The Jam - Setting Sons

 

After the success of "All Mod Cons", The Jam released two top 20 singles, "Strange Town" and "When You're Young" both of which I rushed out and bought. "Eton Rifles", which I also bought, was released ahead of the new album, and became their most successful single to-date in The UK, reaching number 3.

The fourth album "Setting Sons" was eagerly awaited, and I quickly purchased my copy, although the sticker on the cover shows I only paid £2.67. I think W.H.Smith at the time had discounts on Top 20 LPs....

I wasn't disappointed and I thought every song was a gem, and the album was relentlessly played on my turntable. "Thick As Thieves" and "Burning Sky" were particular favourites and the album easily fitted into the category of that with no bad track on it. The only oddity was the inclusion of Martha And The Vandella's "Heat Wave", and whilst the version here was good, a Motown cover didn't seem to fit with the rest of the songs.

Compared to their previous releases the sound was harder and grittier, moving into mainstream rock anthems territory, whilst being packed with infectious melodies, intelligent lyrics and fantastic bass and drums to support the guitar playing. The general theme was anti-war and class warfare, with Weller's cutting social commentary, and it essential buried any previous mod or punk associations.

I subsequently learnt "Setting Sons" was an unfinished concept album based on friends reunited who discovered they no longer had anything in common. "Thick As Thieves", "Little Boy Soldier", "Wasteland" & "Burning Sky" clearly belong to this assessment.

I could clearly remember all the songs on the track listing, so this was not a voyage of re-discovery, but rather an enjoyable remembrance. 

"Girl On The Phone" is an energetic opener about a girl who won’t stop calling and seems to know everything. "Girl on the phone keeps a-ringing back, knows where I get my shirts and where I get my pants, where I get my trousers, where I get socks, my leg measurements and the size of my cock". It ends by putting down the phone, leading to a girl saying "hello, are you there ? Stomping, catchy, and probably tongue in check.

"Thick As Thieves" is about the changing nature of friendships and is probably one of the finest songs ever written by Paul Weller. "Times were so tough, but not as tough as they are now, we were so close and nothing came between us or the world. No personal situations. Thick as thieves us, we'd stick together for all time. And we meant it, but it turns out, just for a while, we stole the friendship that bound us together".

"Private Hell" is a fascinating view of suburban life from the perspective of a middle age women. The song has some fantastic bass lines along with lyrics such as  "Think of Emma wonder what she is doing, her husband Terry and your grand children. Think of Edward - still at college, you send him letters which he doesn't acknowledge, cause he don't care, they don't care, cause they are all going through their own private hell"

"Little Boy Soldier" is in three sections, with a gentle introduction leading in to mid-pace tempo. Military drumming, sounds of gunfire, strummed guitar, a whispered vocal follow before the climatic finale. It may be the best anti-war song ever written. “Then they send you home in a pine overcoat, with a letter to your mum saying find enclosed one son, one medal and a note, … to say we won”. There are several stunning distinct movements in less than 4 minutes.

A poignant silence follows before a jaunty recorder starts the melancolic "Wasteland". "And there amongst the shit - the dirty linen, the holy Coca-Cola tins, the punctured footballs, the ragged dolls, the rusting bicycles. We'll sit and probably hold hands"

Side Two opens with "Burning Sky" which is written in the form of a letter from one old friend to another, who now finds they have little in common with, and contains a busy businessman's list of excuses. The staccato, slashing guitar lines are fantastic and it remains one of my favourite Jam songs.

Bruce Foxton's "Smithers-Jones" was converted from a guitar based B-side on "When You're Young" into a cello-led string version for the album. It's apparent a song about Foxton's father who travelled every day on the train from the surburbs to Waterloo and just when he was expecting a promotion, was brutally made redundant and chose to retire. A song of the story of a man’s slavish devotion to the rat race, only to be ‘let go’ by his employer when no longer required. The string version of the song hints at The Beatles "Eleanor Rigby" and Cat Stevens "Matthew And Son".

The toe-tapping "Saturday's Kids" has snapshots of working class life which were to be repeated on "Boy About Town" on "Sounds Affects". I was always annoyed by the line "Drink lots of beer and wait for half time results", as I certainly waited for full-time results, usually watching through the window of Radio Rentals whilst waiting for the bus home after watching the local match !

The single "Eton Rifles" rightly remains a classic, and former Prime Minister and ex-Old Etonian David Cameron has apparently commented it was a favourite of his his whilst at school in 1979. Regardless of him missing the irony of the class warfare of the song against the ruling elite, it can easily be seen as a drinking song for the Eton Boys. My favourite part is the few bars of organ in the middle break  but “all that rugby puts hairs on your chest, what chance have you got against a tie and crest?” is probably the most iconic lyric.

