Traveling Wilburys Volume 3

Traveling Wilburys Vol. 3
by Traveling Wilburys

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Traveling Wilburys Volume 3As heralded and popular as the Traveling Wilburys 1988 debut album was, the 1990 follow up Traveling Wilburys Vol. 3 was relatively ignored. In part, this was the fault of the group members themselves who took their penchant for inside jokes a bit too far by naming this second Traveling Wiburys release “Volume 3”. Further confusing to fans was the adoption of completely new “Wilbury” pseudonyms by the four remaining group members. All this being said, the music on this album is excellent and entertaining.

The untimely death of Roy Orbison in December 1988 (while Traveling Wilburys Vol 1 was hitting its peak popularity) instantly reduced the super-group to a quartet. While the mainly spontaneous debut album was loose and fun, the vibe on this second album seems more business-like. Further, George Harrison, the originator and unofficial band leader, has a much lighter presence on Traveling Wilburys Vol. 3.

Stepping in to fill the void are Bob Dylan and Tom Petty, who each have a much stronger presence up front than on the debut album. On a note of consistency, the album was once again produced by Harrison and Jeff Lynne, who offered up exquisite sonic quality throughout the album.


Traveling Wilburys Vol. 3 by Traveling Wilburys
Released: October 29, 1990 (Warner Bros.)
Produced by: Clayton Wilbury & Spike Wilbury
Recorded: April–May 1990
Track Listing Primary Musicians
She’s My Baby
Inside Out
If You Belonged to Me
The Devil’s Been Busy
7 Deadly Sins
Poor House
Where Were You Last Night?
Cool Dry Place
New Blue Moon
You Took My Breath Away
Wilbury Twist
Spike Wilbury (George Harrison)
Guitars, Mandolin, Sitar, Vocals
Boo Wilbury (Bob Dylan)
Guitars, Harmonica, Vocals
Clayton Wilbury (Jeff Lynne)
Guitars, Bass, Keyboards, Vocals
Muddy Wilbury (Tom Petty)
Bass, Guitars, Vocals
Jim Keltner
Drums, Percussion
 
Traveling Wilburys 3

The opener “She’s My Baby” is a harder rocker than practically anything on the previous album. A driving musical riff with booming drums by Jim Keltner and, most importantly, the blistering lead guitar of guest Gary Moore, all work to make this a totally unique Wilburys track. “Inside Out” reverts back to the group’s conventional acoustic driven folk style. The lead vocals are by Dylan during the verses with other Wilburys taking some sections and the lyrics offer a clever play on words. “If You Belonged to Me” is a bright, multi-acoustic track with intro harmonica (and later harmonica lead) by Dylan. Petty takes the vocal helm on “The Devil’s Been Busy”, with Harrison adding some sparse but strategically placed sitar in the verses, followed by a full-fledged, electrified sitar solo later in the song. The track also contains good melodies and harmonies to the profound lyrics,

“While you’re strolling down the fairway, showing no remorse / Glowing from the poisons they’ve sprayed on your golf course / While you’re busy sinking birdies and keeping your scorecard, the devil’s been busy in your back yard…”

“7 Deadly Sins” is a fifties style doo-wop with multi-vocal parts and a nice, growling saxophone by Jim Horn. Entertaining enough, but perhaps a bridge too far in the Wilburys penchant for retrospection. “Poor House” starts with Harrison’s signature, weeping guitar. Beyond that, the song sticks to basic blue grass arrangement with harmonized lead vocals and a nice lead guitar by Harrison. “Where Were You Last Night?” has a cool descending acoustic riff throughout and appears to be Dylan parodying his own caricature. With a plethora of acoustic instruments and phrases, “Cool Dry Place” is entertaining musically and classic Petty lyrically with his cool insider lines;

“We got solids and acoustics and some from plywood board, and some are trimmed in leather, and some are made with gourds / There’s organs and trombones and reverbs we can use, lots of DX-7s and old athletic shoes…”

“New Blue Moon” is not much lyrically, but fun, entertaining and sonically interesting nonetheless, while “You Took My Breath Away” is a moderate acoustic ballad where Lynne’s production does add some depth to the overall feel. It all concludes with the wild frenzied rocker of “Wilbury Twist”, which somewhat mocking, while at once a tribute of the dance crazes through the years. Each member takes a turn at lead vocals, making this a fitting end to the album and the Traveling Wilburys short career.

By the early 2000s, Traveling Wilburys Vol. 3 were out of print and did not resurface in any form until The Traveling Wilburys Collection, a box set including both studio albums with bonus tracks was released in 2007.

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1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

Manic Nirvana by Robert Plant

Manic Nirvana by Robert Plant

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Manic Nirvana by Robert PlantIf Led Zeppelin had attempted to make a pop-oriented album, it may have sounded like Manic Nirvana. This 1990 release by Robert Plant fuses some of the pop and dance-oriented elements of his earlier solo efforts released in the 1980s with a retro vocal and guitar approach reminiscent of the classic rock band that Plant fronted for a dozen years. This approach usually works, in some places spot on, in others less so. But, in total, it all makes for an interesting listen.

Around 1990, there was a resurgence of Led Zeppelin in the musical scene, and there is little doubt that this played a part in the approach of Manic Nirvana. In May 1988, Plant and former bandmates Jimmy Page and John Paul Jones joined Jason Bonham (son of original drummer John Bonham) for the first official Led Zeppelin show in nearly a decade. Page also showed up for a cameo at a few of Plant’s concerts and Plant provided vocals for one song on Page’s solo album, Outrider. Later in 1990, the 54-track Led Zeppelin Box Set was released as the first ever compilation of any kind by the group and it included several tracks which had never before been released.

Manic Nirvana was the second of a trio of albums that Plant worked on with keyboardist/guitarist Phil Johnstone, following the commercial success of Now and Zen, released in 1988. Johnstone also co-produced the album with Plant and Mark Stent, and the trio came up with sonic qualities on this record which were unlike those on other albums. The sessions for this album produced a few tracks which would not be released until Plant’s 2006 box set, Nine Lives, including the standout, “One Love”, which has fifties-like undertones with cool slide guitars and horn-like accents.


