1979 music

ARMED FORCES Year Of Release: 1979 New Wavey pop with a conceptual edge and a diversifying variety of various diversity. Gee, I hate the army too. Track listing: 1) Accidents Will Happen; 2) Senior Service; 3) Oliver's Army; 4) Big Boys; 5) Green Shirt; 6) Party Girl; 7) Goon Squad; 8) Busy Bodies; 9) Sunday's Best; 10) Moods For Moderns; 11) Chemistry Class; 12) Two Little Hitlers; 13) (What's So Funny 'Bout) Peace, Love And Understanding?; [BONUS TRACKS:] 14) My Funny Valentine; 15) Tiny Steps; 16) Clean Money; 17) Talking In The Dark; 18) Wednesday Week; 19) Accidents Will Happen (Live); 20) Alison (Live); 21) Watching The Detectives (Live). Fie on you, Elvis. See, this could be Costello's masterpiece - undisputed masterpiece, that is, since even in this form Armed Forces manages to garner more or less the same rating as This Year's Model - but somehow it isn't. Somehow? I know how! It's his singing, consarnit! On no other record does his singing constitute such a major throwback as on this one. Okay, so I could disregard that problem on the first album (do you need to have a good voice if you're a rockabilly guy?); it bothered me significantly on the second album, but I got over it (after all, it was more punk rock than anything, and do you need to have a good voice if you're a punker guy?). But Armed Forces is another huge step forward for Costello musically, as he plunges deep into the world of complex New Wave music, often forgetting angry rock for subtle poppy structures, and heck, if you're into mature pop, you need a good voice. Okay, so not everybody can have a good voice; but what actually bothers me more is that in more than a few cases Elvis drastically overrates his voice. Don't your eardrums nearly burst at his off-key croaky chanting in 'Accidents Will Happen'? Particularly in the stripped-down piano-only version presented here as a bonus track, where his ugly (or should I say 'intentionally uglified?' voice) isn't obscured by anything. Ugh, I nearly had a fit here. And what about the hilarious Nick Lowe cover that ends the album? It's almost as if Elvis tries to 'press' his voice down, falling on it with all his weight, but it still rebounds back and the produced effect is almost gross. (Then again, John Alroy did call that vocal 'outstanding' - so I guess it's all a matter of subjective tastes. Gotta root it out, gotta root it out). One point off the rating because of that, please, and because some of the songs seem to be underarranged - I feel that a bit more slickiness couldn't have hurt this nearly-perfect album of New Wave/dance pop (and sure, some of these songs can easily fall into the category of 'dance pop', which is not necessarily a bad thing at all - some complain about the album being way too 'generic New Wave', but that's all right by me as long as the melodies are memorable). But now that I vented myself, I can state with equal ease that melody-wise, Armed Forces is not an iota worse than its predecessor. Thirteen songs on here, with a minimal amount of filler - okay, I have never understood where's that famous hidden hook residing in 'Big Boys', and a couple other tunes are a bit duller than the rest, plus, 'Chemistry Class' rather blatantly gives us a re-run of 'Accidents Will Happen', but everything else is classic, not to mention the bonus tracks on the new re-issue, which just might be the best bonus tracks on any given Costello album. So what's up with the album? It's rather easy to see that it's a conceptual one, with Elvis selecting the Army as his primary goal and making it one of the most powerful anti-militarism statements since... well, since at least the Kinks' Arthur, I'd say. I wonder if the elephants on the cover are supposed to be a metaphor, and if yes, a metaphor for what? So far, the album cover has only induced me to misspell the title of the first song as 'Elephants Will Happen' a few times. Speaking of which, even despite the creeky crooky vocals, 'Accidents Will Happen' is a perfect pop number that leads us in with the trademark Costello feature - a short accapella start that leads in the band. And from then on, it's just one mini-triumph after another. 'Senior Service' is wonderful and boppy (isn't that ascending keyboard line a marvel?), but perhaps the best thing in it is the unexpected shift from soft and boppy to angry and raunchy, with Elvis rapping out the lyrics in the 'Pump It Up' tradition. Then there's 'Oliver's Army'. This one was certainly written under serious ABBA influence (Elvis himself stated that, so I'm not imagining things) - the opening pompous piano chords are pretty much lifted off 'Dancing Queen', but the song itself is not, although I think ABBA would make a good job trying to reproduce it. Hear that, snubby ABBA bashers? This band has served as an influence for more of your favourite artists than you could possibly imagine... 'Green Shirt', as I already mentioned earlier, rips off the melody of the Kinks' 'Powerman', but it's still a great catchy number that arguably superates the 'original'. And 'Party Girl' introduces Costello the 'power balladeer', with a heavy rhythmic beat and a thick, pounding rhythm guitar (not to mention more ABBA-esque sparkling piano lines) that give the tune a steady epic feel. The second side kicks off with the spooky 'Goon Squad', the centerpiece of Costello's concept - a song written in the form of a paranoid letter written home by a soldier who complains that he 'never thought they'd put me in the goon squad'. Watch out for that arrangement! Do you hear the faint organs in the background? That's subtlety for you! Plus, it's the side that's most diverse - after that spookiness, you'll also get the weird waltz 'Sunday's Best', the irresistable robotic dance 'Moods For Moderns', the humble reggae of 'Two Little Hitlers', and, of course, that Nick Lowe cover, '(What's So Funny 'bout) Peace Love And Understanding?' Again, despite the forced vocals, it's a true Costello classic - booming, raging, epic, and oh so true. I mean, really, what's so funny 'bout peace, love and understanding? I do wanna know that too, especially considering all those cretinic hippie-bashers ridiculizing 'peace vibes' everywhere. It's because of those people that Elvis had to put out Armed Forces, you understand. Keep it up, Mr McManus! Whew, there's the bonus tracks, too. 'My Funny Valentine' is Costello doing accappella goth. That's either an unprecedented case of audacity or just kinky. You decide - I still can't. But the following four tracks are all minor delights which I won't mention one by one because I'm tired, plus there's a live rendition of 'Accidents Will Happen' that's atrocious, a live rendition of 'Alison' that's funny because the audience all goes wild each time Costello blurbs out 'my aim is true...', and a live rendition of 'Watching The Detectives' that's extended and experimental. Don't worry, the record is anything but boring. Sure takes some time to get used to, though - I hated it at first listen, and I can easily see why some fans rate it as a slight fall-off from the level of This Year's Model: the hooks are less obvious, and the serious energy is replaced by a colder and subtler New Wavish approach. But oh boy, does it grow on you. It does it does it does. Give it a chance. Armed Forces is the third studio album by British musician Elvis Costello, released in the UK by Radar Records and in the US by Columbia in 1979. It was his second album with the Attractions, and the first to officially credit the Attractions on the cover. The album had the working title Emotional Fascism. The North American version omitted the track "Sunday's Best" and replaced it with Costello's version of Nick Lowe's "(What's So Funny 'Bout) Peace, Love, and Understanding," which had been released the previous November as the B-side of Lowe's "American Squirm" single. Initial pressings of the album in the UK and US also included a promotional three-song EP, Live at Hollywood High. Armed Forces has appeared on various "greatest albums" lists in both Q magazine and Rolling Stone magazine. Background After 1978's punk-inspired This Year's Model, Costello moved in a direction more influenced by new wave music. Costello described this change, "At the time, it seemed as if we were making an impossibly sophisticated leap from the sound of This Year's Model, but listening now there are very few production devices that sit between the listener and the songs. The confidence and cohesion of The Attractions' playing is the product of 12 months of intense touring. The sessions were not without dissent and tension, but we probably never had quite this level of consistent musical agreement again".[2] Armed Forces was originally intended to be named Emotional Fascism; Costello explained, "Two or three half-formed notions collided uneasily in that title, although I never would have admitted to having anything as self-conscious as a ‘theme’ running through the songs. Any patterns that have emerged did so as the record was completed or with the benefit of hindsight. Personal and global matters are spoken about with the same vocabulary; maybe this was a mistake. Betrayal and murder are not the same thing. The first of them only deadens the soul. Some of the highly charged language may now seem a little naive; it is full of gimmicks and almost overpowers some songs with paradoxes and subverted clichés piling up into private and secret meanings. I was not quite 24 and thought I knew it all".