The album closes with a punchy cover of Martha and the Vandellas "Heat Wave", but despite the sax and jazzy piano,it begs the question of what it is doing amongst this collection of songs.

In conclusion though, "Setting Sons" remains an outstanding album.

Track Listing :

Side One :

1. Girl On The Phone
2. Thick As Thieves
3. Private Hell
4. Little Boy Soldiers
5. Wasteland

Side Two :

1. Burning Sky
2. Smithers-Jones
3. Saturday's Kids
4. Eton Rifles
5. Heat Wave

Released 1979
UK Chart Position : 4

Singles :

Eton Rifles ( No 3 - 1979 )

 

The Jam - All Mod Cons

 

"All Mod Cons" was the third album from by The Jam, and after their first two LPs were released in quick succession, this one was a year later. Although "This Is The Modern World" hinted at their future direction, this album marked a significant change, both with the increasing maturity of the musicianship, the story telling, and a shift from angry young men in the inner-city to observations on middle-class commuters and suburbia. There was only the odd remnant to remind you they were a punk band, but had moved to the mainstream.

The title is an idiom for modern conveniences, the modern facilities in a house that make it easy and pleasant to live. It is also a pun on the band's association with the mod revival in the UK. The joke continues with the album cover, shot in an empty room apart from two basic chairs.

At the time it was released I thought this was a great album, and looking at the track listing there were only two songs I couldn't remember, one for them embarrassingly being the title track !

The opening track "All Mod Cons" has a slowly spoken 1-2-3-4 to start, then the guitar and bass come in, followed by aggressive drumming. It finishes with guitar feedback. The song is an angry outburst about being exploited by their record label. Short at 1 minute 20 seconds, it is one of the few moments that could have been on the first two albums, and gives a false sense of what is too come. "You waste my time when my time comes".

"To Be Someone ( Didn't We Have A Nice Time )" has a lovely tune and there is a hint of The Beatles "Taxman" with some of the guitar lines. It tells the story of wanting to be famous, getting there, attracting loads of hangers-on, then being left when everything has been squandered, but reflecting "didn't we have a nice time". It's one of the best songs on the album.

"Mr Clean" is the first song about the commuter belt, such as those in Paul Weller's home town of Woking taking the train into Waterloo for work. It starts slowly and the guitar is not too dissimilar to that of The Eagles "Witchy Woman". It has a mellow middle 8, then the drums and guitars lead to the crescendo of the rising coda "getting pissed at the annual office do, smart blue suit and you went to Cambridge too, you miss page 3 but The Times is right for you, and mum and dad are very proud of you"

Next up is "David Watts", an energetic cover of The Kinks song where Bruce Foxton sings the verse and Weller the bridge. A song in admiration of the head boy at school who leads the school team to victory, takes his exams and passes the lot but doesn't seem to be interested in girls. It has some fantastic bass, a thumping piano and the "fa fa fa fa fa fa fa fa" sounds like The Rolling Stones "Let's Spend The Night together". The "Oi's" will later re-appear in "Eton Rifles". The first single from the album, I was surprised to see it only reached number 25 in the charts as I thought it was a huge hit. Well, it should have been !

"English Rose" isn't included on the track listing on the back cover nor the lyrics sheet. The suggestions were that Weller was embarrassed by a beautiful, delicate and touching acoustic love song. It begins with the sounds of waves and ship's horn sound in the distance. It is another departure from anything else previously released by The Jam. "No-one can ever tempt me from she".

Side one closes with "In The Crowd" a great jangle-pop song about being part of the masses. The tempo increases after a slow beginning and there is a nice gentle guitar break. It has a Beatles feel to it before a lengthy psychedelic guitar outro with "Away From The Numbers", a track from "In The City" and another song about being part of the herd, sung in the background. The outro goes on for a bit too long though. "As I catch falling cans of baked beans on toast, technology is the most" and "When I'm in the crowd I can't remember my name". I'm not sure what supermarket Weller shops at, but I've never seen cans of baked beans on toast anywhere !

The side two opener "Billy Hunt" is The Jam's equivalent of "David Watts" but instead a working class lad has delusions of grandeur. "No-one pushes Billy Hunt around, well they do but not for long". It has a catchy sing-along chorus of "Billy Hunt, Billy Hunt, Billy, Billy, Billy".

"It's Too Bad" is essentially a rework of The Who's "So Sad About Us" but it is still a very good track despite that, and on replay was my favourite song on the album. It's a lovely 1960's style song amd with the guitar break I keep expecting it to lead into The Beatles "She Loves You".

"Fly" is another gentle song with an acoustic guitar intro but builds up into a Who style crescendo, which will later be repeated on "Smithers-Jones" on "Setting Sons".