Manic Nirvana by Robert Plant
Released: March 19, 1990 (Es Paranza)
Produced by: Phil Johnstone, Mark Stent & Robert Plant
Recorded: 1989
Track Listing Primary Musicians
Hurting Kind
Big Love
S S S & Q
I Cried
She Said
Nirvana
Tie Dye On the Highway
Your Ma Said You Cried in Your Sleep Last Night
Anniversary
Liars Dance
Watching You
Robert Plant – Lead Vocals, Harmonica
Doug Boyle – Guitars
Phil Johnstone – Keyboards, Guitars
Charlie Jones – Bass
Chris Blackwell – Drums, Percussion
 
Manic Nirvana by Robert Plant

The opening track, “Hurting Kind (I’ve Got My Eyes on You)”, starts with a sweeping flange similar to that on “Nobody’s Fault But Mine” from Led Zeppelin’s Presence. This is soon interrupted by a steady thumping beat as Plant unleashes a few wails similar to (but less effective than) those of his heyday. Released as a single, this song reached #1 on the Billboard Mainstream Rock chart. “Big Love” is driven by the steady, methodical groove of drummer Chris Blackwell and is carried by Plant’s excited vocals. The bridge section includes a raw guitar lead sandwiched betwwen sections with complex background vocal patterns. “S S S & Q” allegedly means ”soak, shake, splash, and quake” and has a long lead intro of the bluesiest rock guitars on the album. This gives way to more controlled riffing above sterile and modern rhythm, giving the heart of this song a dance-track feel, especially during the synth and quasi-rap bridge with just a touch of James Brown-like textures.

Johnstone’s picked acoustic fades in on “I Cried” accompanied by some rounded bass notes by Charlie Jones. Starting with the main chorus, Plant provides majestic vocals on this excellent song that eventually builds with electric textures and dynamic sections. The outro fades with subtle acoustic textures, closing this smooth and introspective song. Orchestral strings commence “She Said”, soon cut by strong rock riffs and beats. However, this song, which starts interesting, does get a bit long in the tooth through its five minute duration. “Nirvana” is co-written by Jones and starts with an almost punk riff before breaking in with a steady beat and bass. This track tries to reach for the mystical, especially with the droning guitar lead which has a slight tinge of Indian flavor and the twin pauses for Plant to deliberately recite the song’s title. the track ends with a weird effect, like a backwards-masked, out of tune piano.

“Tie Dye on the Highway” starts off with actual sound from Woodstock before breaking into a dance beat with droning instrumentation and a pleasant vocal melody by Plant, which reflects his style from some earlier solo albums. Plant even supplies a slight harmonica lead adding further variety to make this one of the standouts on the album. The only cover on the album, “Your Ma Said You Cried in Your Sleep Last Night”, contains an actual record scratch from the sampled kick drum of the 1961 original by Kenny Dino. The strong beat gives Plant’s vocals plenty of room to soar in this chanting rap with fine backing vocals as well. Released as the second single from the album, the song reached #8 on the Billboard Mainstream Rock chart.

The cheesy synth intro of “Anniversary” disrupts the cool groove from the previous track. This song never really goes anywhere, just adding certain instrumentation such as the off-beat drums and cool bluesy guitar lead. Guitarist Doug Boyle co-wrote “Liars Dance”, a folksy acoustic with Boyle’s picked notes falling between, and sometimes mimicking, Plant’s vocal lines. The track stays purely between the blues acoustic and lead vocals, making it a quality track late in the album. “Watching You” employs one more shot at the frenzied production. However, the drums have more reverberation than is necessary for effect, causing the vocals and strumming acoustic to be a bit buried in the mix. Still, with a hypnotic effect, this song acts as a very potent closer as Plant’s excited vocals are excellent in the background.

Plant and Johnstone followed up Manic Nirvana with 1993’s Fate of Nations before Plant reunited with Page in 1994 to perform and compose new music.

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1990 images

Part of Classic Rock Review’s celebration of 1990 albums.

Kinda Kinks by The Kinks

Kinda Kinks by The Kinks

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Kinda Kinks by The KinksThe Kinks sophomore effort is often overlooked in their catalog due to the popularity of their recently released debut and the critical acclaim of later albums. But the rapidly recorded Kinda Kinks is a fine album with decent tracks, advanced sonic qualities, and mainly original compositions, which cause some to deem this, “the first proper Kinks album”. The album was rapidly recorded in between touring and released in the UK on March 5, 1965, just two weeks after recording wrapped and 50 years ago today.

In 1963, The Kinks were formed in London, by brother guitarists Ray Davies and Dave Davies along with bassist Pete Quaife. The band originally went through a series of lead vocalists, including a young Rod Stewart, before Ray Davies took on the main vocal duties. In late 1963, the band was introduced to American record producer Shel Talmy, who helped The Kinks secure a recording contract with Pye Records the following year. Soon after, Mick Avory was brought on as the permanent drummer, completing the quartet which would remain in place through most of the 1960s. In 1964, the group released four singles, the most successful being “You Really Got Me”, released in August, and “All Day and All of the Night”, released in October, both of which were Top Ten hits on both sides of the Atlantic. Their late 1964 debut LP, Kinks, consists largely of covers with a few tracks written by Davies or Talmy.

With the success of the singles and album, the group toured extensively through the winter of 1965, including a tour of Australia, New Zealand, and Eastern Asia. Upon returning to England, recording began promptly on this album, which would ultimately include 10 of 12 original compositions. Also recorded but left off the album were three tracks penned by Ray Davies, including the fine song craft of “Set Me Free”, the beat-driven rocker with stream-of-conscious vocal lines “Everybody’s Gonna Be Happy”, and the very catchy and unique “Who’ll Be the Next In Line”. On Kinda Kinks, they started to stray beyond the boundaries of strict R&B and blues-based rock into the early workings of the hard rock sound.


Kinda Kinks by The Kinks
Released: March 5, 1965 (Pye)
Produced by: Shel Talmy
Recorded: Pye Studios, London, February 1965
Side One Side Two
Look for My Baby
Got My Feet on the Ground
Nothin’ In the World Can Stop Me Worryin’ ‘Bout That Girl
Naggin’ Woman
Wonder Where My Baby Is Tonight
Tired of Waiting for You
Dancing in the Street
Don’t Ever Change
Come On Now
So Long
You Shouldn’t Be Sad
Something Better Beginning
Bonus Tracks
Set Me Free
Everybody’s Gonna Be Happy
Who’ll Be Next in Line
Group Musicians
Ray Davies – Lead Vocals, Guitars, Piano
Dave Davies – Guitars, Vocals
Pete Quaife – Bass, Vocals
Mick Avory – Drums

The album commences with “Look for My Baby” with a style that is a bit sixties, standard pop (harmonized vocals and call-response) but top-notch at that. The listener is immediately struck by the great sounding drums, a tribute to Talmy’s great production. “Got My Feet on the Ground” was co-written by Dave Davies, who also provides some strained but effective lead vocals on this upbeat and snappy pure rocker.