[2] Initial Janet Maslin, in a 1979 review in Rolling Stone, felt the album was a "killer in several senses of the word," remarking on the brief, energetic songs with dense and sometimes overly-clever but snappy lyrics. Maslin felt that Costello "wants to be daring, but he also wants to dance."[13] Robert Christgau, in a 1979 review in The Village Voice, felt Costello was using words to "add color and detail to his music" rather than as "a thinking, feeling person," though he approved of the "intricate pop constructions" and found the album overall to be "good" but not "great."[12] Both reviewers felt the album was more densely or richly produced than its two predecessors.[12][13] Retrospective In a retrospective commentary for AllMusic, Stephen Thomas Erlewine felt that Armed Forces was a more "detailed and textured pop production" than Costello's first two albums, making the music more accessible, though the lyrics were "more insular and paranoid."[3] Greg Kot of the Chicago Tribune, in his 1991 review, called the album "Costello's 'political' record, and also one of his most irresistibly melodic."[5] Matt LeMay, in a 2003 review for Pitchfork Media, also commented on the production, which he felt was "extravagantly layered with dense instrumentation and rich, effusive textures" which "often serves to conceal, rather than reveal the nuances of Costello's songwriting." LeMay concluded that "the greatest strength of Armed Forces may be the same thing that makes it less viscerally powerful than Costello's two prior records - its songs absolutely demand to be appreciated for their craftsmanship."[8] LeMay argued that the album marks the point at which Costello found his voice as a songwriter.[8] Artwork While the album's artwork was largely designed by Barney Bubbles and Bazooka, the original UK LP cover, featuring a herd of stampeding elephants, was designed by Tom Pogson. Initial pressings of the LP featured a die-cut fold-out sleeve, which also included four postcards of the band. The American version opted for a standard LP jacket and featured a piece of paint splattered artwork by Bubbles and Bazooka for the cover, which had also been featured inside the fold-out UK version.[17][18] Initial pressings also included the bonus EP Live at Hollywood High, recorded on 4 June 1978, and initial UK copies came with a red and yellow sticker on the front with the words "Free EP inside."[19] The album was released in a variety of different configurations in different territories, alternating between the two different cover designs and inclusion or exclusion of the bonus EP.[20] Track listing All songs written by Elvis Costello. Side one "Accidents Will Happen" - 3:00 "Senior Service" - 2:17 "Oliver's Army" - 2:58 "Big Boys" - 2:54 "Green Shirt" - 2:42 "Party Girl" - 3:20 Side two "Goon Squad" - 3:14 "Busy Bodies" - 3:33 "Sunday's Best" - 3:22 "Moods for Moderns" - 2:48 "Chemistry Class" - 2:55 "Two Little Hitlers" - 3:18 The American and Canadian releases omitted "Sunday's Best" and added "(What's So Funny 'Bout) Peace, Love, and Understanding" to close side two.[21] Live at Hollywood High promo EP "Accidents Will Happen" (Live) - 3:18 "Alison" (Live) - 3:08 "Watching the Detectives" (Live) - 5:51 Armed Forces was reissued on CD by Rykodisc in 1993, which featured the original album and bonus tracks on one CD. Rhino Records reissued the album again in 2002 as a two disc set; disc one contained the original UK album plus "(What's So Funny 'Bout) Peace, Love and Understanding?" and disc two contained the bonus tracks. 1993 Rykodisc reissue bonus tracks "(What's So Funny 'Bout) Peace, Love, and Understanding" (Nick Lowe) - 3:31 "My Funny Valentine" (Richard Rodgers, Lorenz Hart) - 1:28 "Tiny Steps" - 2:42 "Clean Money" - 1:57 "Talking in the Dark" - 1:56 "Wednesday Week" - 2:01 "Accidents Will Happen" (Live at Hollywood High) - 3:18 "Alison" (Live at Hollywood High) - 3:08 "Watching the Detectives" (Live at Hollywood High) - 5:51 Note: the Rykodisc reissue placed "(What's So Funny 'Bout) Peace, Love and Understanding?" after a 15 second silence following "Two Little Hitlers." 2002 Rhino reissue bonus disc "Tiny Steps" - 2:42 "Busy Bodies" (Alternative version) - 3:48 "Talking in the Dark" - 1:56 "Big Boys" (Alternative version) - 2:56 "Clean Money" - 1:57 "Wednesday Week" - 2:01 "My Funny Valentine" (Rodgers, Hart) - 1:33 "Accidents Will Happen" (Live at Hollywood High, 4 June 1978) - 3:18 "Mystery Dance" (Live at Hollywood High, 4 June 1978) - 2:01 "Goon Squad" (Live at Hollywood High, 4 June 1978) - 3:42 "Party Girl" (Live at Hollywood High, 4 June 1978) - 3:19 "Stranger in the House" (Live at Hollywood High, 4 June 1978) - 3:52 "Alison" (Live at Hollywood High, 4 June 1978) - 3:08 "Lipstick Vogue" (Live at Hollywood High, 4 June 1978) - 4:26 "Watching the Detectives" (Live at Hollywood High, 4 June 1978) - 5:51 "You Belong to Me" (Live at Hollywood High, 4 June 1978) - 2:39 "Chemistry Class" (Live solo at the Warner Theatre, Washington DC, 28 February 1978) - 2:34 2007 Hip-O Records reissue bonus track "(What's So Funny 'Bout) Peace, Love, and Understanding" (Nick Lowe) - 3:32 Personnel Elvis Costello - guitar, vocals The Attractions Steve Nieve - piano, organ, synthesizer Bruce Thomas - bass Pete Thomas - drums Technical Roger Bechirian - engineer Tom Pogson - artwork (elephant front cover) Barney Bubbles - artwork (all other artwork) Bazooka - artwork (graphics and illustrations) Accidents Will Happen" [Verse 1] Oh, I just don't know where to begin Though he says he'll wait forever It's now or never But she keeps him hanging on The silly champion She says she can't go home Without a chaperone [Chorus] Accidents will happen We only hit and run He used to be your victim Now, you're not the only one Accidents will happen We only hit and run I don't want to hear it 'Cause I know what I've done [Verse 2] There's so many fish in the sea That only rise up in the sweat and smoke like mercury But they keep you hanging on They say you're so young Your mind is made up but your mouth is undone [Chorus] Accidents will happen We only hit and run He used to be your victim Now, you're not the only one Accidents will happen We only hit and run I don't want to hear it 'Cause I know what I've done [Bridge] And it's the damage that we do And never know It's the words that we don't say That scare me so [Verse 3] There's so many people to see So many people you can check up on And add to your collection But they keep you hanging on Until you're well hung Your mouth is made up but your mind is undone [Chorus] Accidents will happen We only hit and run He used to be your victim Now, you're not the only one Accidents will happen We only hit and run I don't want to hear it 'Cause I know what I've... I know what I've... I know what I've done [Outro]I know, I know...[Repeat until fade] Senior Service" [Chorus] Senior service Junior dissatisfaction It's a breath you took too late It's a death that's worse than fate Senior service Junior dissatisfaction Though it may be second hand It's by no means second rate [Verse 1] I want your neck I want the seat that you sit at I want your check Because they told me I would get on I want to chop off your head and watch it roll into the basket If you should drop dead tonight, then, they won't have to ask me twice [Chorus] Senior service Junior dissatisfaction It's a breath you took too late It's a death that's worse than fate Senior service Junior dissatisfaction Though it may be second hand It's by no means second rate [Bridge] They took me in the office and they told me very carefully The way that I could benefit from death and disability [Chorus] Senior service Junior dissatisfaction It's a breath you took too late It's a death that's worse than fate Senior service Junior dissatisfaction Though it may be second hand It's by no means second rate [Verse 2] I want your company car I want your girlfriend and love I want your place at the bar Because there's always another man To chop off your head and watch it roll into the basket If you should drop dead tonight, then, they won't have to ask me twice [Chorus] Senior service Junior dissatisfaction It's a breath you took too late It's a death that's worse than fate Senior service Junior dissatisfaction Though it may be second hand It's by no means second rate "Oliver’s Army" [Verse 1] Don't start that talking I could talk all night My mind goes sleepwalking While I'm putting the world to right Call careers information Have you got yourself an occupation? [Chorus] Oliver's army is here to stay Oliver's army are on their way And I would rather be anywhere else But here today [Verse 2] There was a Checkpoint Charlie He didn't crack a smile But it's no laughing party When you've been on the murder mile Only takes one itchy trigger One more widow, one less white nigger [Chorus] Oliver's army is here to stay Oliver's army are on their way And I would rather be anywhere else Than here today [Bridge] Hong Kong is up for grabs London is full of Arabs We could be in Palestine Overrun by the Chinese line With the boys from the Mersey and the Thames and the Tyne [Verse 3] But there's no danger It's a professional career Though it could be arranged With just a word in Mr. Churchill's ear If you're out of luck or out of work We could send you to Johannesburg [Chorus] Oliver's army is here to stay Oliver's army are on their way And I would rather be anywhere else But here today [Outro] And I would rather be anywhere else x3 But here today x3 Big Boys" [Verse 1] I am starting to function In the usual way Everything is so provocative Very, very temporary [Chorus] I shall walk (I shall walk) Out of this place (out of this place) I shall walk