"The Place I Love" was one of the songs I couldn't remember and I am a bit embarrassed to admit to it. Starting with an pulsating R&B riff it has with a gorgeous melody  "I'm making a stand against the world"

"'A' Bomb In Wardour Street" is the Jam at their most bombastic as it describes the discovery of a bomb in a street in London where one of the more popular punk night-clubs was located whilst the police and the local yobs indulge in violence. The hand claps are perhaps the highlight.

"Down In The Tube Station At Midnight" was the big hit from the album and their can't be many people unfamiliar with the song. Essentially a song about a middle class, middle age commuter being beaten up by right wing thugs late at night late at night at a tube station. Starting with the sound of a tube train, it has a dominant bass riff , "A distant echo of fair away voices boarding far away trains" and "The smell of brown leather, it blended into the weather". There is some great train style drumming before a brief stop for the sound of noises from a tube station before the music cheerfully returns. It's a great production.

In summary, All Mod Cons remains as great album, and there isn't a poor track on it.

Track Listing :

Side One :

1. All Mod Cons
2. To Be Someone ( Didn't We Have A Nice Time )
3. Mr Clean
4. David Watts
5. English Rose
6. In The Crowd

Side Two :

1. Billy Hunt
2. It's Too Bad
3. Fly
4. The Place I Love
5. 'A' Bomb In Wardour Street
6. Down In The Tube Station At Midnight

Released 1978
UK Chart Position : 6

Singles :

David Watts ( No 25 - 1978 )
Down In The Tube Station At Midnight ( No 15 - 1978 )

 

The Jam - This Is The Modern World

Rushed out 6 months after their debut album "In The City", "This Is The Modern World" is regularly seen as The Jam's worst album. However, for me it was more of a transitional piece as perhaps indicated by the picture for the front cover, with the band in smart, casual dress rather than suits.

The sticker on the cover shows I paid £2.99 for the album but it doesn't say from where !

When it was released I was also amongst those who didn't think it was as good as "In The City", but I liked the title track and "In The Streets, Today", and I knew "The Midnight Hour" was a cover, as the original was on one of my elder brother's R&B/Soul collections from the 1960s. I thought there were also a few reasonable songs, but looking at the track listing now although I recognised a few of the titles, I wasn't exactly sure how most of them went.

The almost title track "The Modern World" opens side one and remains the stand-out track. Aggressive and angry, it a tremendous anthem for its time and the vocals are great. "What kind of fool do you think I am ? You think I know nothing of the modern world". The line “Don't have to explain myself to you, I don't give two f***s about your review” was sanitised for the single.

The first of two Bruce Foxton contributions "London Traffic" is a 1960s riff meets punk. There are hints of early Beatles, especially "I Feel Fine", but it ends up sounding like The Vibrators on a bad day.

The next three songs demonstrate the band's increasing maturity and move to a more sophisticated sound. They could almost be a trilogy. "Standards" has a riff borrowed from The Who, somewhere between "I Can't Explain" and "Anyway, Anyhow, Anywhere", which I kept thinking would morph into "Crazy, Crazy Nights" by Kiss.  "Oh, we make the standards and we make the rules. And if you don't abide by them, you must be a fool"

"Life From A Window" is something completely different from anything previously released by The Jam and gives an indication of the direction the band would move towards on their next album. A mid-paced, almost mellow song, and there is even some acoustic guitar which wouldn't sound out of place on New Order's "Technique" album, although the song's big finish is straight out of The Who playbook. "I'm looking from a skyscraper, I'm standing on the post office tower, So I can see all there is to see".

"The Combine" is another mid-paced song with some interesting guitar and great bass lines. "And life is very difficult, when you're in the crowd.When you're in the crowd, you see things as they really are"

Side One closes with "Don't Tell Them You're Sane", the second ( and last ) song from Bruce Foxton. It's another mid-pace track and is a critique of mental health treatment in the UK rather than a tribute to the ex-Liverpool German striker ! It's the album's low point. Lyrically it tries hard but actually sounds trite. Also, the feedback to finish is irritating.

Side Two opens in great fashion with "In The Street, Today". Short ( 1 minute 31 seconds long ), aggressive and with some fast drumming for the intro, a frantic guitar break and more nice bass lines, it could have been on their first album. "The kids want some action, and who can f***ing blame them now ?"

"London Girl" is unfortunately not the song of the same name by The Pogues. Instead, its a fast paced number with a gimmicky "La-La-La-La-La London Girl" chorus, and the main guitar riff made me think of Generation X's "Ready, Steady, Go". "Do you know what you're looking for ? Streets of gold, fame and fortune ? You didn't fancy working in a factory but your mum and dad didn't agree"

The mood changes with "I Need You ( For Someone )", a 1960s pop love song with an understated guitar break. Again, the bass playing is impressive.

