April 2011 – Classic Rock Review

Face Dances by The Who

Face Dances was the ninth album from the legendary band The Who but their first without drummer Keith Moon, who died of an overdose shortly after the release of their previous album, Who Are You in 1978. Unlike their English contemporaries Led Zeppelin, who also lost their drummer during that time span and decided they could not continue without him, The Who decided to make a comeback in 1981 with a new drummer, Kenney Jones.

In spite of this fracture in personnel integrity, Face Dances is actually a very good album. Jones holds his own with the musical virtuosos in the band, guitarist and primary songwriter Pete Townshend and bassist John Entwistle, and the material is strong and up-to-date while maintaining some of the signature qualities that make The Who, The Who.

Although the band was far removed from their days of rock operas and complicated theme albums, the material seems to flow along a consistent vibe that is at once deep and a bit comical, but always strong and forward. It is a credit to their ability to adapt to changing times and changing tastes in the music world.

Face Dances by The Who
Released: March 16, 1981 (Polydor) Produced by: Bill Szymczyk Recorded: Odyssey Recording Studios, London, July-December, 1980
Side One	Side Two
You Better, You Bet Don’t Let Go the Coat Cache Cache The Quiet One Did You Steal My Money?	How Can You Do It Alone Daily Records You Another Tricky Day
Musicians
Roger Daltrey – Lead Vocals Pete Townshend – Guitars, Keyboards, Vocals John Entwistle – Bass, Vocals Kenney Jones – Drums

This comical trait is obvious right from the jump with “You Better, You Bet”, an entertaining mini-suite with complex chord structures that flow together along a silky smooth narrative. “Did You Steal My Money?” is another near-frivolous song that takes a little concentration to recognize the fantastic vocal performance that is put forth by vocalist Roger Daltrey.

As usual, Townshend’s songs are introspective and, to a lesser extent, philosophical. “Don’t Let Go the Coat” was inspired by guru Meher Baba (who was partially responsible for the title to the song “Baba O’Riley” a decade earlier), while “Cache, Cache” was a literal telling of Townshend’s ill-fated, one day retirement from the music business. Entwistle contributes a unique original with his own raspy vocals and near-heavy-metal sound with “The Quiet One”.

The second side of the album contains lesser known but strong songs throughout , highlighted by “Daily Records” and “Another Tricky Day”. Although Face Dances is not quite Who’s Next or Quadrophenia, it is a solid record and important in the band’s rebound following the tragic death of Moon. The band would put out another studio album, It’s Hard, in 1982 before ultimately disbanding for over a decade and a half.

The album cover of Face Dances features sixteen square paintings (four of each band member) that were commissioned by artist Peter Blake (of Sgt. Pepper’s Lonely Hearts Club Band album cover fame), who enlisted many British artists of differing styles (including himself) to make this unique cover.

Part of Classic Rock Review’s celebration of 1981 albums.

Too Fast for Love by Mötley Crüe

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Perhaps more than any other band, Mötley Crüe epitomized the “hair band” phenomena of the 1980s, with their updated version of 1970s glam. But they did have a brief moment of pre-glam, pre-hair when they were simply a hungry hard rock band from L.A. looking to make their breakthrough.

The band’s 1981 debut album Too Fast for Love captures this era in raw and unpolished form. There are flaws throughout, including the obvious fact that Nikki Sixx had not yet learned how to play bass (which he later admitted), the overall low budget under-production, and the fact that songs do tend to repeat themselves in near mind-numbing sequence. In spite of this, the album illustrates that there is something real and legit about these four young talents, including Sixx whose main contribution is as the band’s primary songwriter, which can attract even non-fans of the band or the genre.

The talent represented here validates Mötley Crüe as a legitimate rock band. This is especially true for the most talented member of the band, guitarist Mick Mars, who is the only member of the band that truly has his sound fully formed and cultivated on this debut.

Too Fast for Love byMötley Crüe
Released: December, 1981 (Elektra) Produced by: Mötley Crüe Recorded: Hit City West, Los Angeles, 1981
Side One	Side Two
Live Wire Come On and Dance Public Enemy #1 Merry-Go-Round Take Me To the Top	Piece of Your Action Starry Eyes Too Fast for Love On With the Show
Musicians
Vince Neil – Lead Vocals \| Mick Mars – Guitars Nikki Sixx – Bass \| Tommy Lee – Drums

Mars’ sound is the lynch pin that really elevates this album from semi-professional demo to consumer-ready rock product. His technique and sound textures are best displayed on the album’s only ballad, “Merry-Go-Round”, in which Mars alternates between lightly picked staccato notes and sustained, heavy chords and includes a fantastic, overdubbed lead that takes the song home.