The album takes a somber turn with, “Nothin’ in the World Can Stop Me Worryin’ ‘Bout That Girl”, a dark folk/blues with a single guitar and vocal through the first verse and a slight arrangement afterwards with acoustic bass and muted snare snaps. The cover, “Naggin’ Woman”, is Rolling Stones influenced as much, if not more, than the original blues source. While pin-point guitars are not quite up to snuff, they are close enough for rock n’ roll. “Wonder Where My Baby Is Tonight”, contains a piano driven riff which is locked in with Quaife’s choppy bass. This is lyrically shallow but interesting musically, especially with the advanced bridge section which previews some of the advanced Kinks arrangements of future years.

The smooth and cool hit, “Tired of Waiting for You”, is the true highlight of the album, led by the complex drum beat of session drummer Bobby Graham and the two chord march riff of Dave Davies during the intro/chorus hook section. Ray Davies’ fine vocals soar above the masterful changes of the inventive verse sections. The song was recorded in mid 1964 and was intended as a single but held over until this album in 1965. When released, it became the group’s third Top Ten hit and their highest single for the next 18 years until the 1983 hit, “Come Dancing”, from State of Confusion.

After a rocked out, almost new wave version of the oft-covered, “Dancing in the Street”, comes the fine, “Don’t Ever Change”, with a folksy, slight Beatles vibe. This forgotten gem from the Kinks early years, contains a nice mixture of acoustic and electric guitars with a consistent, upbeat drum shuffle by Avery and a unique vocal pattern which varies in tempo and intensity while music remains steady behind. The short, “Come On Now”, has the makings for a good rock song but seems a bit under cooked, while, “So Long”, is pure acoustic folk and the first place where Ray Davies’ vocals are left natural and pure. In contrast, “You Shouldn’t Be Sad”, is an upbeat, poppy, and utterly trite song, perhaps the only real filler on the album. The album concludes with, “Something Better Beginning”, a slight ballad with a bit of melancholy tone and fine chord progressions in a classic lover’s lament with a unique title and approach.

According to Ray Davies, the band was not completely satisfied with Kinda Kinks, due to the rushed production which resulted in some songs being underdeveloped. However, these tracks have stood up well over this past half century, which is evident by the number of tracks (seven) later covered by major rock acts. Starting with, The Kink Kontroversy, in late 1965. The Kinks continued their stylistic shift, continuing a diverse career which would continue for decades.

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Part of Classic Rock Review’s celebration of 1965 albums.

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Blizzard of Ozz by Ozzy Osbourne

Blizzard of Ozz by Ozzy Osbourne

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Blizzard of Ozz by Ozzy OsbourneFew rock and roll comebacks are as bizarre, but complete, as that of Ozzy Osbourne in 1980. Just a year after being fired from Black Sabbath, the superstar rock group that he founded and fronted since the late 1960s, emerging with the his fantastic debut solo album, Blizzard of Ozz. The immediate success of this album was due in part to the emergence of guitarist Randy Rhoads who burst onto the rock scene with an aggressive and fresh approach to playing rock guitar with some classical elements.

Actually, this didn’t start as a true solo project for Osbourne. The Blizzard of Ozz was a “side band” the vocalist formed in 1978, while still a member of Black Sabbath. Osbourne abandoned the project to focus on recording Sabbath’s Never Say Die!, his final album with that band before being replaced by Ronnie James Dio. Osbourne, Rhoads and bassist Bob Daisley rehearsed at a live-in rehearsal facility along with a friend of Osbourne’s on drums. After auditioning several drummers, Lee Kerslake, formerly of Uriah Heep, was brought on as the group’s drummer just prior to recording this album.

The quartet entered the studio still billed as “The Blizzard of Ozz”, with the agreement that the album would be credited to the band with Osbourne’s name in smaller print. After failing to find a satisfactory producer, all four members took on production duties themselves. The approach used was similar to that on Van Halen’s debut album, with Rhoads’ guitars front and center as a complement to Osbourne’s familiar vocals. Most of the group members were surprised when originally seeing the album cover with “Ozzy Osbourne” in bigger print and “The” removed from the title Blizzard of Ozz, which would ripple into further issues among the musicians in years to come.


Blizzard of Ozz by Ozzy Osbourne
Released: September 20, 1980 (Jet)
Produced by: Ozzy Osbourne, Randy Rhoads, Bob Daisley & Lee Kerslake
Recorded: Ridge Farm Studios, Rusper, England, March−April 1980
Side One Side Two
I Don’t Know
Crazy Train
Goodbye to Romance
Dee
Suicide Solution
Mr. Crowley
No Bone Movies
Revelation (Mother Earth)
(The Night)
Primary Musicians
Ozzy Osbourne – Lead Vocals
Randy Rhoads – Guitars
Don Airey – Keyboards
Bob Daisley – Bass, Vocals
Lee Kerslake – Drums, Percussion

A long, sustained, anticipation-building, spacey gong sound swells in before being sliced cleanly by Rhoads rapid, deadened machine gun riff on the opener “I Don’t Know”. After two verses of this heavy bliss comes the surprising, flange-heavy middle bridge section which exits into a strong launch of Rhoads’ first lead of the album. The song has a mini epic feel during the multi-part bridge before the intro and verse section return for a final verse before the sudden and clever ending. “Crazy Train” contains one of the most famous intros in rock history as the thumping rhythms of Daisley and Kerslake are cut by Osbourne’s vocal effects before Rhoads steals the show with his indelible riff. The entire track is an exercise in the best of accessible hard rock – slightly doomy lyrics delivered clearly and melodically above air-instrument-worthy crunches and fills. Rhoads’ lead is short but rapid and potent with the lyrical content reflecting the ongoing Cold War and the ever-present fear of annihilation. Released as the album’s lead single, “Crazy Train” failed to reach the Top 40 but has long since become a rock radio staple and classic from the era.

 
A change-up that shows there’s much more to this album compositionally, “Goodbye to Romance” was the first track written for the album as a sort of ode to Osbourne’s departure from Black Sabbath. The beat is almost impossibly slow but there is enough variety in Rhoads multi-tracked textures and Daisley’s bouncy bass line through the first verses and choruses. The song really reaches a new level starting with Rhoads’ guitar lead, which seems to set a template for a decade plus of power ballads to follow. The song’s final verse takes an alternate approach both melodically and in intensity, before a calm synth leads the song through the outro. After three, five-minute-something tracks filled with passion and emotion, comes a slight respite in the classical acoustic solo of “Dee”, Rhoads’ short tribute to his mother. “Suicide Solution” is the closest this lineup comes to classic Black Sabbath in its pure darkness and doominess, complete with a long effects-laden section which caused much controversy in subsequent years. The song’s outro contains some slight Hammond organ and sixties-style psychedelic guitar effects, which make it an interesting listen.

