Toyah "The Blue Meaning" (1980)

The Blue Meaning
release date: Jun. 6, 1980
format: digital (2002 reissue)
[album rate: 2,5 / 5] [2,52]
producer: Steve James, Toyah
label: Safari Records - nationality: England, UK

Track highlights: 1. "Ieya" - 7. "Visions" - 9. "Love Me"

2nd studio album by Toyah succeeding Sheep Farming in Barnet by less than three months. Here the band already demonstrates its ever-changing line-ups as bassist Mark Henry has been replaced by Charlie Francis.

Apart from the line-up change, The Blue Meaning is very much like the other side of the coin to the debut with ten new pompous arrangements and a little more screaming - Wilcox is credited for "verbals & unusual sounds"... [sic], and she has taken an even stronger theatrical sound, which may have seemed avantgarde and experimental at the time. By doing so, she may have looked to both appearances by Kate Bush and Siouxsie Sioux, but in retrospect it only seems rather forced - to put it mildly.

The album was a minor success as it went as high as #40 on the UK albums chart list - at a time when the public in Britain became familiar with her through her acting career. Wilcox appeared in two movies by Derek Jarman: "Jubilee" (1978) and "The Tempest" (1979), she played a minor role in The Who's "Quadrophenia" (1979), and then she also appeared in several TV-series from the late '70s including "Quatermass" (1979), "Minder" (1980) and she was TV-presenter on the BBC programme "Look! Here!".

Had Wilcox not been such a familiar face, it is doubtful that this album would have entered the albums chart list in 1980.

Is it any better or worse than the debut? That's hard to say, really. But as an original piece of music it's not recommended.

[ Smash Hits 1,5 / 5 stars ]

The Fall "Grotesque (After the Gramme)" (1980)

Grotesque (After the Gramme)
release date: Nov. 17, 1980
format: cd (1993 reissue)
[album rate: 4 / 5] [3,92]
producer: The Fall, Grant Showbiz, Mayo Thompson, Geoff Travis
label: Castle Classics - nationality: England, UK

Track highlights: 1. "Pay Your Rates" - 2. "English Scheme" - 3. "New Face in Hell" (Peel Sessions) - 4. "C'n'C-S Mithering" - 5. "The Container Drivers" - 10. "The N.W.R.A."

3rd studio album by The Fall produced by The Fall, Grant Showbiz, Mayo Thompson and Geoff Travis (tracks 1-5), tracks 6-10 are produced by The Fall and Geoff Travis originally released by Rough Trade. The Fall always was Mark's band - here the band credits are as follows: Mark on vocals, tape operation, kazoo (#3) and guitar, Marc Riley on guitar and keyboards, Craig Scanlon [credited as Craig Scanlan] on guitar, Steve Hanley on bass, his brother Paul Hanley on drums and with Kay Carroll on additional vocals, which more or less is the same line-up as on Dragnet (Oct. '79) as well as on the next following albums of the 80s, but the debut album Live at the Witch Trials (Mar. '79), saw the band in a completely different line-up. This is, however, merely an early incarnation of the band and the only stable member of the band remains Mark E. Smith.

Style-wise, this is an example of early post-punk labelled as art punk with influences from pub rock and garage rock and its minimum attention on production layering with focus on 'recording as is'.

The album wasn't met as a landslide album - much unlike what it's regarded as in retrospect. Critics were positive without praising the album and fans were, as they would constantly prove to be with The Fall divided in two groups: either belonging to a strong cult of followers, or to fierce haters; however, the album is generally regarded as one of the band's masterpieces. Unfortunately, I didn't appreciate the album in the early '80s - I did actually purchase the original Rough Trade vinyl issue back in 1982 or '83 and kept it for a decade or so, and then I re-sold it in a small pile with other obscure albums just to afford to buy new music, and what a mistake that was! I have come across this '93 CD reissue but I'd rather have the original vinyl, which by now is a collector's item.

I perfectly know how I was unable to see music in a broader perspective in my teens but it still puzzles me, why I couldn't just regard it as a musical curiosity. Anyway, the music lives on and even from a modern perspective I think the music still stands out as both highly original but also with something to offer. The Fall blends perfectly in with standards of Velvet Underground, The Stooges, Captain Beefheart and Frank Zappa as a music collective, who simply ignores all conformities and just do what they think is the right thing to do. Mark E. Smith narrates about English society, working class life, taxes, capitalism, and he often focus on the English class system. Unlike Bob Dylan's social awareness, lyrics on contemporary human conditions, I find the lyrics by Smith to be much more entertaining but also without all the... fuzz [to say it as politely as possible].

Mark E. Smith continued to play with The Fall in various line-ups in the new millennium and also kept releasing new albums being quite keen on not repeating themselves. The last studio album by The Fall is New Facts Emerge (2017), the band's 31st studio album, released only six months before Smith's untimely death at the age of 60, Jan. 24, 2017. The international music press and the entire British press in general were overflown with appraisals dedicated to Smith's legacy as one of Britain's most influential songwriters in 2018, and he is today mentioned alongside the greatest of music.

For those unfamiliar with music by The Fall, it may not seem evident how they ever became such an acclaimed band. It may take some time to get accustomed to - some will never - but from my perspective, the true strengths of The Fall lies in Mark E. Smith's lyrics, his uncompromising attitude towards and against conformity whether concerning music or modern life in general - be it capitalism, class system or politics. The band has its unique sound and its very own conception of musical soundscape, which leaves no listener in doubt of who made it.