"Here Comes The Weekend" starts with a spoken "OK, all right, here it comes" over the intro, the type of which was obligatory at least once on punk albums at the time. If features pulsating bass, a good tune and a glorious chorus and middle eight. A power pop song before the phrase was invented. "Here comes the weekend, I get to see the girls, long live the weekend, the weekend starts here"

"Tonight At Noon" has a whimsical introduction. I can't tell if it supposed to be Punch and Judy or a newspaper street vendor, but it fades away into a slower, mellow love song where the acoustic guitar dominates. The rhythm of the song sounds like a slowed down version of their earlier hit single "All Around The World". The lyrics include "When we meet at the midnight hour, I will bring you night flowers" which leads nicely into....

.....a workmanlike cover of Wilson Pickett's1960s R&B classic,"Midnight Hour". Weller is credited with playing the harmonica, for what I think it the only time on any The Jam track.

The retrospective appraisal of the album is that is much better than it is generally given credit for, and there are several moments of real quality. The instrumentation is impressive, and there is a clear road map of the transition from early punk to the future sophistication of the later "Setting Sons" album. 

However, it does sound rushed and some of the songs come across as unfinished. Perhaps with some more time lyrics could have been edited to better fit the tune, or not sound so clumsy or jarring. Furthermore, with a bit of finesse, some of the song's structures could have been fitted together better. 

Nevertheless, "This Is The Modern World" is an important album.

Track Listing :

Side One :

1. The Modern World
2. London Traffic
3. Standards
4. Life From A Window
5. The Combine
6. Don't Tell Them You're Sane

Side Two :

1. In The Street, Today
2. London Girl
3. I Need You ( For Someone )
4. Here Comes The Weekend
5. Tonight At Noon
6. The Midnight Hour

Released 1977
UK Chart Position : 22

Singles :

The Modern World ( No 36 - 1977 )

 

The Jam - In The City

I'm not sure if this was the first punk album I ever bought, but it was either this or the Stranglers' Rattus Norvegicus. 

Some would argue "In The City" wasn't actually punk and The Jam rode on the coat-tails of the punk movement. After all, they wore suits and ties, they were anti the Labour government of the day, and Paul Weller famously said he would vote Tory at the next election. They were not trying to cause anarchy and mostly sang about dancing, relationships and the frustrations of growing up and living in 1970's Britain. 

In "Sounds From The Streets" Weller actually sang "I know I come from Woking and you say I'm a fraud, but my heart is in the city where it belongs", virtually acknowledging The Jam were outsiders.

Musically, the production on "In The City" was rough and unpolished, but with the Rickenbacker guitar sound, strong melodies and 1960s R&B influences, critics regularly made mention of echos of The Who and The Kinks. Indeed, one critic commented that "In The City" sounded more like The Who than The Who ever did ! 

Instead, it was said that The Jam were in fact the leaders of The Mod Revival rather than The Lambrettas, The Merton Parkas or Secret Affair. I don't think they were ever photographed with mopeds though !

Shortly after the release of "In The City", The Jam came to play a gig in Crawley, but it sold out almost immediately so I wasn't able to see them.

Looking at the track list I could remember all the songs except the last three. "Away From The Numbers" and "Sounds From The Streets" were the songs I remember liking best.

Side One opens with "Art School", which is perhaps the most punk song recorded by The Jam. It has a traditional punk 1-2-3-4 at the start and guitar feedback at the end. Possessing choppy guitar and fast paced aggression but still catchy, the song calls for a rejection of the normal conventions and to do and wear whatever you like. "The media as watchdog is absolutely shit, the TV telling you what to think"

"I've Changed My Address" is one of The Who sound alike songs, with the 19 year old Weller calling out the dangers of getting married and settling down too young. "Never could see what was with this matrimony thing" and "Couldn't see me settling down with a mortgage and kids"

"Slow Down" is a cover of a 1950's song that was also covered by Beatles. There is a great bass line and  manic drumming, and a guitar solo.

"I Got By Time" is slightly slower and has a strong 1960s feel to it. I loved the middle 8 and the backing vocals from Bruce Foxton.

"Away From The Numbers" remains a fantastic song. Touching, melodic, almost mellow, and a glorious chorus, but it builds up to an angry chorus. "I was sick and tired of my little niche"

The "Batman Theme" was also covered by The Who, and is a joke that fades after a couple of plays. It always reminds me of the joke of how does Batman's mum call him to come home for his meals ? Batman, dinner, dinner, dinner !