The album’s second side is a bit more experimental. Inspired by a book about 19th century occultist Aleister Crowley which Osbourne found in the studio, “Mr. Crowley” starts with deep synth section played by Don Airey. The verse breaks in with a strong hard rock phrase which falls somewhere on the scale between Led Zeppelin and Foreigner and, although impressive, Rhoads’ lead seems more like a technical exercise than an affirmative dispatch. The guitarist does make up for this later in the song with a fantastic, harmonized counter-riff that really elevates the track overall to the classic level. “No Bone Movies” is much more frivolous in its approach. A true band jam, this is the only song credited to all four core members of “The Blizzard of Oz” and the most interesting element is the bright, bluesy guitars, which sound like nothing else on the album. Almost a comic relief piece, lyrically the song is about constant self-vows to abandon pornography;

Silver screen, such a disgrace, I couldn’t look her straight in the face, a blue addiction I live in disgust, degradation, eaten by lust…”

“Revelation (Mother Earth)” is the most intense and, perhaps, overall best song on the album. The track contains a chorus of heavy and delicate guitars by Rhoads along with a healthy dose of keyboards, synths and percussive effects. Osbourne also does a masterful job vocally, expertly portraying the apocalyptic desperation of the lyrics. However, the best part of this track is the extended instrumental section, which is led into by a heavy metal guitar and bass riff, passes through a fine classical piano and synth section by Daisey, and then returns to Rhoads’ riffing and one final, heavy outro with multi-tracked guitars and a complexity to the jam as fine as anything Deep Purple had ever done. After the depth of the previous track, “Steal Away (The Night)” concludes the album as a fun party song which gives everyone the opportunity to let loose musically. Here, Daisley and Kerslake really step to the forefront, which reminds everyone that Blizzard of Oz is really a band effort.

The album was a huge commercial success and is Osbourne’s top selling record, having sold over 6 million copies worldwide. However, there was some controversy as Daisley and Kerslake sued Osbourne (and eventually won) for unpaid royalties. In response, Osbourne re-released Blizzard of Oz with newly recorded bass and drum tracks in 2002. But fans grew to loathe this new release and the original version was reinstated as official in 2011.

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Part of Classic Rock Review’s celebration of the 35th anniversary of 1980 albums.

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British Steel by Judas Priest

British Steel by Judas Priest

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British Steel by Judas PriestBritish Steel was the album where Judas Priest finally found a mainstream American audience and launched the heavy metal band into stadium headliners. The album reached the Top 40 in the American album charts, while faring even better in the group’s home Britain. This orchestrated move towards a more commercial sound and away from the complexity of their earlier material, helped open the door for a new style of heavy rock which persisted throughout the new decade.

The origins of Judas Priest date back to 1969 when guitarist K.K. Downing and bassist Ian Hill began jamming to tunes by Deep Purple, Jimi Hendrix, The Who, Cream and The Yardbirds and took their name from Bob Dylan’s song “The Ballad of Frankie Lee and Judas Priest”. Eventually the band moved away from blues rock towards heavier music and soon the group began opening up for top-billing acts in England. In 1973, vocalist Rob Halford joined as front man and the next year lead guitarist Glenn Tipton was enlisted just prior to the recording of the group’s debut, Rocka Rolla, in 1974. In the late seventies, Judas Priest migrated further towards a gritty metal sound with the studio albums Sad Wings of Destiny, Sin After Sin, Stained Class and Killing Machine and the critically acclaimed 1979 live album Unleashed in the East.

Long time drummer Les Binks quit in late 1979 and was replaced by Dave Holland just prior to the recording of British Steel. Produced by Tom Allom, original recordings began at Startling Studios in December 1979, but these were soon abandoned for a fresh start at Ringo Starr’s Tittenhurst Park studios in early 1980.


British Steel by Judas Priest
Released: April 14, 1980 (Columbia)
Produced by: Tom Allom
Recorded: Startling Studios and Tittenhurst Park, England, December 1979–February 1980
Side One Side Two
Breaking the Law
Rapid Fire
Metal Gods
Grinder
United
Living After Midnight
You Don’t Have to Be Old to Be Wise
The Rage
Steeler
Primary Musicians
Rob Halford – Lead Vocals
K.K. Downing – Guitars
Glenn Tipton – Guitars
Ian Hill – Bass
Dave Holland – Drums

The music for all songs on British Steel was composed by Downing and Tipton, while all the lyrics were written by Halford. The infectious riff of “Breaking the Law” gets thing rolling, complete with sound effects and a primal, chanting hook. This opener (on the American version of the album) strongly signifies the group’s move into a simpler and less processed sound. This direction is further reinforced with the driving rhythm of “Rapid Fire” and the moderate crunch of “Metal Gods”.

Judas Priest 1980

The album’s first side concludes with two of its finest tracks. “Grinder” mixes deliberate guitar riffs with Hill’s steady, driving bass and a deep and raw hook by Halford which seems to forecast future acts like Metallica. “United” is an anthemic masterpiece with great sonic effects production-wise and the most melodic vocals on the album. Holland’s reverb-drenched drums seems ready for the arena while the rest of the instrumentation rests nicely in a dry but bright room.

The second side contains more diverse tracks. “Living After Midnight” is probably the most popular song from British Steel, which has sustained through the years due to its radio-friendly hooks and beats. This was the group’s first gold album in the U.S. due to its easily accessible portrayal of the rebellious spirit in the same vein as contemporaries like the group Kiss.

The fine, steady rocker “You Don’t Have to Be Old to Be Wise” patiently finds its way through the verse, chorus rotation with some very dynamic vocals by Halford, which he sustains as a highlight of the song along with a fine guitar lead by Tipton. “The Rage” is one of the most interesting tracks on the album, starting as an off-beat reggae phrasing by Downing and Hill before morphing into a Van Halen-style riff with doomy lyrics. Closing out the album, “Steeler” is an upbeat rocker which forecasts the group’s sound in subsequent years.

Following the success of British Steel, Judas Priest followed the same basic formula with 1981’s Point of Entry and 1982’s Screaming for Vengeance, each continuing the group’s rise in popularity. Three decades later, the group embarked on a 30th anniversary tour by playing the album live in its entirety for the first time, proving the sustainability of this fine record.