out on you 'Cause you go silly If she's willing Trying so hard to be like the big boys [Bridge 1] So you take her to the pictures Trying to become a fixture Inch by inch, trying to reach her All the way through the second feature Worrying about your physical fitness Tell me how you got this sickness [Verse 2] I was caught in the suction By a face like a truncheon I was down upon one knee Stroking her vanity I was stuck on a hammerhead I came alive and left for dead As my face returned to red Choking on my pride and pity [Chorus] We can talk (we can talk) Until your face is blue ('til your face is blue) We can talk but she'll get to you After you've been loved and hated By the ones you've watched and waited Found that they were overrated [Bridge 2] She'll be the one - when the party's over She'll be the one - when the girls have gone home She'll be the one - that you'll wish you'd held onto She'll be the one - but it's too late for you to She'll be the one - who knows all your history She'll be the one - so you can cross her off your list [Outro] And you try so hard x2 And you try so hard to be like the big boys Green Shirt" [Verse 1] There's a smart, young woman on a light blue screen Who comes into my house every night She takes all the red, yellow, orange and green And she turns them into black and white [Chorus] But you tease and you flirt And you shine all the buttons on your green shirt You can please yourself but somebody's gonna get it [Post-Chorus 1] Better cut off all identifying labels Before they put you on the torture table [Verse 2] 'Cause somewhere in the "Quisling Clinic" There's a shorthand typist taking seconds over minutes She's listening in to the Venus line She's picking out names I hope none of them are mine [Chorus] But you tease and you flirt And you shine all the buttons on your green shirt You can please yourself but somebody's gonna get it [Bridge] Never said I was a stool pigeon I never said I was a diplomat Everybody is under suspicion But you don't want to hear about that [Chorus] 'Cause you tease and you flirt And you shine all the buttons on your green shirt You can please yourself but somebody's gonna get it [Post-Chorus 2] Better send a begging letter to the big investigation Who put these fingerprints on my imagination? [Chorus] But you tease and you flirt And you shine all the buttons on your green shirt You can please yourself but somebody's gonna get it [Outro] You can please yourself but somebody's gonna get it x2 "Party Girl" [Verse 1] They say you're nothing but a party girl Just like a million more all over the world I know I shouldn't be raising my hopes so high But I have seen the hungry look in their eyes They'd settle for anything in disguise of love Seen the party girls look me over Seen 'em leaving when the party's over [Chorus] They can't touch me now You say you don't mind We're so hard to find I could give you anything but time [Bridge] Give it just one more try Give it a chance Starts like fascination Ends up like a trance [Verse 2] Oh, you'll never be the guilty party girl Maybe someday, we can go hiding from this world Maybe I'll never get over the change in style But I don't want to lock you up and say you're mine Don't want to lose you or say goodbye I'm the guilty party and I want my slice But I know you've got me and I'm in a grip-like vise [Chorus] They can't touch me now You say you don't mind We're so hard to find I could give you anything I would give you anything I can give you anything but time [Outro] Give you anything but time... [repeat until fade] "Goon Squad" [Verse 1] Mother, Father, I'm here in the zoo I can't come home 'cause I've grown up too soon I got my sentence I got my command They said they'd make me major if I met all their demands [Pre-Chorus 1] I could be a corporal into corporal punishment Or the general manager of a large establishment They pat some good boys on the back and put some to the rod But I never thought they'd put me in the... [Chorus] Goon squad They've come to look you over and they're giving you the eye Goon squad They want you to come out to play You'd better say goodbye [Verse 2] Some grow up just like their dads And some grow up too tall Some go drinking with the lads Some don't grow up at all You must find the proper place for everything you see But you'll never get to make a lampshade out of me [Pre-Chorus 2] I could join a chain of males or be the missing link Looking for a lucky girl to put me in the pink They pat some good boys on the back and put some to the rod But I never thought they'd put me in the... [Chorus] Goon squad They've come to look you over and they're giving you the eye Goon squad They want you to come out to play You'd better say goodbye [Verse 3] Mother, Father, I'm doing so well I'm making such progress now that you can hardly tell I fit in a little dedication with one eye on the clock They caught you under medication You could be in for a shock [Pre-Chorus 3] Thinking up the alibis that everyone's forgotten Just another mummy's boy gone to rotten They pat some good boys on the back and put some to the rod But I never thought they'd put me in the... [Chorus] Goon squad They've come to look you over and they're giving you the eye Goon squad They want you to come out to play You'd better say goodbye Busy Bodies" [Verse 1] So you think that you have seen her When you're lying in between her And you tell me that you don't care Busy bodies getting nowhere Everybody's getting meaner Busy bodies caught in the concertina [Pre-Chorus 1] You check her outline Break her regulations You watch her legs through several service stations [Chorus] Busy bodies Very busy Getting nowhere Nowhere, nowhere, nowhere [Verse 2] Now you're ready for the merger With the company you're part of And you do the dirty business With your latest sleeping partner You're becoming automatic Busy bodies out playing with the traffic [Pre-Chorus 2] You want attention You try my patience With the best intentions, you are nothing but a nuisance [Chorus] Busy bodies Very busy Getting nowhere Nowhere, nowhere, nowhere [Verse 3] Now you've given your performance Though the matinee was idle And you find out that a wave of her right hand Could seem so tidal Just a second Satisfaction Busy bodies Temporarily out of action [Pre-Chorus 3] You wash and brush up You want to dress up You want to kiss her But she's busy with her makeup [Chorus] Busy bodies Very busy Getting nowhere Nowhere, nowhere, nowhere x2 Sunday’s Best" [Verse 1] Times are tough for English babies Send the army and the navy Beat up strangers who talk funny Take their greasy, foreign money Skin shop, red leather, hot line Be prepared for the engaged sign Bridal books, engagement rings And other wicked little things [Chorus] Standing in your socks and vest Better get it off your chest Every day is just like the rest But Sunday's best [Verse 2] Stylish slacks to suit your pocket Back supports and picture lockets Sleepy towns and sleeper trains To the dogs and down the drains Major roads and ladies' smalls Hearts of oak and long trunk calls Continental interference At death's door with life insurance [Chorus] Standing in your socks and vest Better get it off your chest Every day is just like the rest But Sunday's best [Bridge] Sunday's best, Sunday's finest When your money's in the minus And you suffer from your shyness You can listen to us whiners [Verse 3] Don't look now under the bed An arm, a leg and a severed head Read about the private lives The songs of praise, the readers' wives Listen to the decent people Though you treat them just like sheep Put them all in boots and khaki Blame it all upon the darkies [Chorus] Standing in your socks and vest Better get it off your chest Every day is just like the rest But Sunday's best [Outro] Sunday's best x3 Moods for Moderns" [Verse 1] Moods for moderns x4 I get hit looking for a miss I never thought that it would come to this [Verse 2] Moods for moderns x4 Though we may never be the same again I am so proud that you've been taken in vain [Chorus] What if none of your dreams come true? I can never run from you There's never been a how-do-you-do There's never been an ending Soon, you'll belong to someone else And I will be your stranger, just pretending [Post-Chorus 1] Moods for moderns Memory lingers I let you into Foreign fingers [Verse 3] Moods for moderns x4 I never thought that I would see this day I never thought that I would give you away [Chorus] What if none of your dreams come true? I can never run from you There's never been a how-do-you-do There's never been an ending Soon, you'll belong to someone else And I will be your stranger, just pretending [Post-Chorus 2] Moods for moderns Let them break us Strong and sudden Foreign fingers Chemistry Class" [Verse 1] She throws back her hair and she shows you her mouth The breath that I waste trying to ruin your life Beauty's on a budget but you take it on the chin 'Cause you have to do your duty, taking orders from the kingpin [Chorus] You've got a chemistry class; I want a piece of your mind You don't know what you started when you mixed it up with mine Are you ready for the final solution? Oh, oh [Verse 2] Chopped you up in butcher's school Threw you out of the academy of garbage You'll be a joker all your life A student at the comedy college People-pleasing people pleasing people like you You've been around so long but you still don't know what to do [Chorus] You've got a chemistry class; I want a piece of your mind You don't know what you started when you mixed it up with mine Are you ready for the final solution? Oh, oh [Verse 