[ allmusic.com, Mojo, Rolling Stone 4 / 5, Spin 4,5 / 5, Sounds 5 / 5 stars ]

Toyah "Sheep Farming in Barnet" (1980)

Sheep Farming in Barnet
release date: Feb. 22, 1980
format: digital (2002 reissue)
[album rate: 2,5 / 5] [2,48]
producer: Steve James, Keith Hale
label: Safari Records - nationality: England, UK

Track highlights: 1. "Neon Womb" - 2. "Indecision" - 5. "Victims of the Riddle" - 8. "Danced"

Studio album debut by British band Toyah - named after the band's lead vocalist Toyah Ann Wilcox. The album was originally released as a 6-track ep in '79, which six months later was expanded to an 11-track album. Already as of '80 it was released as a compilation with the band's second album The Blue Meaning (Jun. 1980). The band consists of vocalist Toyah Wilcox, guitarist and main composer Joel Bogen, bassist Mark Henry, keyboardist Peter Bush, and drummer Steve Bray.

Toyah began as a punk rock band and quickly combined all sorts of contemporary influences from post punk, art punk, art pop and new wave with Toyah Wilcox, to a large extent, impersonating German punk queen, Nina Hagen.

I didn't came across this album until the early '00s, and being familiar with Anthem (1981), Changeling (1982) and Love Is the Law (1983) it is a strange experience to go through the band's first two albums. Sheep Farming in Barnet, to me, sounds pretty much like a British version of Nina Hagen Band in a bizarre cocktail with synthesizer inputs from Brian Eno.

The band was probably given a great deal more attention than their music deserved, and it's likely that the band's initial success was linked with Wilcox participating in national TV-series. Imho, the first two albums by Toyah are not more than historical artefacts and only serve to show us from what they spawned.

Not recommended.

[ 👎NME 3 / 5 stars ]

Magazine "The Correct Use of Soap" (1980)

The Correct Use of Soap
release date: May 2, 1980
format: cd (2001 remaster)
[album rate: 4 / 5] [3,88]
producer: Martin Hannett
label: Virgin / Universal Music - nationality: England, UK

Track highlights: 1. "Because You're Frightened" (4 / 5) - 2. "Model Worker" - 3. "I'm a Party" - 4. "You Never Knew Me" - 7. "Thank You (Falettinme Be Mice Elf Agin)" - 8. "Sweetheart Contract" - 10. "A Song From Under the Floorboards" (5 / 5)

3rd studio album by Manchester quintet Magazine originally released by Virgin is the band's only album to be produced by Martin Hannett, and it's the last to feature guitarist John McGeoch, who would leave the band after this. Fact is, two other acts had sought his expertise - together with both bassist Barry Adamson and keyboardist Dave Formula, McGeoch also took part in the early formation of Visage, and he already was engaged with Siouxsie and the Banshees for the recordings on the album Kaleidoscope earlier in 1980, and from the Summer of '80 he became a stable member of the more guitar-fuelled The Banshees while continuing as full-time member of Visage, and you may say that Magazine ended up losing a key member.
Without being the most obvious post-punk band, Magazine has been recognised as one of the most original and defining acts of the post-punk era. On The Correct Use of Soap the band consists of lead vocalist Howard Devoto (formerly punk rock band The Buzzcocks), guitarist John McGeoch, bassist Barry Adamson (former stand-in with The Buzzcocks), keyboardist Dave Formula (aka David Tomlinson), and drummer John Doyle. The band's style is a blend of genres and styles where post-punk is the easiest label when no other really suffice. They are known for a highly original rhythm section with avantgardist bass and drum-lines, and both bassist Adamson, keyboardist Formula and guitarist McGeoch have all gained artistic acclaim for their contributions, and on top of this vocalist Devoto surely has his own distinct sound. There's hardly any links to the punk rock era here but somehow this band works in its own dimension of art rock, new wave and avant-garde building on elements from soul, synthpop and... who-knows-what?!
The album peaked at number #25 on the UK albums chart list but both band and album were met by critical acclaim without reaching top popularity.
From a contemporary perspective this very album hasn't aged as much as most other releases from the 1980s, and Adamson, Formula and McGeoch have all rightfully been hailed among the most influential British musicians of modern ages.
[ allmusic.com 4,5 / 5, 👍Uncut 4 / 5 stars ]

The B-52's "Wild Planet" (1980)

Wild Planet
release date: Aug. 27, 1980
format: cd
[album rate: 4 / 5] [3,86]
producer: Rhett Davies, B-52's; Chris Blackwell (exec. pro.)
label: Island Records - nationality: USA

Track highlights: 1. "Party Out of Bounds" - 2. "Dirty Back Road" - 3. "Runnin' Around" (live) - 4. "Give Me Back My Man" (4,5 / 5) - 5. "Private Idaho" - 6. "Devil in My Car" (live) - 9. "53 Miles West of Venus"

2nd studio album by The B-52's follows closely on the same path laid out on the debut from '79 with an uptempo new wave with strong bonds to the 1960s surf rock - especially thanks to the guitar-sound as played by Ricky Wilson. The strong musical and stylistic resemblance with the debut may be explained by the fact that the band already had "too many" songs in its repertoire when they began recording songs for the debut album, and instead of releasing an unlikely double album for its debut, the band just shelved these songs for a later release. This is a documented fact as The B-52's played most of these songs at concerts as early as 1978.
The album cover nearly duplicates the debut cover as it's held in the same style depicting the band members in what seems an early 1960s time bubble.
Wild Planet is a strong album without any fillers, and it's really an astonishing thought if they had actually pulled it off and released all songs on a double album in '79. They really could have, and it only makes it so much more reasonable to listen to these two albums at the same time.
Highly recommended.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]