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Part of Classic Rock Review’s celebration of 1980 albums.

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Drama by Yes

Drama by Yes

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Drama by YesYes entered the 1980s with a new lineup and a renewed compositional approach. 1980’s Drama, is the band’s tenth studio album but the first not to feature Jon Anderson as the front man, as Anderson and keyboardist Rick Wakeman left the group during rehearsals for this album. Soon, two members of the new wave group The Buggles, lyricist/vocalist Trevor Horn and keyboardist Geoff Downes were brought in to replace Anderson and Wakeman. While this naturally added some “modern” elements to Yes’s sound, the group simultaneously reverted back to their trademark early seventies approach, which overall made for an interesting and potent fusion.

During the mid to late seventies, Yes slowly morphed from a dedicated progressive rock band to offering more succinct fusion rock. Along the way, internal conflicts on the direction of the band erupted into shifts in the lineup. In 1973 drummer Alan White replaced longtime drummer Bull Bruford and, following the release of the controversial double LP Tales from Topographic Oceans, Wakeman left the band for the first time. 1974’s Relayer saw Yes move in a jazz fusion-influenced direction and was a Top 5 hit on both sides of the Atlantic. The group’s 1976 North American tour saw the band at the height of their popularity, playing sold-out stadiums with audiences as large as 100,000. Wakeman rejoined the group for their late 1970s albums Going For the One (another success) and Tormato (a commercial failure).

In late 1979, the band convened with producer Roy Thomas Baker to discuss their next album. A chasm grew over the musical approach between Anderson and Wakeman on one side and the rest of the group who wanted to return to a heavier sound. By March 1980, White, guitarist Steve Howe, and bassist Chris Squire began recording demos of instrumental material because Anderson and Wakeman were so disinterested in their approach. Horn and Downes Happened to be working in the same recording complex and, after Squire heard a demo of one of their new tracks, they were enlisted to joine this reconfigured version of Yes and recorded Drama.


Drama by Yes
Released: August 18, 1980 (Atlantic)
Produced by: Trevor Horn and Yes
Recorded: April–June 1980
Side One Side Two
Machine Messiah
White Car
Does It Really Happen?
Into the Lens
Run Through the Light
Tempus Fugit
Primary Musicians
Trevor Horn – Lead Vocals, Bass
Steve Howe – Guitars, Mandolin, Vocals
Geoff Downes – Keyboards, Vocals
Chris Squire – Bass, Piano, Vocals
Alan White – Drums, Percussion, Vocals

Although filled with extended tracks, this album moves by quickly and is as solid and complete as their tremendous early seventies efforts The Yes Album and Fragile. Also, while all five members of this newly formed band and Eddie Offord are credited with production, the majority of the workload was handled by Horn alone. The opener “Machine Messiah” rolls in with an animated yet doomy heavy prog-rock progression and heavily distorted guitar riffs. After about a minute and half, it breaks into an acoustic and bass driven verse section, which sounds much more like traditional Yes for two verses. This extended track later launches into upbeat and eclectic musical sections with several short leads by Howe, one of which is introduced by Downes and Squire trading synth and bass licks.

“White Car” is an odd interlude, orginally started as a Buggles song, with choppy synths mixed with some traditional orchestra instruments. This minute and a half long track is unidirectional with single verse and chorus. “Does It Really Happen?” starts with a cool, funky bass riff by Squire which is built around by the rest of group. In essence, the song acts as a bridge between the seventies and eighties versions of Yes, with deep Hammond-style-organ chops mixed in with the overall clean funk and some tempo variations during entertaining verses. Ending side one, the song contains some philosophical lyrics;

Time is the measure before its begun, slips away like running water…”

The most popular song on Drama is, “Into the Lens”, which started as a track intended for the second Buggles album called “I Am a Camera”. Squire’s bass rudiments in the intro are gradually joined by keys and guitars for a richer arrangement and experience. Vocally, this song is the first where Horn really distinguishes his style apart from that of Anderson’s and the track moves at a unique pace which is at once rushed and deliberative, really straddling the line between prog and pop like few songs before it. Ultimately, this track found its way back to The Buggles, who released it as “I Am a Camera” in late 1981 and nearly got a Top 40 hit.

Well treated by engineer Hugh Padgham, “Run Through the Light” starts with a slight, distant mandolin by Howe and vocals by Horn with deep reverb. Little by little, the instruments enter in the distance, never really coming completely to the foreground, making for an interesting sonic effect, especially with the multiple synth and guitar licks splattered throughout. The album ends with a high-end, traditional jam. “Tempus Fugit” starts with Downes’ choppy organ riff before launching into a complex patter by Squire’s flanged-out bass and complemented by a Howe’s reggae/ska guitar chop through the verses. Rapid, harmonized vocals lead to the ultimate lyrical hook of, “Yes”, reminding all that this makeshift super-group still carries the mantle of the classic band.

After touring together to support, Drama, this short-lived lineup began to disintegrate as members began to leave for various reasons. Ultimately, Howe and Downes were the last two left but opted to form a new group called, Asia, rather than continue to use the name, “Yes”. Ironically due to their commitment to their succesful new band, these two were the only ones not included when Yes reformed in 1983 and recorded their commercially successful, 90125, albeit Horn’s participation was as producer after Anderson returned on lead vocals.

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Part of Classic Rock Review’s celebration of the 35th anniversary of 1980 albums.

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Zenyatta Mondatta by The Police

Zenyatta Mondatta by The Police

Buy Zenyatta Mondatta

Zenyatta Mondatta by The PoliceZenyatta Mondatta was the hinge album which fell right in the middle of The Police‘s short career as an active band. True to form, this third studio release by the group contains a fine balance between their reggae-influenced roots of their first two albums in the late seventies and the more complex new wave rock of their final two albums in the early eighties. The result is a work that achieved both critical and commercial success and solidified the group as deserving of a perch in the top echelon of rock groups.

Formed in 1976 as a budding punk band, the Police members experimented with elements of reggae and jazz. Copeland’s brother and record executive Miles Copeland III agreed to finance The Police’s first album, Outlandos d’Amour in 1978, which was driven by the international hit “Roxanne”, and brought the group to the US for the first time. In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK albums chart and spawned more hit singles.

Co-produced by Nigel Gray, Zenyatta Mondatta, was recorded during a break in the band’s first world tour. The band members have expressed disappointment over the final output as it was “rushed” due to much pressure from the label. Further, the band could not record in their home country due to tax reasons and instead did so in the Netherlands. However, this rushed atmosphere may have added to the dynamic elements and overall energy of this record.


