joined a few years later that people began to take notice. The boys insistence that they become a Rock band fell upon deaf ears for the latter part of the '60s, but by 1970, the quintet had released their self-titled debut Pop album and Osmondmania began to take shape...
NOTE: Since Donny was being groomed for solo success, most of the lead vocals on The Osmonds' albums were handled by Merrill, although all the brothers were involved in backing vocals, co-lead vocals and arrangements. The various solo albums from Donny, Jimmy and Donny & Marie are also available through 7Ts/Cherry Red but this feature focuses on the original Osmonds albums of the '70s.
The brothers' potential was enormous, but which Pop road should they travel? Since commercial success was not guqranteed, the label sprinkled their debut album with a variety of styles, hoping that one of them would stick. "One Bad Apple", with it's soulful, Jackson 5-like Soul groove, was the song that put The Osmonds on the map. Were the Osmonds being groomed as a 'white' version of the J5? That may be the initial concessus, but this album shows that they were more than "One Bad Apple". There's Country, Gospel, Rock, Easy Listening and many more styles rubbing shoulders with the Soul-lite vibes of "One Bad Apple". Their "Motown Special" medley avoids sounding anything like the J5, surprisingly enough. "Sweet And Innocent" was, oddly enough, a Donny solo single that was shoehorned onto the album, which was a brilliant move. One of the poppiest and most delectable tracks on the album, it is every much "... Apple"'s equal even though it doesn't travel the same musical ground. "Find 'Em, Fool 'Em and Forget 'Em" veers towards heavy, Gospel and Blues-inflected Rock that they would eventually perfect two albums later. The album's closer, "Flirtin'", is the album's sole mis-step with it's blatant retread of the "One Bad Apple" blueprint. Otherwise, The Osmonds is a fine introduction to a group of talented young lads who were soon going to take over the world...
While Homemade may have sold quite well, the album is essentially a complete rewrite/retread of their self-titled debut. If you love that album, you'll either love this or be frustrated that the brothers were not able to stretch out a bit more and show how versatile they were. There are some high-points, such as the breezy "Carrie", their delicious trademark harmonies on "Chilly Winds", the Country vibe of "The Promised Land" and the lighthearted early '70s groove of "She Makes Me Warm". Album closer "Sho' Would Be Nice" is an emotionally moving end to an album that is still a worthy addition to your collection, but, to be honest, its a half-hearted and unimaginative duplication of their self-titled album. To be fair, the music business is notorious for playing it safe and 'giving the people what they want'. I just wish that labels realized that we don't want the same thing over and over. Some things never change...
Phase III is when The Osmonds took control of their production, added more self-penned material and transformed from a good Pop band to a great one. While the single "Yo Yo" remained from an earlier recording session, the rest of Phase III was Osmond-controlled and this was the album that should earned them a huge dose of critical respect. Instead, the critics treated it like just another Osmonds album. While, on the surface, that might have been the case, Phase III was a Rock album made by a a group of talented musicians and vocalists who were already pigeonholed as a cheesy Pop act. Almost any other band in 1971 would have killed to have an album opener like "Down By The Lazy River". Even when the band adds a little Funk into the mix like on "Business", it clicks and never sounds awkward. "Love Is" is a touching Beatle-esque ballad that could have fit right in with the Fab Four's late '60s recordings. "He's The Light Of The World" is a religious rocker that is as catchy as anything the devil released that year. "Yo Yo" is delectable, funky, catchy and joyous. "My Drum" is a riff-heavy rocker that Deep Purple could have cut in the '60s. While the tapes have not held up well over the years, the album still sounds raw and energetic where it wants to, yet not entirely removed from their earlier bubblegum recordings. As good as Phase III is, their best studio album was yet to come with Crazy Horses...
Let's be honest: I'm not a fan of live albums... period. I have Elvis live albums because he is Elvis, but I have to say that I don't own many live albums in my collection at all. With that being said, listening to The Osmonds Live some 40 years after the last time I heard it brought back some memories. As the story goes, most of the boys had a cold during the show but they went ahead and recorded it anyway. They went back into the studio when they were feeling better and added vocals on top of many of the recorded performances, which makes the lead vocals sound double-tracked... which they are! The energy of the performance is still there and they perform some covers that are not found on any of the studio releases, so that makes it a worthwhile purchase. But its a live album and I'll leave it at that...