"In The City" has a similar riff to the Sex Pistols' "Holidays In The Sun" and the two bands used to play the other song as an intro to their own song, It was the only single from the album, and I was surprised it see it only got to number 40 in the UK chart.

"Sounds From The Streets" has a super melody, great guitar and almost Motown style backing vocals. It's easy to imagine The Who singing this song.

"Non-Stop Dancing" is a stomping R&B song and another track with a great middle 8.

"Time For The Truth" is a critique of the then Labour Prime Minister Jim Callaghan. "I think it's time for truth and the truth is you've lost, uncle Jimmy" and "and you're trying to play the hero, but you never walk home in the dark". It's a good song, and I was surprised I couldn't remember it.

"Takin' My Love" is a standard rocker with the riff of the verse similar to "Slow Down". It is pretty much in the category of album filler.

The album closer "Bricks And Mortar" moans about knocking down houses to build car parks, but it has the least interesting tune of all the songs on the album, and a long guitar outro. I've already forgotten how it goes.

In summary, "In The City" remains a very good album, with a number of outstanding songs.

Track Listing :

Side One :

1. Art School
2. I've Changed My Address
3. Slow Down
4. I Got By In Time
5. Away From The Numbers
6. Batman Theme

Side Two :

1. In The City
2. Sounds From The Streets
3. Non-Stop Dancing
4. Time For The Truth
5. Takin' My Love
6. Bricks And Mortar

Released 1977
UK Chart Position : 20

Singles :

In The City ( No 40 - 1977 )

 

Joe Jackson Band - Beat Crazy

 

 "Beat Crazy" was the third album released by Joe Jackson but the first that was credited to the Joe Jackson Band. Both "Look Sharp !" and "I'm The Man" were intelligent new wave/power pop which sold well and received much critical acclaim, with Joe Jackson being bracketed with Elvis Costello and Graham Parker. Two ballads, "Is She Really Going Out With Him ?" and "It's Different For Girls" were top twenty hits.

"Beat Crazy" didn't sell well, with explanations ranging from that there was no hit from the album to draw in sales, to the shift to a more reggae/ska influenced style of music put off potential buyer. The sticker on the cover shows that WH Smith had discounted the price from £4.99 to £2.49 to £1.25 to get rid of their stock when I purchased my copy !

I can't remember whether I liked this album or not. More confusion set in when I looked at the track listing as I could have sworn that "Kinda Kute" was on this album, but that song is actually on "I'm The Man". The only track I could recall how it went was "Pretty Boys" and I had a vague recollection of the chant "Beat Crazy" in the title track.

Having now sat through all eleven songs in one sitting my reaction was one of disappointment. Whilst there are plenty of well-crafted and clever lyrics, there is a shortage of killer tunes. It is dark and mostly moans and complaints. Joe certainly seemed to have a lot of anger to be released.

Being generous, there are 5 songs that I could bear to listen to again, whilst I have already forgotten the other six. The first two songs on side one are about as good as it gets.

"Beat Crazy" starts with a scream over the Duane Eddy style guitar intro. A reggae beat kicks in with the melodic verses sung by bass player Graham Maby with Jackson providing support. Its a sort of call and response duet but not in any sense that the B-52s might recognise. Lyrically, the youth of the day are either too busy enjoying themselves or too drugged up to fight for any cause. "Smoking LSD and such, it must be the reason why they can't talk much" & "If the Russians should ever come, they'll all be beating bongo drums"

Totally out of context with the rest of the album, "One To One" is a soulful piano ballad where Joe is frustrated over his lady's good causes and activism that leave her little time for him. "You were at the Monday Club or a Communist demonstration, who cares. You're going somewhere everyday, vegetarians against the Klan, every women against every man" & "I agree with what you say, but I don't want to wear a badge, I don't wanna wave a banner like you". I can almost see The Beautiful South singing this song.

There are three reasonable songs on side two. "Someone Up There" has The Jam style pulsating bass, and a pleasant backing vocals in the chorus.

"Biology" has a menacing Stranglers type bass riff leading into a ska beat with pounding drums. After "Hello, I'm Back again, I haven't seen you since I don't know when", Jackson tries to explain his being unfaithful is an act of nature, "It's not a process controlled by the brain" only to get stung in the third verse with the role reversal from the girlfriend "Now I feel no shame about Dave and Tony and Phil and James". There are hints of "Is she only going out with him" in the lead up to when Joe sings "B.I.O.L.O.G.Y can't you see ?"

"Pretty Boys" is a lively ska song with extensive use of a melodica in the lengthy outro. It sounds a lot like Bad Manners. 

Of the rest ? Well, "In Every Dream Home ( A Nightmare )" is vaguely in the style of dub. It is slow and tries to conjure a creepy atmosphere, but despite some decent bass playing, it's terrible, and virtually unlistenable

"The Evil Eye" has an uptempo, ska beat but is very dull.