3] Sparks are flying from electrical pylons Snakes and ladders running up and down her nylons Ready to experiment, you're ready to be burned If it wasn't for some accidents then some would never, ever learn [Chorus] You've got a chemistry class; I want a piece of your mind You don't know what you started when you mixed it up with mine Are you ready for the final solution? Oh, oh "Two Little Hitlers" [Verse 1] Why are we racing to be so old? I'm up late, pacing the floor I won't be told You have your reservations I'm bought and sold I'll face the music I'll face the facts Even when we walk in polka dots and checker slacks Bowing and squawking Running after tidbits Bobbing and squinting Just like a nitwit [Chorus] Two little Hitlers will fight it out Until one little Hitler does the other one's will I will return I will not burn Down in the basement [Verse 2] I need my head examined I need my eyes excited I'd like to join the party But I was not invited You make a member of me I'll be delighted I wouldn't cry for lost souls, you might drown Dirty words for dirty minds Written in a toilet town Dial me a Valentine She's a smooth operator It's all so calculated She's got a calculator She's my soft touch typewriter And I'm the great dictator [Chorus] Two little Hitlers will fight it out Until one little Hitler does the other one's will I will return I will not burn Down in the basement [Bridge] A simple game of self-respect You flick a switch and the world goes off Nobody jumps as you expect I would have thought you would have had enough by now [Verse 3] You call selective dating For some effective mating I thought I'd let you down, dear But you were just deflating I knew right from the start We'd end up hating Pictures of the merchandise plastered on the wall We can look so long as we don't have to talk at all You say you'll never know him He's an unnatural man He doesn't want your pleasure He wants as no one can He wants to know the names of All those he's better than [Chorus] Two little Hitlers will fight it out Until one little Hitler does the other one's will I will return I will not burn [Outro] I will return 1 will not burn [repeat until fade]

FEAR OF MUSIC Year Of Release: 1979 Record rating = 9 Overall rating = 13 Paranoid, yet catchy and easily accessible. Congratulations, boys, you managed to tame down your insane ring-ring-ring. Best song: CITIES. Or LIFE DURING WARTIME. Or whatever you want Track listing: 1) I Zimbra; 2) Mind; 3) Paper; 4) Cities; 5) Life During Wartime; 6) Memories Can't Wait; 7) Air; 8) Heaven; 9) Animals; 10) Electric Guitar; 11) Drugs. I still can't decide if Fear Of Music qualifies as the best album of 1979 or not - it's almost on par with the Police's offering of the same year. I'd still give the Nobel prize to the Police if I could (and if Nobel wasn't such a smartass and left over something for all the musicians out there), because I'm just somewhat more reverend towards their style than to David Byrne's "ethnic lunacy", but that's minor quibbling in the literal sense of the expression. Seriously now, Fear Of Music, even if it was only released a year after More Songs, is an improvement over that album, good as it was itself, in almost every possible way. Preserving the mind-boggling grooves of that record, together with its producer (Eno), Mr Byrne adds in two key elements, each one of which boosts the record an extra point. Key element number one is a super-duper pop sensibility that got lost somewhere on the highway while they were talking about buildings and food. Not only is every song listenable and having a personality of its own, but most of them are chock-full of smooth hooklines that become absolutely irresistable on second listen ('cuz they're a bit annoying and repetitive on the first one). Could I stick out a little metaphor? Thank you. I'd say that the material of More Songs was like a new and ground-breaking type of dough, cleverly prepared and wisely patented by chef extraordinaire; Fear Of Music, though, puts that dough into the oven, bakes the whole pie and doesn't forget to cut it into reasonable portions so that everybody could get one's share and not bitch over the slicing process. I mean, the songs are still somewhat similar in style, tempo, and key (although there's a heavier reliance on minor chords here than before, which makes the album really really gloomy in places), but since all the hooklines are different, it doesn't seem anymore like Byrne and co. just wrote that record in order to lay down their unique brand of rhythm playing. What good is unique rhythm playing if all you do is uniquely playing rhythm, after all? Key element number two is that the record really makes sense - and a lot of it. This is clearly a concept album, and not only that - it's a real concept album, which is very unusual, since most 'concept albums' are in fact pseudo-concept albums, whose main purpose is to leave the listener behind gaping at what the possible 'concept' could really be (think Sgt Pepper, eh?). The concept that lies behind all these songs is somewhat similar to the concept of Dark Side Of The Moon: fear and insecurity, madness and desperation at the sight of everything that's actually mentioned in these songs: their titles speak for themselves - 'Paper', 'Cities', 'Mind', 'Heaven', 'Animals', 'Air', 'Drugs', 'Electric Guitar'... Somebody at the Prindle site suggested that the key to understanding the record is its title: substitute 'music' from the title and put in most of these individual song titles, and you get exactly that same message that Mr Byrne wanted to communicate us. I really couldn't agree more about that. And while the album loses a little bit to DSOTM in terms of epicness and seriousness, it picks everything back up in terms of intriguing, ambivalent lyrics, clever arrangements, and diversity. Of course, the main proof of this album's greatness is that it's extremely hard to select any highlights - try as I can, I can't find even one weak number on here; perhaps only the closing five-minute drone of 'Drugs' overstays its welcome, as the song has too few energy to compensate for the length. (Why is it that the worst song on the record almost always has to be the lengthiest? Is it because the lengthiest song on the record always has to be the worst?). Even so, it's hardly bad, because the song's main 'dripping' hookline is pretty solid. Otherwise, it's just one excellent groove after another. As a short promising intro, the Heads pioneer world beat in 'I Zimbra' with its moody ethnic African rhythms - the song would later serve as a blueprint for the entire Discipline album by King Crimson. (That was hyperbole, but unless you can't tell hyperbole from hyperbollocks, just forget that last sentence). Then Byrne promises to find something to change your mind, discovering a couple unforgettable guitar riffs on the way; bounces his way through the thunderstormy 'Paper', with one of the most complex and fascinating rhythm tracks on the album; and proceeds to my current favourite, the electric piano-dominated 'Cities', which somehow ties in the paranoid guitar rhythms with music hall keyboards and disco bass, not to mention the lyrics, as David keeps busy trying to find himself a city to live in. Something makes me think he's left dissatisfied with all of the possible choices... ...which makes him jump to the angry, uncompromising single 'Life During Wartime', the ultimate synth-popper if there ever was one, and to the bombastic, overwhelming 'Memories Can't Wait' that thrusts us into the even weirder section of the album, as echoes, tons of special effects and drugged-out, lunatic fantasies make their real appearance. That said, did I mention that the lunatic fantasies are all solidly anchored in tasty riffs and carefully structured out, never getting out of control? Turn in that information, please. 'Air' is pretty and atmospheric; 'Heaven', with its key phrase ('heaven is a place where nothing ever happens'), and sad, melancholic mood, lets us know that you can't escape shit even in the saintest of locations; 'Animals' is the funniest anti-animal rave I've ever heard occur on this planet (I can almost picture Byrne impersonating a drunk professor opening up his heart to somebody in a fit of uncontrolled anger!); and 'Electric Guitar' is just... strange. Is it a condemnation of rock music? Or a condemnation of people opposing music? Or just... words? In any case, these are words spoken out with a vengeance, and propped up against an energetic rhythm pattern (Chris Frantz is the main star on this song - his drumming almost makes it worthwhile on its own) and a groovy five-note riff forming a perfect counterpoint for Byrne's raving. If anything ever lets the album down, it's a feeling that the band still can't (and would actually never be able to) overstep its own groove and broaden the perspective - the record holds no real surprises, except for an amazing level of consistency and quality. It also hurts that Fear Of Music is so seriously soulless - 'Heaven' might be the sole tiny exception - and Byrne never really lets you enter his own personal world (something that really ties him in together with another David, if you know who I mean). But melody-wise and approach-wise, any complaints would be futile; this is one of New Wave's highest points, and a record that should really go down as an absolute classic. Why some reviewers put it down as 'transitional' and 'not fully representative' is way beyond me; for my money, this is the most perfect and adequate artistic statement that the band ever produced. Ever.