Young Marble Giants "Colossal Youth" (1980)

Colossal Youth [debut]

release date: Feb. 1980

format: cd (1994 reissue)

[album rate: 4 / 5] [3,88]

producer: Dave Anderson, Young Marble Giants

label: Les Disques du Crépuscule - nationality: Wales, UK

Track highlights: 1. "Searching for Mr. Right" - 2. "Include Me Out" - 4. "Eating Noddemix" (4 / 5) - 6. "N.I.T.A." - 8. "Music for Evenings" - 12. "Salad Days" - 13. "Credit in the Straight World" - *18. "The Clock"

*Bonus track on '94 reissue taken from Testcard E.P. (ep) (1981)

Studio debut and only album by Walesian post-punk trio, Young Marble Giants, originally released on Rough Trade Records. The band was founded by the Moxham brothers, bassist Philip and primary songwriter, composer, and guitarist, Stuart, together with vocalist Alison Statton. In the course of band's early lifetime also keyboardist Peter Joyce took part in the formation, but here they have been reduced to a trio, where Stuart is also credited organ.

Style-wise, this is something quite orginal at a time when punk rock was still alive and new styles emerged on the music scene while no one understood new potentials in indie pop and jazz pop, but Young Marble Giants were pioneers. Unfortunately, they dissolved as early as 1981 after which Stuart amd Philip Moxham continued briefly as another remarkable act called The Gist - a single album, Embrace the Herd made almost single-handedly by Stuart was released in '82.

Colossal Youth is truly an album to know of.

[ allmusic.com, Blender 4,5 / 5, The Guardian, Uncut 5 / 5, Pitchfork 9,3 / 10, Rolling Stone, Spin 4 / 5 stars ]

The Specials "More Specials" (1980)

More Specials
release date: Oct. 4, 1980
format: vinyl / cd (2002 remaster)
[album rate: 4 / 5] [4,14]
producer: Jerry Dammers and Dave Jordan
label: Two-Tone Records / Chrysalis - nationality: England, UK

Track highlights: 1. "Enjoy Yourself (It's Later Than You Think)" (live) - 2. "Man at C&A" (live) - 3. "Hey, Little Rich Girl" - 4. "Do Nothing" (live) - 6. "Sock It to 'Em J.B." - 7. "Stereotypes / Stereotypes, Part 2" (single version) - 9. "I Can't Stand It" - 10. "International Jet Set"

2nd studio album by The Specials originally released by Two-Tone Records. With this the band seeks out other styles and genres, and the album is a bit of a strange blend of influences. Most tracks are still with ska revival as the core of all songs, but some compositions are shaped as either rock & roll, soul, art pop, post-punk or easy listening / lounge compositions. The first four songs starts out, more or less as the natural follow-up to the debut album, although, "Man at C&A" has elements of post-punk, but giving the time of its release at the peak of cold war politics, it feels very natural, but #4, "Pearl Café", clearly bears elements from rock & roll and easy listening, and from here on it becomes more evident that this album is something else with its blending of styles. This is an even more striking experience when confronted with the vinyl album, where side A shares the tone of the predecessor, and with side B as a whole different thing. #7 "Stereotypes / Stereotypes Part 2" share characteristics with songs by The Clash from their album Black Market Clash (1980) blending dub and reggae, and on #8 and #9 the whole album is more likely as an inspirational source to later contemporaries as The Style Council, The Clash and its album Sandinista, sophisti-pop by Everything But the Girl and much later styles of The Cardigans with its 'blue eyed' pop mix of easy listening and calypso. Tracks #9 and #10 are yet again something else making me think of Portishead meets Gorillaz and a sound that today is considered to have helped shaping the style of trip hop.
Several guest musicians appear on the album including Rhoda Dakar singing duet on #9, Madness' sax player Lee Thompson on #4, and the US new wave trio The Go-Go's appear as backing vocals group on #11 "Enjoy Yourself (Reprise)".
The album fared well reaching #5 on the UK albums chart list and it generally was handed positive reviews. Also, the two singles from the album did well nationally when "Stereotype" and "International Jet Set" peaked at #6 and #4 respectively. Time has certainly not questioned the importance of this particular album. In retrospect, the album has been cited as a corner stone of modern popular music with its influence on the shaping of sophisti-pop but especially in defining the trip hop genre and may likely be seen as source to songs and albums by diverse artist like the aforementioned together with Portishead, Massive Attack, Blur and Gorillaz. More Specials is like the debut enlisted in "1001 Albums You Must Hear Before You Die".
Some of the album's compositions that travels the furthest from the band's trademark of ska revival are typically songs by keyboardist Jerry Dammers and, allegedly, his interest in and will to experiment with other styles, already in '81 led to the band's demise. Dammers take a stronger role as band leader on this album, and his ideas to incorporate new styles is said to have played a decisive role in the internal conflicts that ultimately led to changes within the band. The vocalist group of The Specials, Terry Hall, Neville Staple and Lynval Golding all left the band to form the trio Fun Boy Three, and the remainders of the band changed its name back to The Specials AKA in 1981.
I think, I may have listened more to this than the debut album by The Specials, but also more over the years. The debut stands out as more of a whole with its distinct ska revival and '2 tone' sound that connects it to a specific time and place, but I have always felt that this album is an even more exiting experience consisting of more original compositions, and has an almost surreal sense of timelessness that connects it with future styles, which makes me think of it as the band's best and most original album and a release that should be attributed all the acclaim it rightfully deserves.
Highly recommendable.
[ allmusic.com, Uncut, Rolling Stone 4,5 / 5, Mojo, Q Magazine, Smash Hits 4 / 5 stars ]