Crazy Horses was the first truly great Osmonds album and remains one of the finest Pop/Rock albums of the early '70s, although you probably won't find it on many critics' lists, then or now. From the opening Rock strut of "Hold Her Tight" to the CCR-like groove of "Utah", the solo McCarney-esque "Girl" and the legendary Hard Rock crunch of the title track, Crazy Horses is one hell of an album. It's such a shame that the band were already pegged as a teeny bopper band because Phase III and Crazy Horses proved that they were so much more than that. "What Could It Be" could have been a Hudson Brothers hit ala "So You Are A Star". The bluesy rock of "Life Is Hard Without Goodbyes" is actually quite beautiful with Merrill's impassioned vocals. The whole album rocks from beginning to end. In fact, the band adds a snippet of "One Bad Apple" into "Big Finish" in order to remind you that this is the very same band. If anything, this is the album that the teenage girl would have been able to share with her brother or boyfriend without them feeling embarrassed. But then again, I have never felt embarrassed about loving The Osmonds! And if you want to hear what you've been purposely missing for 40 years, then give this one a spin! Crazy Horses is not just a great Osmonds album, it's a great album period!
The Osmonds had gone from strength to strength, building up a catalog of hit albums, each of them better and more successful than the last. By this time, they weren't just massive in the U.S., they were international superstars! Because of their strong Mormon faith, the band felt it necessary to focus their creativity on an album that celebrated the journey of life. They weaved in elements of their beliefs and The Plan was born. Unfortunately, their teen audiences weren't prepared for a concept album such as The Plan. Wrongly accused of being an album about Mormonism, The Plan is still a fine album but it finds the brothers stepping away from their crazy Rock shenanigans of '71 and '72. That's not to say that The Plan doesn't rock... because it does - but only in certain places. Obviously a labor of love, The Plan found the Osmonds giving back to the teachings that had kept them centered and focused during the good and bad times. The boys' harmonies have never sounded better and, while the material may not be up to the standards of the last few albums, The Osmonds were forging a path of their own. The boys took a gamble that unfortunately did not pay off commercially and it was their first real 'flop'. The album does include some great tracks like "Let Me In", "Movie Man", "One Way Ticket To Anywhere" and others, but the focus was more on the message than the music. On The Plan, the Osmonds grew up, but their fans didn't.
After The Plan, The Osmonds' musical focus began to change. While the album cover may have promised a visit into Philly Soul territory, that was only a small part of where the boys were heading on this album. A return to form in many ways, the first half of Love Me For A Reason was more of a Rock album than the hit title track would lead you to believe. "We're Having A Party", "The Girl I Love", "Ballin' The Jack" and a few other tracks would not have sounded out of place on Phase III. The second half of the album focuses on their more soulful side. "Peace" is a funky Disco offering that still retains the brothers' Pop harmonies. "Fever", "I Can't Get Next To You" and "Sun Sun Sun" are credible Funk workouts that really capture the versatility of the band. The album is a real treat, although not as focused as their previous albums. With this album, they weren't sure which direction to follow so they just did what they wanted and split it pretty much down the middle. The highpoint of the album is, of course, "Love Me For A Reason", their finest ballad to date. The harmonies on the chorus are heart-melting and the song is warm and lovely. If this song was the only thing The Osmonds ever recorded, they'd still be as fondly remembered as they are now. A stunner.
Released as The Proud One in the U.S. and I'm Still Gonna Need You in the UK, this full length would prove to be the Osmonds final album as a group in the '70s. They would then step aside and let Donny and Marie become the focus of their entertainment empire. While the Love Me For A Reason album only toyed with their Philly Soul influences, this is the album where it would come to the fore. Gone were all the Rock moves of their Phase III/Crazy Horses period, replaced here with a light Philly Soul sound mixed with a laid back Pop sound that focused on their vocals. It's definitely an Osmonds album, but far more mellow than ever before. But don't let that stop you from giving it a spin because it is quite a lovely piece of work. The songs are almost on par with "Love Me For A Reason", especially "I'm Still Gonna Need You". But maybe that was the plan... since "Love Me... " had been such a big hit, why not go in that direction! And guess what? It works. There are no big hits here, but there are plenty of delicious Pop songs that will soothe your aching soul. They really sound focused on this album and their harmonies are top notch... but I think I already said that. For a 'final' album, its a real beauty. Perhaps a Crazy Horses II would have been preferred, but there is really nothing to fault on this album. It deserves a big hug and a sloppy kiss. Then again, that's what my sister Dana thought Donny deserved from her!
was a fantastic collection of Electronic Pop that may have been too late to compete with the brilliantly coiffed early '80s Synth brigade, but they made it up with great tunes, Synths, honest to goodness real clarinets, oboes and flutes, a keen sense of humor and leader Tim Freeman's whispered vocals. While the rest of the UK were gearing up for the whole Baggy/Manchester scene, Frazier Chorus were creating Pop gems that defied categorization yet were zesty enough to be huge hits.