At over 6 minutes long "Mad At You" is forgettable, with an over long dub reggae coda. The first half of the song is an angry rush over a reggae/ska rhythm. Apparently the album version is twice as long as the single, which was the first song released from the album. Unsurprisingly, it failed to chart.

"Crime Don't Pay" sounds unfinished. It begins was some more jaunty Duane Eddy style guitar,  whimsical piano and organ for a 1 minute 20 intro. Jackson sings for just under a minute after which there is long jazzy piano, organ and synthesizer outro.

"Battleground" is simply embarrassing. It is mostly spoken words as dub poetry but apart from it being an awful song, there is an over use of the "n" word even if prefixed by either black or white. I don't know if Jackson was trying to be controversial but if it was released today there would be an outcry and probably banned. There is a dedication to Linton Kwesi Johnson, who presumably would have been aghast to be associated with this drivel.

"Fit"  is a slow dirge about not fitting in. On the positive side, it has a nice guitar motif and a reasonable guitar solo, the only one on the entire LP. It is the best of the rest, but the bar isn't very high.

Track Listing :

Side One :

1. Beat Crazy
2. One To One
3. In Every Dream Home ( A Nightmare )
4. The Evil Eye
5. Mad At You

Side Two :

1. Crime Don't Pay
2. Someone Up There
3. Battleground
4. Biology
5. Pretty Boys
6. Fit

Released 1980
UK Chart Position : 42

Singles :

Mad At You ( - 1980 )
One To One ( - 1980 )
Beat Crazy ( - 1981 )

 

INXS - Kick

 

A work colleague of mine emigrated to Australia. When he returned to the UK for a short visit he was raving about this fantastic band from Australia. Stuck in traffic on the way to the pub he insisted on playing the tape he had. It was the "Listen Like Thieves" album by INXS. 

We only had to endure 5 or 6 songs before we arrived at our destination, and at the time I was generally underwhelmed by what seemed to be fairly cliched and formulaic music. Maybe I was impatient to have a drink, as hearing all three singles off the "Listen Like Thieves LP many years later I quite liked them !

The one exception was "Kissing The Dirt" which I thought was a well structured song, nicely played and with a good vocal. It was released as a single in the UK but received hardly any airplay and didn't chart. When I saw it being sold off cheap in my local record store I bought it !

Kick was the 6th album released by INXS, and their breakthrough effort in the UK, with the music press making Mick Jagger references about Micheal Hutchence but that was probably more due to his looks and dancing rather than his voice !

After several tracks were released as singles I decided to buy the album. At the time I thought it was really good and played it a lot but looking at the track listing the only non-single I could now remember was "Tiny Daggers"

The opening track "Guns In The Sky" is probably the least commercial song on "Kick". A two chord anti-war song, it starts with some annoying grunts before proceeding into a heavy metal number. It sounds more like their compatriots AC/DC !

Three singles follow. "New Sensation" with its toe-tapping funky riff and a sax solo is next. It's been called a song to dance to when no-one is looking !

"Devil Inside" has a drum intro, a great guitar riff, and guitar solo and there is another drum intro on "Need You Tonight" before the guitar chords come in, which then morphs into a funky riff.

"Mediate" is another track that starts with just drums, but features atmospheric keyboards, a rap vocal with words ending in -ate, and some smooth sax to fade at the end. It is surprisingly good and has become one of my favourite songs on the album.

"The Loved One" has a messy intro, then crashing guitar and piano over a bass line. There is a slight blues feel, and a decent chorus, which reminded me a little in parts of some of Aerosmith's ballads. A bit of the vocal also made me think of Noddy Holder of Slade. I hadn't realised it was a cover of a 1960s song, as it sounds like an INXS song, and isn't out of place here.

"Wild Life" is another song with the drums intro and a funky riff, but there is also plodding bass, and some nice keyboards in the middle. It is the closest to a filler on the album and I've already forgotten how it goes.

The epic ballad "Never Tear Us Apart" is next with a keyboards and strings intro, a great vocal, striking three note guitar and dramatic pauses before the soaring chorus. There is also magnificent saxophone solo. For such a classic song it is strange it only reached number 14 in the UK charts.

"Mystify" starts with jaunty piano then launches into a great rocker from second verse as thedrums and guitars kick in. The vocal is great too.

"Kick" is a high energy, big sounding R&B number with plenty of explosive sax and brass and "Calling All Nations" has a similar riff to "New Sensation" but the chorus is different.

"Tiny Daggers" closes the album. It's a 1980s new wave pop song, with a happy feel, a hypnotic keyboard motif and I love the guitar solo. There is also a hint of Rod Stewart's "Tonight I'm Yours" and "Young Turks" !