The Beat "I Just Can’t Stop It" (1980)

vinyl cover

I Just Can’t Stop It [debut]
release date: May 16, 1980
format: vinyl (BEAT 1) / cd (1990 reissue)
[album rate: 4 / 5] [3,95]
producer: Bob Sargeant
label: Arista / Go Feet - nationality: England, UK

Track highlights: 1. "Mirror in the Bathroom" (4 / 5) - 2. "Hands Off… She’s Mine" (4 / 5) (live) - 3. "Two Swords" - 6. "Rough Rider" - 8. "Ranking Full Stop" - 9. "Big Shot" - 10. "Whine & Grine / Stand Down Margaret" - 11. "Noise in This World" - 12. "Can’t Get Used to Losing You" - 13. "Best Friend" - 14. "Jackpot"

Studio album debut originally released on Go Feet Records by The Beat (aka The English Beat / aka The British Beat), a sextet founded in Birmingham 1978 consisting of Dave Wakeling on lead vocals & rhythm guitar, Ranking Roger (aka Roger Charlery) on vocals & toasting, Andy Cox on lead guitar, David Steele on bass, Everett Morton on drums and with Saxa (aka Lionel Augustus Martin) on saxophone. The Beat released its first single releases on 2 Tone Records much like other ska revival acts like The Selector, The Specials and Madness. The Beat then signed with mother-label Arista and formed its own sub-label Go Feet Records. The name of the band was The Beat; however, because of an American band with that name (later identified as Paul Collins' Beat), they were launched as The English Beat in North America and as The British Beat for the Australian market. The original album release contains 12 tracks, the US re-issue comes with two bonus tracks (#5, "Tears of a Clown" and #8, "Ranking Full Stop" both of which had been released in '79 as a 7'' single (by 2 Tone). Much like The Specials and Madness, The Beat was highly inspired by the original Jamaican ska and also covered songs by Prince Buster - here: tracks #5 and 8, and the band's saxophone player, Saxa, had in fact played with Prince Buster and other Jamaican acts.
Stylistically, The Beat plays "2-tone" new wave in an original blend with 2-tone and pop reggae, which puts the band in the same drawer as Madness, The Specials, The Selecter and Bad Manners, but The Beat still sounded quite original with its bold focus on new wave, which in another way linked the band close to bands like The Clash, Magazine and Squeeze.
The album was met by critical acclaim and it peaked as high as #3 on the British albums chart list, and the best faring single, track #1 reached #4 on the singles chart list in the UK.
It's quite an achievement to produce this list of quality songs on the band's debut, also because many songs point in various stylistic directions: #1, 11 and 13 are tight new wave compositions, #5, 6, 8, 10, 12 and 14 are fine 2-tone songs with harmonic pop reggae, and track #2, one of my favourites, is the sheer positive conglomerate of all styles in one song.
Highly recommendable.
[ allmusic.com, Rolling Stone, Spin 5 / 5, Smash Hits 4,5 / 5 stars ]

Roxy Music "Oh Yeah" (1980) (single)

Oh Yeah, 7'' single

release date: Jul. 25, 1980

format: vinyl

[single rate: 4 / 5] [3,76]

producer: Rhett Davies & Roxy Music

label: Polydor / EG - nationality: England, UK

Tracklist: A) "Oh Yeah (On the Radio)" (5 / 5) (TOTP 1980) - - B) "South Downs"

The second single to be taken from Flesh + Blood (May 1980), the seventh studio album by Roxy Music. Both tracks are credited Bryan Ferry, and the B-side is a non-album instrumental. The single was issued with various front covers and also as this: in a generic white sleeve without print or any titles.

Thin Lizzy "Chinatown" (1980)

Chinatown
release date: Oct. 10, 1980
format: cd
[album rate: 4 / 5] [3,82]
producer: Thin Lizzy & Kit Woolven
label: Vertigo Records - nationality: Ireland

Track highlights: 1. "We Will Be Strong" - 2. "Chinatown" (3 / 5) - 3. "Sweetheart" (4,5 / 5) - 4. "Sugar Blues" (3,5 / 5) - 5. "Killer On The Loose" (3,5 / 5) - 6. "Having a Good Time" - 7. "Genocide" (3 / 5) - 8. "Didn't I" (4,5 / 5) - 9. "Hey You" (3,5 / 5)

10th studio album by Thin Lizzy. The album was released the same year as Phil Lynott released his first solo album Solo in Soho (Apr. 1980), and after a period when the band was in search of a replacement to Gary Moore who had left in the summer of '79. Midge Ure (later famous for revitalizing Ultravox) had been touring with the band, but Snowy White [Terence Charles] was chosen as new guitarist. Both Ure and keyboardist Darren Wharton are credited for additional personnel, and Wharton would later be a permanent member. The album was the first I ever heard with the band, and it has always been one of my favourites. Some consider the album a weaker and more mainstream-oriented album compared to Black Rose (1979) and / or Jailbreak (1976) and the band's final and more hard rock / heavy metal-founded Thunder and Lightning (1983); and some think the production side is weak with the absence of Tony Visconti.
I like the album because of its harmonies whether the vocal side of it or the guitar work, and I really cannot hear a lesser work on the production side. Actually, I find it lighter and brighter - meaning better - compared to Visconti's dark and heavy production (especially as found) on Black Rose. The compositions are more simple-structured compared to the band's more blues-rock-inspired work, which also seemed out of sync, at the time. Although, the hard rock tracks are fine and strong, I really associate Phil Lynott's best works with strong ballads, and here there are two great ones. In my mind, this is the band's second best album.
[ allmusic.com 3 / 5 stars ]