Zenyatta Mondatta by The Police
Released: October 3, 1980 (A&M)
Produced by: Nigel Gray & The Police
Recorded: Wisseloord Studios, Hilversum, Netherlands, July–August 1980
Side One Side Two
Don’t Stand So Close to Me
Driven to Tears
When the World Is Running Down, Make the Best of What’s Still Around
Canary In a Coalmine
Voices Inside My Head
Bombs Away
De Do Do Do, De Da Da Da
Behind My Camel
Man In a Suitcase
Shadows In the Rain
The Other Way of Stopping
Group Musicians
Sting – Lead Vocals, Bass, Synths
Andy Summers – Guitars, Piano, Synths, Vocals
Stewart Copeland – Drums, Synths, Vocals

With a dramatic intro to the song and the album, subtle synths lead to and eventually follow the guiding beat which lead to the album’s most indelible and popular track, “Don’t Stand So Close to Me”. Expert instrumentation effect on simple riffs and beats complement Sting’s catchy melody which aligns with the guitar riffs. Lyrically, the song puts a new twist on the Lolita story, even going so far as to mention that story’s author, Nabakov. Fantastic rhythms bring in the dramatically simple but effective track “Driven to Tears”, on which Summers has a very short, screeching rock lead to add ever-more variety. this second song’s theme examines the divide between rich and poor.

“When the World Is Running Down, You Make the Best of What’s Still Around” is repetitive in almost a dance-rock fashion, built on Copeland’s simple but potent beat beneath the melodic and frantic vocals of Sting. The ability to take this hypnotic three-chord progression and add subtle dynamics and vocal inflections to give the song a more substantive feel. “Canary In a Coalmine” has an upbeat ska/reggae backing to harmonized lead vocals.  “Voices Inside My Head” has a disco beat with a funky bass and reverb effects on the guitar, which conjures images of David Gilmour on Pink Floyd’s The Wall. Eventually, this song takes a bit of an African feel with some chanting vocals and slight drum variations. The first side ends with “Bombs Away”, written by Stewart Copeland. Bright and upbeat music betrays the dire apocalyptic sarcasm of the lyrics, while musically Copeland’s rapid-hat shuffle is complemented nicely by the simple and rounded bass notes of Sting.

 
The gibberish hook of “De Do Do Do, De Da Da Da” is almost regrettable because the music is so well-formed on this track, perhaps the finest on the album, and Summers’ true highlight. The guitar riffs throughout are bright and catchy, with rich harmonic textures and tasteful use of electronic effects. Released as a single, the song became the first for the group to reach the Top 10 in both the United Kingdom and the United States. “Behind My Camel”, is the most controversial on the album as Sting refused to play on this instrumental composed by Andy Summers (who took on bass duties himself). Pure theatrical, droning, guitar-driven track is unlike anything else on the album and it surprisingly won the Grammy Award in 1982 for the Best Rock Instrumental Performance.

The Police 1980

While the album is solid to this point, it does seem to lose some steam down the stretch. “Man In a Suitcase” reverts back to the pure reggae, upbeat and light, with exceptionally good bass throughout by Sting, including an incredibly long decay of a single note coming out of the bridge section. “Shadows In the Rain” is a more deliberative track, built with a simple bass and drum groove riff along with a couple of piano notes each phrase, while Summers’ guitar places some distant rock motifs. Copeland’s “The Other Way of Stopping”, starts with what sounds like a chorus of drums in the intro, finely highlighting the choppy skins of the drummer, which is really the only highlight of this closing instrumental, which means the album may have been about a track too long.

Zenyatta Mondatta was a worldwide hit, landing near the top of nearly a dozen national charts. More importantly, it launched The Police into the furious second half of their career which saw even more success in the near future.

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Part of Classic Rock Review’s celebration of the 35th anniversary of 1980 albums.

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Turn of a Friendly Card by Alan Parsons Project

Turn of a Friendly Card
by Alan Parsons Project

Buy Remain In Light

Turn of a Friendly Card by Alan Parsons ProjectAlan Parsons Project produced one of their more accessible albums with, Turn of a Friendly Card, a quasi-concept record which concludes with a sixteen-minute-plus title suite. The fifth album by the progressive group, this 1980 release contains a pleasant mix of melodic soft rock with multiple elements of funk and orchestral music put together by the group’s founders and composers, audio engineer Alan Parsons and keyboardist Eric Woolfson.

Parsons and Woolfson met at Abbey Road Studios in 1974. Parsons had worked there as an assistant engineer on several Beatles’ album and recently received accolades for his work on Pink Floyd’s Dark Side of the Moon. Woolfson was working as a session pianist and signed on as Parsons’ manager, as he produced several successful albums through the mid 1970s. Eventually the duo decided to record a Woolfson composition inspired by the works of Edgar Allan Poe which became the Alan Parsons Project 1976 debut album entitled Tales of Mystery and Imagination. Now signed to Arista Records, the group released an album per year in the late seventies, with ever-growing popularity.

According to a report on Crypto Engine, Turn of a Friendly Card focuses on gambling as an escape from the doldrums of middle age. The concept was sparked when Woolfson was sitting in a casino in Monte Carlo and observed the activities and sounds going on around him. He revised the album’s title from a song he had written in the 1960s, which fit well with this new concept.


Turn of a Friendly Card by Alan Parsons Project
Released: November, 1980 (Arista)
Produced by: Alan Parsons
Recorded: Acousti Studio, Paris, Late 1979–Mid 1980
Side One Side Two
May Be a Price to Pay
Games People Play
Time
I Don’t Wanna Go Home
The Gold Bug
The Turn of a Friendly Card
Primary Musicians
Eric Woolfson – Piano, Keyboards, Accordion, Vocals
Alan Parsons – Keyboards, Percussion, Vocals
Ian Bairnson – Guitars
David Paton – Bass
Stuart Elliot – Drums, Percussion

The hit track “Games People Play” features Lenny Zakatek on vocals and contains a cool synth arpeggio complemented by guide piano, using some of the methods that Pete Townshend used through the seventies with The Who. The song is compelling and focused, yet melodic and catchy with philosophical lyrics that touch on stepping out during an empty nest syndrome. The interesting bridge section touches on prog rock effects, concluding with a fine guitar lead by Ian Bairnson. “May Be a Price to Pay” starts the album off with some majestic horn sounds provided by orchestral conductor Andrew Powell. The track then breaks into a moderate funk beat to introduce the verse sections which, sung by Dave Terry, introduces the quasi-dramatic theme of the album;