Bop Till You Drop Ry Cooder Genre:Rock Style:Blues Rock, Rock & Roll Year:1979 Tracklist 1 Little Sister 3:49 2 Go Home, Girl 5:10 3 The Very Thing That Makes Your Rich 5:32 4 I Think It's Going To Work Out Fine 4:43 5 Down In Hollywood 4:14 6 Look At Granny Run Run 3:09 7 Trouble You Can't Fool Me 4:55 8 Don't You Mess Me Up A Good Thing 4:08 9 I Can't Win 4:16 The first Ry Cooder cassette (that’s right, cassette) I ever owned was Bop Till You Drop and I didn’t care for it for a long time. A cassette back then meant mobility. You put it in a Walkman and you could move around the world with music. That was big and Sony was king. To walk along a beach with music in your ears was revolutionary at the time. Now we sit in our own worlds of music all the time. It’s no big thing anymore. What to Carry? Bop Till You Drop was one of those early mobile-media bits of my life but I had purchased it unheard and I didn't like it when I first listened to it. I valued money enough to try to make it work though, to give it a darn good chance in hopes I would grow to like it. It didn’t work for me for the longest time. Imagine walking around with something the size of your iPod for every album you want to carry. Two or three cassettes were the limit. This 1979 cassette was often left behind and when I did take it I couldn’t listen to it for very long, fast forwarding often. And then one day it struck me: this is okay...it’s okay. Bop Till You Drop is okay in 2013 too. There are tunes on this album that should make Ry Cooder’s Greatest Hits album of 2017, but more will be forgotten than remembered. The strangest thing about listening to this album now-after a long absence-is that I can’t be objective about it at all. I really like it, but it’s difficult to tell a friend “You’ve really gotta’ hear this 1979 album by Ry Cooder.” I’m scared they’ll ask why and I’ll have to reply “because it’s a pretty good album and I grew to like it.” Not stellar reasons for recommending an album. There are some good reasons to recommend it though. Any Album With Jim Keltner is a Good Album There are great tunes on this album, all covers except for “Down in Hollywood”-which he performed with Chaka Khan. There are also some other excellent artists helping out, including Jim Keltner, Tim Drummond, Reverend Patrick Henderson, Milt Holland, Bobby King, and David Lindley, to name a few. I think Chaka khan is singing on A Good Thing not Down In Hollywood Ya’ Gotta Hear It for History’s Sake, Though But there is an overriding reason to listen to this album, regardless of the tunes and the musicians and my half-hearted backing. It’s the one. It’s the first pop album to be recorded digitally by a major label. And there’s great irony there too, as many of the tunes were old even in 1979! They shone, though, on the 3M Digital Audio Mastering System, a 32-track recording system. (Another album that benefited from this 1978 technology was Donald Fagen’s The Nightfly, reviewed on this site.) It's an interesting part of recording history and another one of those albums that has been available on just about everything so far: vinyl, 8track, cassette, CD, and digital. Most importantly, if you give it a good chance, it really grows on you. It's not as good as his most recent work, Delta Time, though.

The Wall 9½ ( 1979, UK pos 3 ) In the Flesh? / The Thin Ice / Another Brick in the Wall 1 / The Happiest Days of Our Lives / Another Brick in the Wall 2 / Mother / Goodbye Blue Sky / Empty Spaces / Young Lust / One of My Turns / Don't Leave Me Now / Another Brick in the Wall 3 / Goodbye Cruel World / Hey You / Is There Anybody Out There? / Nobody Home / Vera / Bring the Boys Back Home / Comfortably Numb / The Show Must Go On / In the Flesh / Run Like Hell / Waiting for the Worms / Stop / The Trial / Outside the Wall 'The Wall' when it first appeared must have surprised many Pink Floyd fans, being a double album of an astonishingly large amount of songs, twenty six in all. 'Another Brick In The Wall Pt 2' was the first Pink Floyd single to be a hit in the UK since 'See Emily Play' way back in 1967. The concept for 'The Wall' ( there has to be a concept! ) revolves around a Rock star named 'Pink' ( ha, ha! ) who is basically a jerk. Write about what you know, and all that. Sorry Mr Waters. Pinks fathers life was taken in the name of duty, and Pink builds a mental wall between himself and the rest of the world, every emotional trouble and stress becoming another 'brick' in Pinks mental wall of pain, disillusioned with stardom and fame. Roger Waters father, Eric Fletcher Waters died in the line of duty, during World War II. Sorry again, Roger. Maybe you're not a jerk after all, although Rick Wright may have thought so. Out of twenty six songs, not a one of them was written by Rick, who was pretty much just a session guy here, and would leave the band altogether before the groups next album project. So, if 'Animals' had 'sort of' introduced a new sound to Pink Floyd, although a new sound sat on top of largely old, previously unused compostions in the throes of writers block, 'The Wall' really does see Roger Waters write his little heart out. 'The Wall' is beautiful and bleak, impressive in scope and production. There is genuine beauty in songs like 'Is There Anybody Out There?' with it's pretty guitar and the string assisted 'Nobody Home', for examples. There's the groovy bass lines and sing-a-long of 'Another Brick In The Wall Pt 2', which released in the Punk ( post-punk? ) era, as a single - was a tremendous and deserved success. 'The Thin Ice' is as bleak as can be. Is the music here depressing? Possibly, although I prefer the word bleak, it describes the sound and feel more accurately. Gilmour gets to show off his guitar in some places ( the solo in 'Mother' for example ) but a lot of songs seem based around simple acoustic guitar, then blown up in the studio later on during the recording process. It works though, these are very real sounding songs, too real at times. There is variety here amongst the bleakness, a variation with guitar rock songs like 'Young Lust' and some string orchestrated material later on. The guitar rock of 'Young Lust' isn't a favourite of mine, but it's here, and it works, just about. Side three ( of the vinyl release ) is glorious, with 'Hey You', 'Is There Anybody Out There' and 'Nobody Home' all being stunning compositions and music of genuine beauty. 'Hey You' might just be my favourite song here. 'Vera'? Now's there's an old English name, World War II? You betcha! Roger sings of Vera Lynn in this case, with strings and bass and mentions of 'some sunny day' from her signature song. 'Bring The Boys Back Home' and 'Vera' combined are three minutes long, 'Comfortably Numb' switches us away so closely from World War II stories and for six minutes is atmosphere and stings, plus one - a total classic with Gilmour getting a chance to show off his guitar. He doesn't get that many chances to do that here on 'The Wall', an album that's very much the Roger Waters show, but it's a damn good show. Thought provoking? Yeah. Impressive in scope and scale? Yeah. 'Run Like Hell' is a little groove and up-tempo music at a time the album needs it, little moments like these keep you listening and add to the enjoyment of it all. Enjoyment? Yeah. Bleak? Yeah, you bet. I don't care for the theatre of 'The Trial' or the way the album ends amid ugliness before 'Outside The Wall' seems to be a little child-like story. It throws you. 'The Wall' throws the heart out of your chest, stamps on it, then chucks it against the ceiling before it falls to the ground, leaving a bloody mess on the carpet. 'The Wall' is that kind of an album, and a must-listen. Featured SongsL Another brick in The Wall Pt 2 Comfortably Numb