Roxy Music "Flesh + Blood" (1980)

Flesh + Blood

release date: May 23, 1980

format: vinyl / cd (2015 remaster)

[album rate: 4 / 5] [3,84]

producer: Roxy Music & Rhett Davies

label: Polydor / EG / Universal Music - nationality: England, UK

Track highlights: 1. "In the Midnight Hour" - 2. "Oh Yeah" (5 / 5) - 3. "Same Old Scene" - 5. "My Only Love" - 6. "Over You" (5 / 5) - 9. "No Strange Delight"

7th studio album by Roxy Music following one year after Manifesto (Mar. 1979) is the band's second out of three albums in total following the reunion in '78. Shortly before recording the album drummer Paul Thompson broke his thumb and was unable to play until the band was ready to go on a live tour promoting the album, which means the album was made with session drummers (especially Allan Schwartzberg also playing percussion on nearly all tracks, and then also assisted by drummer Andy Newmark and percussionist Simon Phillips). The band is therefore reduced to a trio (on the album) of Bryan Ferry, Andy Mackay, and Phil Manzenera.

The album was met by some of the same lukewarm reviews that had followed Manifesto; however, the album became the band's second to top the albums chart list in the UK, which it replicated in New Zealand, and despite some reluctance expressed by the music press, Manifesto became the band's commercially so far best-selling album world-wide. Also, the album produced no less than five single releases starting with "Over You" (May 9, 1980) and followed by "Oh Yeah" (Jul. 25, 1980) - both reaching number #5 on the singles chart. The release of the title track as a single only manifested in Italy. Then followed "Same Old Scene" (Oct. 1980) and ended with "In the Midnight Hour" (?), which was only released for the North American market and in Portugal. Some critics found that the band had come to a stand-still, unable to make any real progress, and I think I understand what caused some of the criticism, only I don't agree on the full perspective. Flesh + Blood isn't far from the style of Manifesto but the real point is that the band has destilled its sound. No, they no longer play art rock or real glam rock and upholds a position at the forefront of modern rock music - instead the band has taken a deliberate turn and now play with a fusion of styles focusing on melody, sophisticated pop / rock that builds on r&b, pop soul, and bits of disco, although, this is lesser accentuated on this, but the main point is: no one else showcases this melodic blend. But I guess the 'real' problem is that the album came out when punk rock and new wave was on everyone's lips, and this simply ignores all of that.

"Oh Yeah" and "Over You" are two of the band's most iconic songs and to have both on the same album is simply a pure delight.

Highly recommended.

[ allmusic.com 2 / 5, Rolling stone 2,5 / 5, Smash Hits 6,5 / 10, Pitchfork 6,6 / 10 stars ]

The Blues Brothers "Made in America" (1980) (live)

Made in America (live)
release date: Dec. 5, 1980
format: vinyl (reissue - ATL 50 768)
[album rate: 3,5 / 5] [3,32]
producer: Bob Tischler & Paul Schaffer
label: Atlantic - nationality: USA

3rd and final album by The Blues Brothers - including the soundtrack for the film "The Blues Brothers" (Jun. 1980). The album is the band's second live album - this time recorded live at the Universal Amphitheater, Jul. 26 - Aug. 1, 1980 by Record Plant, LA.
The album consists of traditional 'blues' and 'rhythm & blues' material but lacks some of the sheer energy that characterised the live debut, Briefcase of Blues (1978), and it doesn't have the star quality as the soundtrack album, which makes this the band's weakest performance.

"The Blues Brothers" (OST) (1980)

The Blues Brothers (soundtrack)
release date: Jun. 20, 1980
format: vinyl (ATL 50 715) / digital (1995 remaster)
[album rate: 4 / 5] [3,76]
producer: Bob Tischler
label: Atlantic - nationality: USA

Soundtrack album for the John Landis comedy hit film "The Blues Brothers" (1980) starring John Belushi and Dan Aykroyd - a film based on the characters, The Blues Brothers, invented by Belushi and Aykroyd for the Saturday Night Live comedy show in '78. The album may also be seen as the second of three albums by The Blues Brothers, who made their album debut in Nov. '78 with the live album Briefcase Full of Blues.
The music on the album is a mix of tracks either featuring The Blues Brothers, or some of the stars featuring in the film, which includes Cab Calloway, John Lee Hooker, Chaka Khan, Ray Charles, James Brown, and Aretha Franklin. The soundtrack is a great collection of original 'soul' and 'rhythm & blues' made with sheer dedication, admiration and respect for the music.