However, a true listen to Too Fast for Love reveals that there are some other budding musicians beyond Mars. Although both fall just short of being fully matured in their craft, Tommy Lee plays some animated and entertaining drums while Vince Neil sings with a melodic, new-wave-ish voice.

Several of the songs reflect the band’s seventies influences. The opener “Live Wire”, with it’s machine-gun rift that dissolves into a calmer mid-section is reminiscent of Rush’s “Bastille Day”. Deep Purple’s influence can easily be heard in the entertaining “Piece of Your Action”, while the album’s title song sounds like any number of Kiss songs.

Too Fast for Love also includes a couple of really good rock-pop songs. “Public Enemy #1” would have been a huge hit if it were released during the band’s heyday a half decade later, while the closer “On With the Show” displays the Crüe’s versatility as up-and-coming musicians.

Even some of the album’s weaker songs, such as “Take Me to the Top” and “Starry Eyes” display a bit of authentic, early eighties charm that makes Mötley Crüe’s debut well worth the listen.

Part of Classic Rock Review’s celebration of 1981 albums.

Paradise Theatre by Styx

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At a time when the “concept album” had all but gone out of fashion, Styx released Paradise Theatre, an album that loosely couples a fairly interesting concept with some strategically placed (albeit unrelated) pop and rock songs.

The concept itself is one of rapid decay and lament to a past Golden Age symbolized by an actual theater on Chicago’s west side built on the eve of the Great Depression and dead by the mid 50’s. Brought forward to the turbulent economic times around 1980, this concept worked well. But concept itself is not enough, in the end it is all about the music.

Although the album is a little less than the band’s best output – The Grand Illusion, four years earlier – the music did tap into a popular confluence between the band’s long-time, loyal listeners and a new crop of pop-rock fans that were suddenly starting to pay attention to durable bands from the 1970s such as Rush, Pink Floyd, Supertramp, and Styx.

Paradise Theatre by Styx
Released: January 19, 1981 (A&M) Produced by: Styx Recorded: Pumpkin Studios, Oak Lawn, IL, 1980
Side One	Side Two
A.D. 1928 Rockin’ the Paradise Too Much Time On My Hands Nothing Ever Goes as Planned The Best of Times	Lonely People She Cares Snowblind Half-Penny, Two-Penny A.D. 1958 State Street Sadie
Musicians
Dennis DeYoung – Keyboards, Vocals James Young – Guitars, Vocals Tommy Shaw – Guitars, Vocoder, Vocals Chuck Panozzo – Bass John Panozzo – Drums & Percussion

Musically, Paradise Theatre contains a nice balance among the band’s three primary songwriters, Dennis DeYoung, Tommy Shaw, and James (JY) Young.

Shaw’s best contribution is the hit “Too Much Time On My Hands”, which is about as good as a pop single got for that era. It contains a nice mix of synth effects, a classic guitar solo, crisp and catchy lyrics, and well-delivered vocals. Besides some great axe work, Shaw also adds the top-end harmonies that distinguishes the Styx sound.

JY’s efforts were back-to-back tracks on the album’s second side. “Snowblind” is an anti-drug song with a lugubrious feel throughout. In spite of it’s noble message for society on the surface, it was targeted by Tipper Gore’s PMRC and other anti-rock groups for allegedly backwards masking Satanic messages. The band was truly offended by these charges and would mock them on their next album, Kilroy Was Here, with genuine backwards messaging.

“Half Penny, Two Penny” may be the best rock song on the album. A mini-suite in of itself, it builds to a crescendo with some excellent lead guitar and just the right touch of piano and saxophone (by guest Steve Eisen) in the coda where repeatedly JY screams;

“I wanna be free!”

Styx 1981

But the concept itself and all the songs that surround it, truly belongs to DeYoung. “The Best of Times” provides not only the top hit on the album, but the recurring theme with the opener “A.D. 1928” and the closer “A.D. 1958”. Many longtime fans (and apparently some band members themselves) lamented the heavy introduction of ballads by Denis DeYoung, starting with the soft-rock hit “Babe” on the previous album, Cornerstone. But this is a case where the ballad is supreme (and not so much sappy) with strong influence from each of the members of Styx and the obvious endorsement of fans at large.