Something’s wrong in this house today, while the master was riding the servents decided to play, something’s been going on, there may be a price to pay…”

The first track by the group to ever feature Woolfson on lead vocals, “Time” is one of the finest ballads by Alan Parsons Project. With Parsons adding backing vocals, this song actually features the voices of the group’s core duo and has expert arrangement. Starting with rotating piano and subtlety morphing to an acoustic-driven tune with great orchestral effects, “Time” peaked in the Top 20 in America, making it the group’s second most successful single, with deeply melancholy lyrics

Goodbye my love, Maybe for forever, goodbye my love, the tide waits for me / Who knows when we shall meet again, if ever, but time Keeps flowing like a river to the sea / Till it’s gone forever, gone forevermore…”

Closing the first side is an interesting, multi-sectional but steady pop/rocker in the vein of Little River Band, called “I Don’t Wanna Go Home”. This track is wrapped up in a more moody, minor key piano section for the intro and outro. “The Gold Bug” is an instrumental which has a Western cowboy feel, with Parsons adding some human whistle over the duo tremolando acoustic guitars of Bairnson and David Paton during the intro. In the “song proper” of this instrumental, Parsons adds an echoed clavinet and autoharp, making this the one track where the group’s namesake performs the most musically.

“The Turn of a Friendly Card” is the extended title suite which closes the album and is split into five distinct section. The title section opens and closes the track with lead vocals by Chris Rainbow . It has a distinct English folk feel accented by Woolfson’s nice blend of piano and harpsichord. “Snake Eyes” theatrically returns to the modern era and into the casino which influenced the album’s concept as a pleasant rocker, albeit a bit tacky with the blatant casino sound effects. “The Ace of Swords” returns to the harpsichord, this time performed by Parsons, as a way to set the scene of the orchestral instrumental section where the rhythm section of bassist David Paton and drummer Stuart Elliot shine through with fine rudiments. “Nothing Left to Lose” features Woolfson’s second lead vocal and is a great acoustic ballad with a smooth chorus of backing vocals and a fine ‘button’ accordion by an unidentified Parisian session player. Lyrically, this section may be a bit too clichéd, which is its sole weak spot, but later on the track nicely transitions to a heavier rock instrumental section, making this the true highlight of the second side. “The Turn of a Friendly Card (Part Two)” concludes the album as a simple reprise of the first part of the suite with a great electric guitar lead by Bairnson and closing orchestration to finish the album on a high note.

Turn of a Friendly Card reached the Top 20 in the US, the Top 40 in the UK, and was a hit in various other countries throughout the world. The Alan Parsons Project would continue through most of the eighties with more commercial success on subsequent albums.

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Part of Classic Rock Review’s celebration of the 35th anniversary of 1980 albums.

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Begin Here by The Zombies

Begin Here by The Zombies

Buy Begin Here

Begin Here by The ZombiesWe commence our year-long celebration of the 50th anniversary of 1965 album releases with the oldest music we’ll ever cover at Classic Rock Review. The British group, The Zombies, recorded several singles through 1964 a few of which caught fire in the U.S. market. To capitalize, the group rushed into the studio late in 1964 to record enough material to release an album for the American market. The twelve track album The Zombies was released in January 1965 in the U.S., while the band took a little more time to complete their fourteen track U.K. debut, Begin Here, a few months later. While either version of this album contains too many covers by contemporary standards, there is certainly enough variation and originality in the originals to sustain this as a classic.

The Zombies were originally formed as “The Mustangs” in 1961, while its five members were still at school. After finding out that other bands were using “Mustangs”, the band’s permanent name was coined by short-time member Paul Arnold, who left the group to become a physician. The band “won” a recording contract with Decca Records after winning a beat-group competition and instantly recorded their first hit, “She’s Not There” in 1964. Written by keyboardist Rod Argent, the song contains a cool, jazzy electric piano, Bossa Nova rhythms by drummer Hugh Grundy, and the signature, breathy vocals by lead vocalist Colin Blunstone. The song reached The Top 20 in the UK in September 1964 and climbed all the way to #2 in the U.S. in December 1964.

The group immediately toured the United States and were featured on the initial episode of the national TV show Hullabaloo. Throughout this frenzy, the group was composing and recording, while developing a distinct musical and vocal style with featured a blend of keyboards, snapping rhythms, and distinct lead and harmonized vocals.


Begin Here by The Zombies
Released: March 1, 1965 (Decca)
Produced by: Ken Jones
Recorded: June – November 1964
Side One Side Two
Road Runner
Summertime
I Can’t Make Up My Mind
The Way I Feel Inside
Work n’ Play
You Really Got A Hold On Me/Bring It On Home To Me
She’s Not There
Sticks and Stones
Can’t Nobody Love You
Woman
I Don’t Want to Know
I Remember When I Loved Her
What More Can I Do
I Got My Mojo Working
Bonus Tracks
It’s Alright with Me
Sometimes
Kind of Girl
Tell Her No
Group Musicians
Colin Blunstone – Lead Vocals
Rod Argent – Piano, Keyboards, Harmonica, Vocals
Paul Atkinson – Guitars
Chris White – Bass, Vocals
Hugh Grundy – Drums

Begin Here starts with a rocking version of Bo Didley’s “Road Runner”. Paul Atkinson adds some surf rock guitar elements to complement Blunstone’s wild, intense vocals and a slight organ solo by Argent. George Gershwin’s “Summertime” is next interpreted as a calm and jazzy number with great sixties sonic motifs, led by the electric piano of Argent and the smooth lead vocals of Blunstone. The first original on the album is written by bassist Chris White. “I Can’t Make Up My Mind” is pure sixties pop, with The Zombies offering their first hint of great harmonies with a slight guitar lead by Atkinson. Argent’s “The Way I Feel Inside” is definitely influenced by The Beatles, and most specifically the song “If I Fell” from A Hard Days Night, while “Work n’ Play” is a cool sixties-style instrumental, led by the piano of guest Ken Jones (who wrote the number) and a harmonica lead by Argent.

The medley “You’ve Really Got a Hold on Me/Bring It On Home to Me” may be the weakest spot on the album, considering The Beatles had already done their own version of the first part of this medley, and there is nothing special added here. In contrast, the cover “Sticks and Stones” is a great jam even if you can sense some Rolling Stones/Them influence, especially vocally. Atkinson’s bright, picked guitar drives the blues/soul influenced “Can’t Nobody Love You”, a rare track where Argent is reserved to the background with White’s bass and Grundy’s drums much more animated. “Woman” is  riff-driven with harmonized vocals throughout and changes method and tempo between the verse and chorus sections.