London Calling is the third studio album by the English rock band the Clash. It was originally released as a double album in the United Kingdom on 14 December 1979 by CBS Records, and in the United States in January 1980 by Epic Records. The Clash recorded the album with producer Guy Stevens at Wessex Sound Studios in London over a five- to six-week period starting in August 1979, following a change in management and a period of writer's block for songwriters Joe Strummer and Mick Jones. Bridging a traditional punk rock sound and a new wave aesthetic, London Calling reflects the band's growing interest in styles beyond their punk roots, including reggae, rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock. Lyrical themes include social displacement, unemployment, racial conflict, drug use, and the responsibilities of adulthood. The album was a top ten chart success in the UK, and its lead single "London Calling" was a top 20 single. The album has sold over five million copies worldwide, and was certified platinum in the US for sales of one million. It was also met with widespread critical acclaim and has retrospectively been named one of the greatest albums of all time.[1] On Rolling Stone's list of the 500 Greatest Albums of All Time, London Calling was ranked number 8 in the 2003 and 2012 editions, and number 16 in the 2020 edition. In 2010, it was one of ten classic album covers from British artists commemorated on a UK postage stamp issued by the Royal Mail.[2][3] Background On their second album Give 'Em Enough Rope (1978), the Clash had started to depart from the punk rock sound.[4] While touring the United States in 1979, they chose supporting acts such as rhythm and blues artists Bo Diddley, Sam & Dave, Lee Dorsey, and Screamin' Jay Hawkins, as well as neotraditional country artist Joe Ely and punk rockabilly band the Cramps. The Clash's growing fascination with rock and roll inspired their direction for London Calling.[5] After recording Give 'Em Enough Rope, the Clash separated from their manager Bernard Rhodes.[6] This meant they had to leave their rehearsal studio in Camden Town. Tour manager Johnny Green and drum roadie Baker found a new place to rehearse, Vanilla Studios, in the back of a garage in Pimlico.[7][8][9] The Clash arrived at Vanilla in May 1979 with no new songs prepared for their third album.[10] Main songwriters Mick Jones and Joe Strummer had experienced a period of writer's block and had not written a new song in over a year; their recently released Cost of Living EP featured a cover song and three other songs that had all been written over a year earlier.[11] Rehearsals Rehearsal were held in Vanilla Studios over mid-1979. The Clash began playing covers from genres including rockabilly, rock and roll, rhythm and blues, and reggae.[12][13] In contrast to previous rehearsal sessions, the band kept these rehearsals private, and did not allow hangers-on to attend.[14] This seclusion allowed the band to rebuild their confidence without worrying about the reaction from outsiders, who were familiar with the band's punk rock style.[15] The band developed an "extremely disciplined" daily routine of afternoon rehearsals, broken by a late-afternoon social football game, which fostered a friendly bond between the band members. The football was followed by drinks at a local pub, followed by a second rehearsal in the evening.[16] The band gradually rebuilt their confidence, with the styles of the session's early cover songs setting the template for the diverse material that would be written for London Calling.[17] The band were also encouraged by a growing recognition of drummer Topper Headon's skills, which they realised could be used to perform music in a wide array of genres and styles beyond punk rock.[18] Writing and recording Joe Strummer (top) and Mick Jones (bottom), the band's lead vocalists, guitarists, and lyricists; pictured in 1980 The Clash wrote and recorded demos at Vanilla Studios, with Mick Jones composing and arranging much of the music and Joe Strummer writing most of the lyrics.[12][19] Strummer wrote "Lost in the Supermarket" after imagining Jones' childhood growing up in a basement with his mother and grandmother.[20] "The Guns of Brixton" was the first of bassist Paul Simonon's compositions the band would record for an album, and the first to have him sing lead. Simonon was originally doubtful about its lyrics, which discuss an individual's paranoid outlook on life, but was encouraged by Strummer to continue working on it.[21] In August 1979, the band entered Wessex Studios to begin recording London Calling. The Clash asked Guy Stevens to produce the album, much to the dismay of CBS Records.[22] Stevens had alcohol and drug problems and his production methods were unconventional.[12] During a recording session he swung a ladder and upturned chairs – apparently to create a rock & roll atmosphere.[12] The Clash, especially Simonon, got along well with Stevens, and found Stevens' work to be very helpful and productive to both Simonon's playing and their recording as a band. The album was recorded during a five- to six-week period involving 18-hour days,[23] with many songs recorded in one or two takes.[12] The first track recorded for London Calling was "Brand New Cadillac", which the Clash had originally used as a warm-up song before recording.[24][25] "Clampdown" began as an instrumental track called "Working and Waiting".[21] While working on "The Card Cheat", the band recorded each part twice to create a "sound as big as possible".[26] Musical style London Calling is regarded by music critic Mark Kidel as the first post-punk double album, as it exhibits a broader range of musical styles than the Clash's previous records.[27] Stephen Thomas Erlewine said the album appropriated the "punk aesthetic into rock & roll mythology and roots music", while incorporating a wider range of styles such as punk, reggae, rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock.[28] "Brand New Cadillac", the album's second track, was written and originally recorded by Vince Taylor and was cited by the Clash as "one of the first British rock'n'roll records".[24][25] The fifth song, "Rudie Can't Fail" features a horn section and mixes elements of pop, soul, and reggae music together.[29] The Clash's embrace of specific musical traditions for London Calling deviated from what Greg Kot viewed as punk's iconoclastic sensibilities.[30] Speaking on the album, Jack Sargeant remarked that "whether the Clash completely abandoned their punk roots or pushed punk's musical eclecticism and diversity into new terrain remains a controversial issue."[4] According to rock historian Charles T. Brown, the album led to the band's association with new wave music,[31] while music academic James E. Perone considers the album "new wave rock".[32] Themes The album's songs are generally about London, with narratives featuring both fictional and life-based characters, such as an underworld criminal named Jimmy Jazz and a gun-toting Jimmy Cliff aspirant living in Brixton ("Guns of Brixton").[33] In the opinion of PopMatters journalist Sal Ciolfi, the songs encompass an arrangement of urban narratives and characters, and touch on themes such as sex, depression and identity crisis.[34] "Rudie Can't Fail" chronicles the life of a fun-loving young man who is criticised for his inability to act like a responsible adult.[29] "Clampdown" comments on people who forsake the open-minded idealism of youth and urges young people to fight the status quo.[35] "The Guns of Brixton" explores an individual's paranoid outlook on life,[21] while on "Death or Glory", Strummer examines his life in retrospect and acknowledges the complications and responsibilities of adulthood.[36] "Lover's Rock" advocates safe sex and planning.[37] Some songs have more widely contextualised narratives, including references to the "evil presidentes" working for the "clampdown", the lingering effects of the Spanish Civil War ("Spanish Bombs"), and how constant consumerism had led to unavoidable political apathy ("Lost in the Supermarket").[33] "London Calling", the album's title track and opener, was partially influenced by the March 1979 accident at a nuclear reactor at Three Mile Island in Pennsylvania. It also discusses the problems of rising unemployment, racial conflict and drug use in Great Britain.[38] According to music critic Tom Carson, "while the album draws on the entirety of rock and roll's past for its sound, the concepts and lyrical themes are drawn from the history, politics and myths associated with the genre".[39] Artwork The logotype for the album was modeled after that for Elvis Presley. The album's front cover features a photograph of bassist Paul Simonon smashing his Fender Precision Bass (now on display at the Museum of London,[40] formerly Cleveland Rock and Roll Hall of Fame)[41] against the stage at the Palladium in New York City on 20 September 1979.