There is hardly a bad track on the album, if you like danceable rock n'roll. Although the five singles are all great in their own right, "Mediate" and "Tiny Daggers" are also superb songs.

Track Listing :

Side One :

1. Guns In The Sky
2. New Sensation
3. Devil Inside
4. Need You Tonight
5. Mediate
6. The Loved One

Side Two :

1. Wild Life
2. Never Tear Us Apart
3. Mystify
4. Kick
5. Calling All Nations
6. Tiny Daggers

Released 1987
UK Chart Position : 9

 Singles :

Need You Tonight ( No 2 - 1987 )
Devil Inside ( No 47 - 1988 )
New Sensation ( No 25 - 1988 )
Never Tear Us Apart ( No 24 - 1988 )
Mystify ( No 14 - 1988 )

 

 

 

 

 

 

 

Billy Idol - Idol Songs : 11 Of The Best

 

I quite liked Generation X, but not quite enough to purchase a record. Part of the punk movement, but without most of the politics, songs such as "Your Generation", "Wild Youth" and "Ready Steady Go" were fun rather than changing the world.

After the break-up of Generation X, singer Billy Idol decamped to New York and finalized his sneering, spiky bleached hair, leather gear with unnecessary zips, and fist pumping persona which became his trademark. Being in the right place at the right time, Idol became huge in the USA, taking advantage of the launch of MTV with some suitably theatrical videos, and as a part of the so-called "second British invasion". I was surprised to discover that many familiar songs charted so poorly in the UK charts, with only three top 10 singles, one of which was the live cover version "Mony Mony".

When this greatest hits compilation was released in 1987 Idol was still at the peak of this powers, but he subsequently released nothing of any significant merit afterwards, so unless you were an absolute fan this LP is basically all of his that you would need in your record collection. Looking through my collection of singles, I was surprised to find it included "White Wedding", although I don't remember buying it !

Nearly all of the songs contained here should be familiar to most people of my generation, and probably to many younger listeners as well. This is a rare example in Fatbear's Lockdown LPs where I can remember all the songs ( although it is a greatest hits compiliation ! ), so there shouldn't be any surprises in hearing them again. Interestingly though, this album is not on YouTube, so I would have to play them all individually.

I thought there were plenty of great tracks on "11 Of The Best", with my favourites being the recording of the Generation X song "Dancing With Myself", the anthems "Rebel Yell", "Hot In The City" and "White Wedding" and the slower numbers "Eyes Without A Face" and "Sweet Sixteen". I never really saw the point of the cover of Tommy James and the Shondells' "Mony Mony", especially as this had been covered by many other artists but it was huge success for Idol. The rest I saw as likable fillers.

"Rebel Yell" is perhaps the classic Billy Idol song. A great intro, a searing guitar solo and a memorable chant along chorus. "In the midnight hour, she yelled More ! More ! More !"

"Hot In The City" is slower than the usual Idol song, with strings, a nice bass line, alluring girly backing vocals and the usual anthem chorus.

"White Wedding"is perhaps the best all round song, with a driving bass intro and a great tempo. "It's a nice day to start again, it's a nice day for a white wedding"

The ballad like "Eyes Without A Face" sounded even better now than I thought it did back in the 1980s. I really liked the soft "Les yeux sans visage" backing vocal, there is some not too serious rap in the middle and some screeching guitar before moving back to the soft melody.

"Catch My Fall" is a mainstream rocker which includes some sax, has a nice bass line and a great chorus. "It could happen to you, so think for yourself, if I should stumble, catch my fall - catch my fall !". I was surprised to learn it wasn't a hit in the UK.

Idol's version of "Mony Mony" is a OK cover of the old standard, making sound American mainstream rock a la Bon Jovi, Motley Crue, Van Halen or other bands of that ilk, if you like that sort of thing.........

"To Be A Lover" again has a pulsating hi-energy bass and synth beat, girly backing vocals and swinging blues piano. Its the one where the video has Billy in a boxing ring.

"Sweet Sixteen" is a tender acoustic ballad with slight rockabilly undertones. At the time it was released I completely missed the back story around the meaning of the song, thinking it was more akin to Ringo Starr's pervy "Sweet Sixteen" instead of the sad story of a broken engagement and the building of a castle in Florida. It's a great song.

"Flesh For Fantasy" is a standard mid-tempo rocker, saved by a decent hook for the chorus. It now reminds me of something Simple Minds might have released, which isn't a great recommendation in my book !

"Don't Need A Gun" has a catchy synth intro, driving bass and drums and a searing guitar break. It lacks a decent tune though.