However, some of the other “theme” songs really tend to straddle the line between legitimate rock opera and some high school theater production. This is especially true for “Rockin’ the Paradise” and “Nothing Ever Goes As Planned”, both popular songs on the album, each of which can either be interpreted as entertaining or over-the-top on any given day. For this reason, Paradise Theatre never really rises to the level of excellence of the best rock operas, such as The Who’s Quadrophenia, although it is still an interesting and enjoyable listen.

A nice touch was added to top off the album, a classy, “song after the last song” in the same fashion as “Her Majesty” off Abbey Road by The Beatles. The half-minute long saloon-piano piece called “State Street Sadie”, adds just a touch of nostalgia right out of the 1920s that brings home the overall theme of Paradise Theatre.

Part of Classic Rock Review’s celebration of 1981 albums.

Diary of a Madman by Ozzy Osbourne

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There is something pure about Ozzy Osbourne that makes him so endearing to his fiercely loyal fans. Without pretension, this big, overbearing lug that just plugs away at his prophesying to the darker fringes of the Western psyche. Despite all his success, Ozzy is more Eagor than ego. But from this rock critic’s perspective, in his career that spanned over four decades, there was only a very brief moment in time when Ozzy Osbourne was truly great. It was during a few short years at the top of his solo career, when he shared the stage with an equally iconic partner, Randy Rhoads. Together they produced two brilliant albums, Blizzard of Ozz in 1980 and Diary of a Madman in 1981.

A classically trained, guitar virtuoso, Rhoads was a young musical genius who looked at his meteoric rise in rock n’ roll as just a minor pit stop on his road to achieving a true classical music education. He had actually planned on returning to school in the near future before his life was cut short when an idiotic pilot tried some idiotic stunts on a small plane in Florida in early 1982.

Diary of a Madman by Ozzy Osbourne
Released: November 7, 1981 (Jet) Produced by: Max Norman, Ozzy Osbourne, & Randy Rhoads Recorded: February 9 – April 23, 1981
Side One	Side Two
Over the Mountain Flying High Again You Can’t Kill Rock and Roll Believer	Little Dolls Tonight S.A.T.O. Diary of a Madman
Musicians
Ozzy Osbourne – Lead & Backing Vocals Randy Rhoads – Guitars Bob Daisley – Bass Lee Kerslake – Drums & Percussion

At first, it seems apparent that with Diary of a Madman the band wanted to carbon-copy their breakthrough Blizzard of Ozz. In fact, the first two songs, “Over the Mountain” and “Flying High Again” strongly mirror the first two songs of that album (“I Don’t Know”/”Crazy Train”), being the most recognizable on their respective albums. But soon, Diary of a Madman makes it’s own mark as a deeper, darker, more classically-oriented piece.

“You Can’t Kill Rock and Roll” is where the music starts to get serious. The best song on this album, it both perfectly illuminates the twin sides of Rhoads, while being the ultimate theme song for Ozzy Osbourne himself. The production work is stellar, blending the classical and heavy metal elements perfectly. In the third verse, with the long, distorted droning electric guitars, really brings the volcanic passion of this song bubbling to the surface.

Blizzard of Ozz band 1981

There is some controversy that has followed this album through the years, as the original bass and drum recordings, done by Bob Daisley and Lee Kerslake were later re-recorded (by Rudy Sarzo and Tommy Aldridge) at the instance of Ozzy’s wife and manager, Sharon Osbourne, in order to cleanse songwriting credits from Daisley and Kerslake. This is really unfortunate, because the original recording were much of a band effort, and the bass and drum performances shine throughout, especially through the second side of the album and the songs “Little Dolls”, “Tonight”, and “S.A.T.O.”.

But this album is undoubtedly Rhoads from start to finish. And what an eerie finish indeed, with the haunting title song. That traverses through a few haunting verses and a very haunting mid section. Then the outtro – when Rhoads furious riff is accompanied by a chorus of spiritual voices that escort his very last performance on record to a bone-chilling end.

Part of Classic Rock Review’s celebration of 1981 albums.