[42][43][44] Simonon explained in a 2011 interview with Fender that he smashed the bass out of frustration when he learned that the bouncers at the concert would not allow the audience members to stand up out of their seats; "I wasn't taking it out on the bass guitar, cos there ain't anything wrong with it", Simonon said.[45] Pennie Smith, who photographed the band for the album, originally did not want the photograph to be used. She thought that it was too out of focus, but Strummer and graphic designer Ray Lowry thought it would make a good album cover.[43][46] In 2002, Smith's photograph was named the best rock and roll photograph of all time by Q magazine, commenting that "it captures the ultimate rock'n'roll moment – total loss of control".[47] The Fender Precision Bass featured on the cover The cover artwork was designed by Lowry and was an homage to the design of Elvis Presley's self-titled debut album, with pink letters down the left side and green text across the bottom.[48][49] The cover was named the ninth best album cover of all time by Q magazine in 2001.[50] In 1995, Big Audio Dynamite (a band fronted by former Clash member Mick Jones) used the same scheme for their F-Punk album. The album cover for London Calling was among the ten chosen by the Royal Mail for a set of "Classic Album Cover" postage stamps issued in January 2010.[51][52] The cover art was later parodied for the soundtrack to Tony Hawk's American Wasteland.[53] Release and promotion The album was released in the United Kingdom on vinyl on 14 December 1979, and in the United States on vinyl and 8-track tape two weeks later in January 1980.[54] A gatefold cover design of the LP was only released in Japan. Though London Calling was released as a double album it was only sold for about the price of a single album. The Clash's record label, CBS, at first denied the band's request for the album to be released as a double. In return CBS gave permission for the band to include a free 12-inch single that played at 33⅓ rpm. Ultimately, the planned 12-inch record became a second nine-track LP.[8] The final track, "Train in Vain", was originally excluded from the back cover's track listing.[55] It was intended to be given away through a promotion with NME, but was added to the album at the last minute after the deal fell through.[56] Upon its release, London Calling sold approximately two million copies.[57] The album peaked at number nine in the United Kingdom[58] and was certified gold in December 1979.[59] The album performed strongly outside the United Kingdom. It reached number two in Sweden[60] and number four in Norway.[61] In the United States, London Calling peaked at number 27 on the Billboard Pop Albums chart[62] and was certified platinum in February 1996.[63] The album produced two of the band's most successful singles. "London Calling" preceded the album with a 7 December 1979 release. It peaked at number 11 on the UK Singles Chart.[58] The song's music video, directed by Letts, featured the band performing the song on a boat in the pouring rain with the River Thames behind them.[64] In the United States, "Train in Vain", backed with "London Calling", was released as a single in February 1980. It peaked at number 23 on the Billboard Hot 100 singles chart and "London Calling"/"Train in Vain" peaked at number 30 on the Billboard Disco Top 100 chart.[65] Critical reception London Calling was met with widespread critical acclaim.[66] Reviewing the album for The New York Times in 1980, John Rockwell said it finally validates the acclaim received by the Clash up to that point because of how their serious political themes and vital playing were retained in innovative music with a broad appeal. "This is an album that captures all the Clash's primal energy, combines it with a brilliant production job by Guy Stevens and reveals depths of invention and creativity barely suggested by the band's previous work", Rockwell said.[67] Charles Shaar Murray wrote in NME that it was the first record to be on-par with the band's hype, while Melody Maker critic James Truman said the Clash had "discovered themselves" by embracing American music styles.[68] Rolling Stone magazine's Tom Carson claimed the music celebrates "the romance of rock & roll rebellion", adding that it is vast, engaging, and enduring enough to leave listeners "not just exhilarated but exalted and triumphantly alive".[39] In a five-star review, Down Beat journalist Michael Goldberg said the Clash had produced "a classic rock album which, literally, defines the state of rock and roll and against which the very best of [the 1980s] will have to be judged."[69] Some reviewers expressed reservations, including DJ and critic Charlie Gillett, who believed some of the songs sounded like poor imitations of Bob Dylan backed by a horn section. Garry Bushell was more critical in his review for Sounds, giving the record two out of five stars while claiming the Clash had "retrogressed" to Rolling Stones-style "outlaw imagery" and "tired old rock clichés".[68] At the end of 1980, London Calling was voted the best album of the year in the Pazz & Jop, an annual poll of American critics published by The Village Voice.[70] Robert Christgau, the poll's creator and supervisor, also named it 1980's best record in an accompanying essay and said, "it generated an urgency and vitality and ambition (that Elvis P. cover!) which overwhelmed the pessimism of its leftist world-view."[71] Reappraisal and legacy Retrospective professional ratingsReview scores Source Rating AllMusic [28] Blender [72] Chicago Sun-Times [73] Christgau's Record Guide A+[74] Encyclopedia of Popular Music [75] Los Angeles Times [76] Q [77] The Rolling Stone Album Guide [78] Select 5/5[79] Spin Alternative Record Guide 7/10[80] London Calling has since been considered by many critics to be one of the greatest rock albums of all time,[81] including AllMusic's Stephen Thomas Erlewine, who said that it sounded more purposeful than "most albums, let alone double albums".[28] "This epic double album, from its iconic sleeve to its wildly eclectic mash-up of styles, is surely the quintessential rock album", wrote BBC Music journalist Mark Sutherland.[82] In Christgau's Record Guide: The '80s (1990), Christgau called it the best double album since the Rolling Stones' Exile on Main St. (1972) and said it expanded upon, rather than compromised, the Clash's driving guitar sound in a "warm, angry, and thoughtful, confident, melodic, and hard-rocking" showcase of their musical abilities.[74] According to the English music writer Dave Thompson, London Calling established the Clash as more than "a simple punk band" with a "potent" album of neurotic post-punk, despite its amalgam of disparate and occasionally disjointed musical influences.[83] Don McLeese from the Chicago Sun-Times regarded it as their best album and "punk's finest hour", as it found the band broadening their artistry without compromising their original vigor and immediacy.[73] PopMatters critic Sal Ciolfi called it a "big, loud, beautiful collection of hurt, anger, restless thought, and above all hope" that still sounds "relevant and vibrant".[34] In a review of its 25th anniversary reissue, Uncut wrote that the songs and characters in the lyrics cross-referenced each other because of the album's exceptional sequencing, adding that "The Vanilla Tapes" bonus disc enhanced what was already a "masterpiece".[84] London Calling is honored for many excellent reasons, not least its audacity: a double album by the band that personified punk anti-'commercial' brevity and defiance going long and ranging far in both songwriting and instrumentation—the horn-fed 'The Card Cheat' features M. Jones on piano! It was where they announced that they wanted to play with the big boys and buried most of them forthwith. —Robert Christgau, El País (2019)[85] In 1987, Robert Hilburn of the Los Angeles Times named it the fourth-best album of the previous 10 years and said, while the Clash's debut was a punk masterpiece, London Calling marked the genre's "coming of age" as the band led the way into "fertile post-punk territory".[86] In 1989, Rolling Stone ranked the 1980 American release as the best album of the 1980s.[87] In the 1994 All Time Top 1000 Albums, Colin Larkin named it the second-greatest punk album;[88] it was also voted number 37 in Larkin's All Time Top 1000 Albums (2000).