C.V. Jørgensen "Tidens tern" (1980)

Tidens tern

release date: 1980

format: cd (1994 reissue)

[album rate: 4 / 5] [4,12]

producer: Billy Cross

label: Medley Records - nationality: Denmark

Track highlights: 1. "Det blonde danske smil" - 2. "Costa del Sol (En inciterende flamenco)" (4 / 5) - 3. "På den trettende dag" - 4. "Kaptajn Clutch & hans crew" - 5. "Sæsonen er slut" (4,5 / 5) (live excerpt) - 7. "Sahara non stop" - 8. "Villa Trianon Petit" - 9. "Amor & den sidste pil"

6th studio album by C.V. Jørgensen following one year after Solgt til stanglakrids was originally his first album on the newly established Danish record label Medley. About the same time, his former label Metronome released the compilation Det Ganske Lille Bands bedste. The new studio album is C.V.'s only with Billy Cross (aka Billy Schwartz) as producer. Following two albums with producer Stig Kreutzfeldt, which had contributed in a broader pop / rock mainstream sound, Jørgensen began a collaboration with Delta-Cross Band in the wake of a completed tour with his normal backing band, who at the same time had embarked on a project with the aim to release music under the name of C.V. Moto. Free from usual collaborators, Jørgensen and Cross had composed the majority of the tracks for a new album with a more regular rock sound as accompaniment to a collection of new songs filled with social awareness. American guitarist Billy Cross had been lead guitarist in the band Topaz (where he performed under the name Billy Schwartz), later he was guitarist on Dylan's two albums from '78: Bob Dylan at Budokan and Street-Legal. In 1977 he began a collaboration with the Danish band Delta Blues Band in Denmark - and shortly afterwards now with Cross officially incorporated in the band, they changed name to Delta-Cross Band. For the album Tidens tern, Cross hired American sound engineer Jay Klugman, who had previously worked with prominent names such as Lou Reed, J. Geils, The Dictators, David Johansen, and The Blues Brothers - on the album he's credited as co-producer [perhaps rather brought in to help Cross fill the role as producer, since this is the very first album with Cross in a role of technical personnel?]. The music was recorded without anyone from C.V.'s normal backing band. Instead, Delta-Cross Band fills this part, which means that Billy Cross is credited on lead and rhythm guitar, he is co-composer, and additionally, he is also musical arranger, Søren Engel is bassist, Troels Jensen handles piano and organ, and Preben Feddersen is drummer. Seen in this light, it is quite natural that the album marks a new chapter in C.V. Jørgensen's discography.

Musically, it differs from his earlier but also his later albums by being kept in a more traditional rock style, which predominantly is based on an American blues rock school - as an obvious result of the strong influence of Delta-Cross Band. It's an album without funk rock, country rock, and folk-oriented mix that had come to characterise Jørgensen's last two albums, and instead this new album sounds more like a period-typical mix of pop / rock with obvious ties to Lou Reed, Link Wray, and perhaps even Springsteen. The songs here are simple harmony-based compositions with Jørgensen's characteristic vocals and lyrics. The combination proved to hold up quite well, at least in terms of raising critical acclaim and good sales figures. The reviewers were enthusiastic, and the album gave Jørgensen his first and probably biggest hit ever with the country plague "Costa del Sol", which soon became a Danish classic and which, four decades later, still is a song you'll hear played on national radio. In Scandinavia, Tidens tern lifted Jørgensen into the league with the greatest contemporary pop / rock artists, and at the beginning of the new millennium the album was selected and found worthy of inclusion in the Danish Agency of Culture's canon list of the finest Danish works [link].

What particularly works so fine on the album is the uncomplicated music in combination with Jørgensen's far from simple lyrics. When you think of his musical background with its sarcastic tone, which precisely had been the hallmark of the traditional political folk and singer / songwriter style he found inspiration from when he first started out as a songwriter, then it's perhaps not too difficult to imagine that C.V. simply himself had difficulty coming to terms with how his astute lyrics at times created a kind of distance to parts of his audience. By wrapping the lyrics in simple traditional rock arrangements, people may have found it easier to digest the extra layer his lyrics contributed. Granted, I still think the album is among his better, but C.V. didn't care much about it himself. He certainly toured with the music for a single year in company of Delta-Cross Band, but already in the Spring of '81 he ended his collaboration with Delta-Cross-Band only to make another artistic U-turn in an attempt to distance himself from the "Costa del Sol"-syndrome he felt subjected to. That also meant a minor break with the new mainstream pop / rock, for which he himself had become one of the biggest apologists.

Tidens tern is a Danish classic without actual fillers, and the album contains several fan favorites - tracks fans simply expected to be played at his concerts.

Once again, the front cover is credited C.V.'s girlfriend, Annemarie Albrectsen.

Great recommendation.

[ Gaffa.dk 5 / 6 stars (2018 reissue) ]

Kate Bush "Never for Ever" (1980)

Never for Ever
release date: Sep. 8, 1980
format: cd
[album rate: 4 / 5] [3,94]
producer: Kate Bush, Jon Kelly
label: EMI - nationality: England, UK

Track highlights: 1. "Babooshka" (4 / 5) - 2. "Delius (Song of Summer)" - 3. "Blow Away (For Bill)" - 4. "All We Ever Look For" - 10. "Army Dreamers" (5 / 5) - 11. "Breathing" (5 / 5)