The Zombies

“I Don’t Want to Know” is another pop track by White with some lead vocal rudiments, while Argent’s “I Remember When I Loved Her” contains a dark, almost Western feel with echoed, picked acoustic and constant 6/4 rhythmic drive with some percussion effects. Later a haunting organ rises in the background, adding to the overall vibe and show that The Zombies were sophisticated beyond their years and explored abstract musical avenues long before art-rock came along. White’s third and final composition on the album is the short but excellent “What More Can I Do”, which vastly predicts the Doors sound of years to come. Rounding out the original album is “I Got My Mojo Working”, a pure, upbeat blues which forecasts the future of rock n roll with consistent, driving riff and beat and more than apt harmonica by Argent.

Some of the group’s originals which were only included on the American version, The Zombies, were the sixties jam, “It’s Alright With Me”, the Beatlesque rocker, “Sometimes”, and most especially the 1965 hit single “Tell Her No”. This latter track by Argent is a jazz/rock classic with great sense of melody and composition that became the group’s second Top 10 hit in the United States.

After the frenzy of early 1965, The Zombies got into a bit of a commercial rut, releasing several singles through 1966 without much popular reaction. Eventually, the band made their way to Abbey Road Studios in 1967 and recorded their classic album, Odessey and Oracle, released in 1968. Unfortunately, the group was already on the outs by that point, assuring a short but meteoric path for one of the sixties most ingenious rock bands.

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Part of Classic Rock Review’s celebration of 1965 albums.

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The Pretenders debut album

Pretenders by The Pretenders

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The Pretenders debut albumPretenders, is the self-titled debut studio album by the British-American band of the same name. Released just weeks into the new decade of the eighties, this was one of the more widely anticipated debuts as the group had already achieved commercial success with three charting hits in 1979. Those three singles (along with two of the ‘B sides’) were combined with new studio material to make this fine rock album, which debuted at #1 in the UK and went platinum in the U.S. The album also received high praise critically, which it has sustained as it is included on many lists of top debuts of all time.

The Pretenders are led by composer, guitarist and vocalist Chrissie Hynde. Originally from Akron, Ohio, Hynde moved to London in 1973 and wrote for the weekly music paper NME. She formed and played in many groups through the mid seventies and was involved with the inception of the punk scene, including short stints with early versions of The Clash and The Damned. After recording a demo of original songs, Hynde was convinced to assemble a more permanent band to reach the next level. Bassist Pete Farndon and guitarist James Honeyman-Scott joined Hynde in this yet-to-be named band in early 1978.

Later that year, the group chose their name after the Platters song, “The Great Pretender”, and recorded a cover of the Kinks’ ,”Stop Your Sobbing”, with producer Nick Lowe and drummer Gerry Mackelduff. Released in January 1979, the single gained the new group some attention and radio play as well as the backing to record more songs and eventually this debut album. Martin Chambers signed on as the group’s permanent drummer and the quartet recorded scores of tracks through 1979 with producer Chris Thomas, many of which were not released until a re-mastered edition of Pretenders was released in 2006.


Pretenders by The Pretenders
Released: January 19, 1980 (Sire)
Produced by: Chris Thomas & Nick Lowe
Recorded: Wessex Studios and Air Studios, London, 1979
Side One Side Two
Precious
The Phone Call
Up the Neck
Tattooed Love Boys
Space Invader
The Wait
Stop Your Sobbing
Kid
Private Life
Brass In Pocket
Lovers of Today
Mystery Achievement
Group Musicians
Chrissie Hynde – Lead Vocals, Guitar
James Honeyman-Scott – Guitars, Keyboards, Vocals
Pete Farndon – Bass, Vocals
Martin Chambers – Drums, Vocals

Hynde wrote the bulk of the material on Pretenders and found a nice blend of rock, punk and pop, with the slightest hint of new wave edge. “Precious” starts as a rapid, two chord jam until the song gets a little more intense and sonically interesting with phasing and reverse-reverb effects, and overtly vulgar lyrics. The song was a cynical ode to Hynde’s home city of Akron, a theme she would revisit in a more sentimental way in later years on “My City Was Gone” from Learning to Crawl. “The Phone Call” is a rudiment driven, new wave rocker where the vocals are mostly spoken word with some interesting deviations during the short, rapid, off-beat choruses, while “Up the Neck” is much more contemporary and melodic than the first two tracks as a steady, jangly, and pleasant pop/rocker throughout.

The PretendersReturns to the feel of the opening track, “Tattooed Love Boys” shoots a strong sexual vibe by Hynde and is close to punk in underlying feel, albeit much more refined up top. This track also employs a very odd time signature and the first of several brilliant guitar leads by Honeyman-Scott. Next comes the album’s only instrumental, “Space Invader”, driven by Farden’s bass line in the opening jam and a slight synth section by Honeyman-Scott. “The Wait” has more interesting riffs and rudiments in the verse where Hynde’s lead vocals seem to be in a race between the crunch riffing, while the chorus has a more standard rock release with great bass by Farndon, who co-wrote this song.

While this album is fine throughout, the second side is especially strong. “Kid” is a melodic and upbeat ballad with some cool instrumental passages, including a nice acoustic section and very animated, rolling drums by Chambers. Here, Hynde abandons the punk bravado and branches out with a love song about vulnerability and Honeyman-Scott contributes layers of fine lectric guitars. “Private Life” follows as a quasi reggae tune, but with the guitar riff and vocals giving it a dark feel. Although the group rarely leaves the same basic riff through its six and a half minute duration, the song does contain some soul-fueled background vocal variations and another respectable rock guitar lead.

“Brass in Pocket” is the most popular early track by The Pretenders, driven by the slightly funky riff by Honeyman-Scott, Hynde’s great sense of melody, and Farndon’s rounded eighties bass to introduce the new decade. Lyrically, the song is one of self-assurance among women with a laid-back swagger and confidence. The song was a pop hit on both sides of the Atlantic, reaching the Top 20 in the US. “Lovers of Today” starts as pure ballad but takes some interesting turns into classic rock areas with coolly strummed acoustic with strong electric riffs above while maintaining the overall melancholy mood of the track. The album ends strong with “Mystery Achievement”, a powerful and intense rocker with more melodic vocals by Hynde.

Pretenders was a commercial success worldwide, reaching the Top 10 on a half dozen album charts in 1980. The next year the group followed up with an EP and a second full-length album, Pretenders II.

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Part of Classic Rock Review’s celebration of the 35th anniversary of 1980 albums.

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