"Dancing With Myself" is a re-recording of a Generation X song and is very hard to resist the temptation to get up and dance on your own !"Let's sink another drink, cos it'll give me time to think. If I had the chance I'd ask the world to dance and I'll be dancing with myself"

After 35-40 years, Idol's music has stood the test of time, and still sounds relevant today.

Track Listing :

Side One :

1. Rebel Yell ( 1984 - No 6 )
2. Hot In The City ( 1982 - No 58 - remix 1987 - No 13 )
3. White Wedding ( 1985 - No 6 )
4. Eyes Without A Face ( 1984 - No 18 )
5. Catch My Fall ( 1984 - )
6. Mony Mony ( Live ) ( 1987- No 7 )

Side Two :

1. To Be A Lover ( 1986 - No 22 )
2. Sweet Sixteen ( 1987 - No 17 )
3. Flesh For Fantasy ( 1984 - No 54 )
4. Don't Need A Gun ( 1987 - No 26 )
5. Dancing With Myself ( 1981 - )
 

Released 1988
UK Chart Position : 2

The Human League - Dare

 

When it was released in 1981, "Dare" was hailed as a groundbreaking album, both for The Human League and synth-pop in general.

The story of the band consisting of only Philip Oakley after the two other members quit to eventually form Heaven 17, and Oakley hiring two 18 year-old schoolgirls after seeing them dance in a Sheffield nightclub is well documented. However, just as important was ex-Rezillo's song-writer and guitarist Jo Callis joining the band, even if he had swopped the guitar for a synthesizer !

Two hit singles had already been released by the time "Dare" came out and two more were to follow. I'm not sure of exactly when I bought the album, but it was certainly before "Don't You Want Me" was released as I was already familiar with that song by the time it was being played to death on the radio and at student discos.

I remember constantly playing the LP at the time, but looking at the track listing now I can only remember the four singles plus "The Things That Dreams Are Made Of", the rest drew a blank.

The opener "The Things That Dreams Are Made Of" remains my favourite song on the album. It has a hypnotic upbeat Kraftwerk style motif, a strong synth bass line and a catchy chorus. Lyrically it is a list of some of the simple things in life that people should aspire to, and at times comes across like a travel brochure. It even manages to name check Norman Wisdom and each of the Ramones. My favourite line though is "March, March, March across Red Square, do all the things you never dared".

"Open Your Heart" has a joyous melody and is pure electro-pop. Although once described as trying to sound like ABBA, to me it sounds like Ultravox.

"The Sound Of The Crowd" was the first hit and is a dance number with a funky beat and a shouty chorus. It still sounds great.

The next five songs had all been completely erased from my memory and it was like hearing them for the first time, and none of them jogged even the faintest recollection.

"Darkness" is a slightly slower number with a pretty three note motif and a decent tune, although I was struggling to remember it by the time the album had finished.

"Do Or Die" sounds like several other songs I can't quite place but a funky beat can't save what is a fairly bland song.

The one minute long "Get Carter" is an electronic version of the tune to the Micheal Caine film of the same name. I am what the point of including it is !

"I Am The Law" is slow and ponderous.  I think it is supposed to be menacing but it's just dull.

The tempo of the intro of "Seconds" is similar to "Open Your Heart". I quite liked it although at nearly 5 minutes it could have done was some editing.

I liked "Love Action ( I Believe in Love )" back in the day but hearing it now I found the synth sounds in the intro to be annoying and it all sounded rather dated.

There can't be made people who having heard "Don't You Want Me" and the story of the girl breaking away from her controlling Svengali like figure. "I was working as a waitress in a cocktail bar, that much is true, but then I knew I'd find a much better place, either with or without you". It remains a classic pop song, and is currently being used in an advert for an online hotel booking tool !

Maybe I listened to "Dare" on a bad day, but it hasn't aged well. Although there still several outstanding tracks, some of it doesn't sound so good now. Although I played the album to death over 40 years ago, perhaps the sign that half of the album had been total erased from my memory perhaps adds credence to the disposable, throwaway labels often attached to synth-pop ?

In 1981 I probably would have rated this as a 5 star album, but now I would probably give it a 3 or 3.5 star rating.

 

Track Listing :

Side One :

1. The Things That Dreams Are Made Of
2. Open Your Heart
3. The Sound Of The Crowd
4. Darkness
5. Do Or Die

Side Two :

1. Get Carter
2. I Am The Law
3. Seconds
4. Love Action ( I Believe In Love )
5. Don't You Want Me

Released 1981
UK Chart Position : 1

Singles :

The Sound Of The Crowd ( No 12 - 1981 )
Love Action ( I Believe In Love ) ( No 3 - 1981 )
Open Your Heart ( No 6 - 1981 )
Don't You Want Me ( No 1 - 1981 )