3rd studio album by Kate Bush follows two years after Lionheart (Nov. 1978). Bush has now gained control of her music and also as producer. The album is clearly better mixed, perhaps because of being less prog rock and baroque pop-oriented. It doesn't mean that it's without strings or horns but the classical instruments more play a part as an additional back curtain that doesn't steal focus. I have always liked this album quite a lot, although, I find the single "Babooshka" quickly becomes tiring. A track like "Violin" appear one of her lesser successful attempts in producing a new wave track. However, not only does the album have two marvellous album closers, but the its real strength is that the list of good songs is long and the album as such appears without noteworthy fillers making it a more harmonic - or: well-worked colelction of songs when compared to Lionheart. The track "Night Scented Stock" of 50 secs. basically functions as an intro to "Army Dreamers". The first single from the album was "Breathing" followed by "Babooshka" and succeeded by "Army Dreamers". The album was not only her first number #1 on the albums chart list in the UK but it was the first album by a female solo artist to top that list.
[ allmusic.com 3 / 5 stars ]

Lou Reed "Growing Up in Public" (1980)

Growing Up in Public

release date: Apr. 1980
format: vinyl (AL 9522) / digital
[album rate: 3 / 5] [3,06]
producer: Michael Fonfara, Lou Reed
label: Arista Records - nationality: USA

Track highlights: 1. "How Do You Speak to an Angel?" - 2. "My Old Man" - 3. "Keep Away" - 8. "The Power of Positive Drinking" - 10. "Think It Over"

10th studio album by Lou Reed is another pop / rock release somewhere in the middle of the road. All tracks are written in a collaboration with keyboardist (and guitarist) Michael Fonfara. The album has some of the same characteristics as the predecessor, The Bells (Apr. 1979), although, he here has chosen not to work with neither disco nor funk, which really is on the positive side. It's not up there with Street Hassle (Feb. 1978) but it has much more potential. The album, however, wasn't met with the most positive reviews, and it's by many considered a bit of a low point in his career. It also turned out to be his last on Arista who let him go after this - another non-commercial release for the label.
I think, it's clearly above mediocre without being really great, but it also indicates and may be seen as a bit of a blue print to the same stylistic shape as found on his much lauded New York (Jan. 1989) where everything just falls into place.
(My issue is a US-import cut-out record).
[ allmusic.com 2,5 / 5 stars ]

Peter Gabriel "Peter Gabriel" (3) (1980)

Peter Gabriel (3)

release date: May 23, 1980

format: digital (2003 reissue)

[album rate: 4 / 5] [3,90]

producer: Steve Lillywhite

label: Virgin / Real World - nationality: England, UK

Track highlights: 1. "Intruder" - 2. "No Self Control" - 4. "I Don't Remember" (4 / 5) (official video) - 5. "Family Snapshot" - 6. "And Through the Wire" - 7. "Games Without Frontiers" (official video) - 8. "Not One of Us" - 10. "Biko" (4,5 / 5) (official video)

3rd studio album by Peter Gabriel and his third of four consecutive albums to be self-titled follows two years after his '78-album and is made with upcoming new wave-producer Steve Lillywhite, who would later in the year (and forwardly) be associated with the sound of U2. The album was also released as "Peter Gabriel 3" / "Peter Gabriel III", and is also referred to as 'Melt' with reference to its cover. Stable backing band musicians like drummer Jerry Marotta, keyboardist Larry Fast and guitarist David Rhodes contribute on most tracks, Phil Collins plays drums on three tracks, guitarist Robert Fripp is credited on three. The album also features Kate Bush, who sings backing vocals on tracks #2 and #7, XTC-guitarist Dave Gregory features on tracks #4 and #5, and The Jam-frontfigure Paul Weller is credited as guitarist on track #6.

Musically, the album introduces a new move towards a more original blend of art pop (with some influences from Bowie and Eno) and new wave, but it's also Gabriel's first album to showcase his inspiration and admiration for African music and / or world music in general - especially heard on "Biko" but also on track #9.

The album was met by fine reviews, and over the years, the album has only gained strong status for its mix of styles as well as its original sound. It's also Gabriel's first of two albums to top the albums chart list in the UK. Atlantic Records, who had distributed Gabriel's two first albums, dismissed the album, which then found its way to Mercury; however, the album also performed better in the US than his previous albums by reaching position #22 on the US Billboard 200. "Biko" and "I Don't Remember" were selected for single releases with the former peaking at number #38 on the singles chart, and the latter has no registrations except for a position as number #107 on the US Billboard Hot 100 [107 in 100 positions?]; however, both eventually gained status as classic signature tracks for Gabriel. The album is the second of two albums by Gabriel to be enlisted in "1001 Albums You Must Hear Before You Die".

Despite being released in the midst of / at beginning of other stylistic strongholds like new wave, post-punk, new romantic and synth-pop, Gabriel's third album, which is none of that, is simply an album not to overlook. It's simply one of his absolute best and highly recommended.

[ allmusic.com, Mojo, 5 / 5, Uncut 4,5 / 5, Q Magazine, Rolling Stone 4 / 5 stars ]

The Durutti Column "The Return of The Durutti Column" (1980)

The Return of The Durutti Column [debut]
release date: Feb. 1980
format: cd (fact 14)
[album rate: 4 / 5] [4,05]
producer: Martin Hannett
label: Factory Records - nationality: England, UK

Tracklist: 1. "Sketch for Summer" (5 / 5) - 2. "Requiem for a Father" - 3. "Katharine" - 4. "Conduct" (5 / 5) - 5. "Beginning" (4 / 5) - 6. "Jazz" - 7. "Sketch for Winter" (4 / 5) - 8. "Collette" (4 / 5) - 9. "In 'D' "
[ full album ]