Don’t Say No by Billy Squier

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Bily Squier was an odd figure on the pantheon of rock. On the one hand, there is no doubt that he was a very talented vocalist with exception songwriting instincts and pop music instincts. Listening to his 1981 breakthrough, Don’t Say No, leaves one with little doubt that this is a bona fide and legitimate rocker. But then there is the other hand, something that’s a little odd, a little off, something you can’t quite put your finger on, but nonetheless was (probably) responsible for Squier not getting his due accolades through the years and decades. It certainly can be argued that being a little “off” adds a distinction or an “edge” that makes such an artist more interesting. This certainly was the case on Don’t Say No and its equally impressive follow-up, Emotions In Motion, in 1982.

A Massachusetts native, Squier had been performing live throughout New England since the late 1960s, including stints with the bands Magic Terry & The Universe, Kicks, The Sidewinders and Piper. This latter group released two critically acclaimed (albeit commercially unsuccessful) albums in the late 1970s and opened for KISS during the height of that band’s success. Squier departed Piper to launch his solo career in 1980 with his debut album The Tale of the Tape, which had a couple of minor hits.

For this sophomore effort, Squier invited Queen guitarist Brian May to act as producer. However, May had too many prior commitments and instead suggested Reinhold Mack, who recently produced Queen’s very successful 1980 albums The Game. This combination proved fruitful, as Don’t Say No reached the Top 5 on the album charts and spawned two Top 40 singles.

Don’t Say No by Billy Squier
Released: April 13, 1981 (Capitol) Produced by: Reinhold Mack & Billy Squier Recorded: The Power Station, New York
Side One	Side Two
In the Dark The Stroke My Kinda Lover You Know What I Like Too Daze Gone	Lonely Is the Night Whadda You Want from Me Nobody Knows I Need You Don’t Say No
Primary Musicians
Billy Squier – Lead Vocals, Guitars, Piano, Percussion Cary Sharaf – Guitars Alan St. Jon – Keyboards Mark Clarke – Bass, Vocals Bobby Chouinard – Drums

This “second tier” of songs are best exemplified with the final three songs on the album, which break from the normal pattern with differing tempos and acoustic textures. “Nobody Knows” is the only song that can be considered a ballad. Squier’s near-soprano vocals above a slowly-picked guitar line and just the right amount of bass and strings later gives way to the full band joining in and a fantastic double-tracked guitar lead that captures the mood perfectly. “I Need You” is a very good pop song, with a really cool new-wave-ish bass/synth riff, calm strummed acoustic and strategically inserted electric guitar during verses that becomes more forceful during the choruses. Unlike that smooth song, “Don’t Say No” is put together in bits and pieces with some interesting lyrics;

“I live on the border-line, you come from the void…”

Which brings us back to that “oddness” that we mentioned at the top. Don’t Say No is littered with examples, mainly outtros of songs, such as the orgasmic chant at the end of the opener “In the Dark” or the frantic pick-up that ends “Lonely Is the Night”. But this is most evident on the album’s closing title track, which begins with a fade-in of the first verse and fades out completely near the end, only to re-emerge suddenly. Is this edgy or amateurish? Ultimately, the listener must decide. Some of Squier’s influences are apparent in a couple of other fine songs. “Too Daze Gone” contains many of the same blues-based elements utilized by Aerosmith in the 1970s, while “Lonely Is the Night” is a definite nod to Presence-era Led Zeppelin, but with an additional gloss layer that makes it very entertaining and radio-friendly.

Of course, Don’t Say No is best know for the “hits” that are still heard on AOR and other media to this day. The opener, “In the DarK” has a very good sound with mixture of guitars and synths and a steady, staccato beat along with plenty of little riffs throughout that make this song a trans-era hit. Mack’s great production is apparent right from the start. “The Stroke” is a double-entendre with infectious lyric and riff and a steady, marching beat throughout. This marching continues through to “My Kindda Lover”, but with a sweeter demeanor, as compared to it’s totally cynical predecessor.

When we made our choice as to which albums from 1981 we would review, we decided that we would either choose Foreigner 4 and Don’t Say No (but not both) as they cover very similar territory as far as genre and quality. They are also similar being that the most popular songs on each album are pretty much the best songs on each album – something that, believe it or not, is really quite rare. But while it was difficult to determine if “Urgent” was superior to “The Stroke” or if “In the Dark” was better than “Juke Box Hero”, it was ultimately the second tier of songs that, in our opinion, gave Don’t Say No the edge. Even though there are some weak points on the album, overall this is the finest work that Billy Squier ever produced.

Part of Classic Rock Review’s celebration of 1981 albums.