Studio debut album by The Durutti Column released on Factory Records and produced by Martin Hannett. The strange title The Return of the Durutti Column, which suggest a former release, is actually the debut album by this band / artist. Originally, The Durutti Column was a band consisting of several members at the time of formation in 1978 but in reality it is and became a one-man project only, as the guitarist, composer (and almost only musician on the debut except for producer Martin Hannett), Vini Reilly was the only member remaining after only two years in 1980. Although, he was the only remaining member of the band, as he got recording sessions, he decided to keep the band name, and maybe therefore one may speak of a 'return', i.e. 'The return of the band called The Durutti Column' whom you thought were long gone...' which explains the title.
I listened to this release in the early '80s but didn't really appreciate it until about a decade later. It's music for a mature listener's ear but once you find the beauty, it's unlike anything else and you just want more of the same. The album was released by Factory Records as all his albums were up until the early 1990s. The debut album includes two of his masterpieces "Sketch for Summer" and "Conduct" - I never grow tired of listening to those two. This release has been re-issued as a remastered 1996 bonus tracks edition but I really only recommend the original release, or at least the original track list. The bonus tracks are 'outtakes' from the original sessions but I find it somewhat hard to appreciate something that was found superfluous then. Also, the additional tracks appear to be producer Martin Hannett's experiments with samplers and synthesizers more than Reilly's own compositions.
[ allmusic.com 4,5 / 5 stars ]

1980 Original  sandpaper cover		1996 Remastered Bonus Tracks Edition

Dire Straits "Making Movies" (1980)

Making Movies
release date: Oct. 1980
format: vinyl (6359 034) / cd
[album rate: 3,5 / 5] [3,76]
producer: Jimmy Iovine, Mark Knopfler
label: Vertigo Records - nationality: England, UK

Tracklist: 1. "Tunnel of Love" - 2. "Romeo and Juliet" (4 / 5) (live) - 3. "Skateaway" - 4. "Expresso Love" (4 / 5) (live) - 5. "Hand in Hand" - 6. "Solid Rock" (4 / 5) (live) - 7. "Les Boys"

3rd studio album by Dire Straits is the follow-up to Communiqué (Jun. 1979). During the recording sessions of the album, tensions between the two Knopfler brothers culminated in younger brother David leaving the band to pursue his own solo career and also leaving the band reduced to a trio. Mark Knopfler's wish to make use of Patti Smith and Bruce Springsteen producer Jimmy Iovine led to the contact of keyboardist Roy Bittan of Springsteen's backing band The E-Street Band, and Bittan is credited as additional personnel (together with guitarist Sid McGinnis) and he plays a central part in the sound of the album, which also marks a stylistic change for Dire Straits. The band had surged playing British blues rock but that style is almost gone here and replaced by a new and more mainstream sound building on American contemporary pop / rock with r&b and rock roots - e.g. Bruce Springsteen. The album was the first I purchased with the band at the time of its release, and it was close to being my favourite album of the time. I just found that it was a bit too nice and polished, but the production sound is quite remarkable for its time, and today, I count the album among the band's top 3 albums.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

Pretenders "Pretenders"

L-R: Farndon, Hynde,
Chambers, Honeyman-Scott

Pretenders [debut]

release date: Jan. 11, 1980

format: vinyl / cd (2014 remaster)

[album rate: 4 / 5] [4,16]

producer: Chris Thomas

label: Real Records / MFSL - nationality: UK / USA

Track highlights: A) 1. "Precious" (4 / 5) - 2. "The Phone Call" - 3. "Up the Neck" - 4. "Tattoed Love Boys" (4 / 5) - 6. "The Wait" (live at Rockpalast 1981)- 7. "Stop Your Sobbing" - - B) 1. "Kid" (5 / 5) - 2. "Private Life" - 3. "Brass in Pocket" (4 / 5) - 4. "Lovers of Today" - 5. "Mystery Achievement"

Studio album debut by British-American act Pretenders here consisting of only American-born member front-figure Chrissie Hynde on vocals and rhythm guitar along with three British co-founders: guitarist James Honeyman-Scott, bassist Pete(r) Farndon, and drummer Martin Chambers.

The album came out in Britain and showed an alternative path in between more established rock acts - who were actually skilled instrumentalists - and the contrary 'true' punk rockers of the now 'dead' British scene, which made way for new wave in various disguises. This wasn't the kind of new wave you would associate with Elvis Costello, The Jam, XTC, or any other act on either side of the Atlantic. If anything, they have more in common with Blondie and The Police, who also found their individual paths in between electrified new wave and more melody- / ballad-oriented pop / rock. Not unlike Andy Sumners of The Police, Honeyman-Scott came out as a shining guitar-hero of a younger generation and Hynde silenced all critics with her punchy vocal and songwriter skills, which immediately placed her alongside the best of the best. This is a debut that has gone down in music history as one of the strongest and purest original first releases next to Elvis Presley, The Clash, Velvet Underground, The Who, and only a few others who came out this strong on their first album out.

My vinyl issue is a Spanish first edition despite having a "No. 1 GB" fake ticker (looks like a ticker but is part of the cover art) on the front cover indicating it was issued on a later date in Spain when the album had peaked as Number #1 in Britain.

The album is a must-have in any collection of modern rock-music and it's a natural title in "1001 Albums You Must Hear Before You Die". The album has been reissued and remastered many times, and I still think the original version is the best - the 2006 remaster is really one to avoid, but the 2014 remaster reflects a much better job done.

[ allmusic.com, Rolling Stone, Mojo, Spin, Blender 5 / 5, Uncut 4,5 / 5 stars ]