[89] In 1999, Q magazine named London Calling the fourth-greatest British album of all time,[90] and wrote that it is "the best Clash album and therefore among the very best albums ever recorded".[77] The magazine later ranked it 20th on its list of the 100 Greatest Albums Ever.[91] It has also been ranked as the sixth-greatest album of the 1970s by NME,[92] and the second-best in a similar list by Pitchfork,[93] whose reviewer Amanda Petrusich said that it was the Clash's "creative apex" as a "rock band" rather than as a punk band.[94] In 2003, Rolling Stone ranked it eighth on their list of The 500 Greatest Albums of All Time,[57] maintaining the rating in a 2012 revised list.[95] The rating dropped to 16 in Rolling Stone's revised list in 2020.[96] Entertainment Weekly's Tom Sinclair declared it the "Best Album of All Time" in his headline for a 2004 article on the album.[97] In 2007, it was inducted into the Grammy Hall of Fame, a collection of recordings of lasting qualitative or historical significance.[98] In 2009, the album was profiled in the BBC Radio 1 Masterpieces series, denoting it as one of the most influential albums of all time.[99] 25th anniversary edition Professional ratingsAggregate scores Source Rating Metacritic 100/100[100] Review scores Source Rating The Guardian [101] Pitchfork 10/10[102] Rolling Stone [103] In 2004, a 25th-anniversary "Legacy Edition" was released with a bonus CD and DVD in digipack packaging. The bonus CD features The Vanilla Tapes, missing recordings made by the band in mid-1979.[104] The DVD includes The Last Testament – The Making of London Calling, a film by Don Letts, as well as previously unseen video footage and music videos. A limited-edition picture disc LP was released in 2010. The edition was met with widespread critical acclaim. At Metacritic, which assigns a normalised rating out of 100 to reviews from professional critics, it has an average score of 100 out of 100, based on 12 reviews. PopMatters hailed it as "easily one of the best classic re-releases yet", while Paste said "Epic/Legacy has outdone itself." However, Blender recommended consumers opt for the original edition instead, claiming "the demo versions ... sound like an incompetent Clash cover band rehearsing in a sock".[100] Track listing All lead vocals by Joe Strummer, except where noted. All tracks are written by Strummer and Mick Jones, except where noted Side oneNo. Title Writer(s) Lead vocals Length 1. "London Calling" 3:19 2. "Brand New Cadillac" Vince Taylor; originally performed by Vince Taylor and his Playboys 2:09 3. "Jimmy Jazz" 3:52 4. "Hateful" 2:45 5. "Rudie Can't Fail" Strummer, Jones 3:26 Side twoNo. Title Writer(s) Lead vocals Length 1. "Spanish Bombs" Strummer, Jones 3:19 2. "The Right Profile" 3:56 3. "Lost in the Supermarket" Jones 3:47 4. "Clampdown" Strummer, Jones 3:49 5. "The Guns of Brixton" Paul Simonon Simonon 3:07 Side threeNo. Title Writer(s) Lead vocals Length 1. "Wrong 'Em Boyo" Clive Alphonso; originally performed by the Rulers; including "Stagger Lee" 3:10 2. "Death or Glory" 3:55 3. "Koka Kola" 1:46 4. "The Card Cheat" Jones 3:51 Side fourNo. Title Writer(s) Lead vocals Length 1. "Lover's Rock" 4:01 2. "Four Horsemen" 2:56 3. "I'm Not Down" Jones 3:00 4. "Revolution Rock" Jackie Edwards, Danny Ray; originally performed by Danny Ray and the Revolutionaries 5:37 5. "Train in Vain" Jones 3:09 On the original version of the album, "Train in Vain" was not listed on the sleeve, nor the label on the record itself, but a sticker indicating the track was affixed to the outer cellophane wrapper. It was also scratched into the vinyl in the run-off area on the fourth side of the album. Later editions included the song in the track listing. 25th anniversary edition bonus disc – "The Vanilla Tapes"No. Title Writer(s) Length 1. "Hateful" Strummer, Jones 3:23 2. "Rudie Can't Fail" Strummer, Jones 3:08 3. "Paul's Tune" Simonon 2:32 4. "I'm Not Down" Strummer, Jones 3:24 5. "Four Horsemen" Strummer, Jones 2:45 6. "Koka Kola, Advertising & Cocaine" Strummer, Jones 1:57 7. "Death or Glory" Strummer, Jones 3:47 8. "Lover's Rock" Strummer, Jones 3:45 9. "Lonesome Me" The Clash 2:09 10. "The Police Walked in 4 Jazz" Strummer, Jones 2:19 11. "Lost in the Supermarket" Strummer, Jones 3:52 12. "Up-Toon" (instrumental) Strummer, Jones 1:57 13. "Walking the Slidewalk" The Clash 2:34 14. "Where You Gonna Go (Soweto)" Sonny Okosun 4:05 15. "The Man in Me" Bob Dylan 3:57 16. "Remote Control" Strummer, Jones 2:39 17. "Working and Waiting" Strummer, Jones 4:11 18. "Heart and Mind" The Clash 4:27 19. "Brand New Cadillac" Taylor 2:08 20. "London Calling" Strummer, Jones 4:26 21. "Revolution Rock" Edwards, Ray 3:51 Bonus DVDNo. Title Length 1. "The Last Testament: The Making of London Calling" 2. "London Calling" (Music video) 3. "Train in Vain" (Music video) 4. "Clampdown" (Music video) 5. "Home video footage of The Clash recording in Wessex Studios" Personnel The Clash Joe Strummer – lead and backing vocals, rhythm guitar, piano Mick Jones – lead guitar, backing and lead vocals, piano, harmonica Paul Simonon – bass, backing vocals, lead vocals on "The Guns of Brixton" Topper Headon – drums, percussion Additional musicians Mickey Gallagher – organ[105] The Irish Horns Ray Bevis – tenor saxophone John Earle – tenor and baritone saxophone Chris Gower – trombone Dick Hanson – trumpet, flugelhorn Production Guy Stevens – producer Bill Price – engineer Jerry Green – additional engineer Ray Lowry – design Pennie Smith – photography

Damn The Torpedoes Tom Petty And The Heartbreakers - Damn The Torpedoes Genre: Rock Style: Hard Rock, Pop Rock, Classic Rock Year 1979 Refugee 3:21 Here Comes My Girl 4:33 Even The Losers 3:35 Shadow Of A Doubt (A Complex Kid) 4:53 Century City 3:40 Don't Do Me Like That 2:40 You Tell Me 4:32 What Are You Doin' In My Life? 3:25 Louisiana Rain 4:46 Damn the Torpedoes Review by Stephen Thomas Erlewine Not long after You're Gonna Get It, Tom Petty & the Heartbreakers' label, Shelter, was sold to MCA Records. Petty struggled to free himself from the major label, eventually sending himself into bankruptcy. He settled with MCA and set to work on his third album, digging out some old Mudcrutch numbers and quickly writing new songs. Amazingly, through all the frustration and anguish, Petty & the Heartbreakers delivered their breakthrough and arguably their masterpiece with Damn the Torpedoes. Musically, it follows through on the promise of their first two albums, offering a tough, streamlined fusion of the Stones and Byrds that, thanks to Jimmy Iovine's clean production, sounded utterly modern yet timeless. It helped that the Heartbreakers had turned into a tighter, muscular outfit, reminiscent of, well, the Stones in their prime -- all of the parts combine into a powerful, distinctive sound capable of all sorts of subtle variations. Their musical suppleness helps bring out the soul in Petty's impressive set of songs. He had written a few classics before -- "American Girl," "Listen to Her Heart" -- but here his songwriting truly blossoms. Most of the songs have a deep melancholy undercurrent -- the tough "Here Comes My Girl" and "Even the Losers" have tender hearts; the infectious "Don't Do Me Like That" masks a painful relationship; "Refugee" is a scornful, blistering rocker; "Louisiana Rain" is a tear-jerking ballad. Yet there are purpose and passion behind the performances that makes Damn the Torpedoes an invigorating listen all the same. Few mainstream rock albums of the late '70s and early '80s were quite as strong as this, and it still stands as one of the great records of the album rock era.

I’m The Man Joe Jackson 1979 Tracklist On Your Radio 4:00 Geraldine And John 3:14 Kinda Kute 3:30 It's Different For Girls 3:42 I'm The Man 3:56 The Band Wore Blue Shirts 5:05 Don't Wanna Be Like That 3:41 Amateur Hour 4:03 Get That Girl 3:02 Friday 3:33 AllMusic Review by Mike DeGagne Despite Jackson's anxious demeanor and shaky pop/rock presence, I'm the Man holds together quite well as his second attempt. Reaching number 12 in the U.K. and a respectable number 22 in the U.S., the album managed to net him a number five hit in his homeland with the insightful "It's Different for Girls," which revealed Jackson's adeptness at philosophizing and his perception of examining the sexes, a trait which would follow him throughout his career. While this song represents his skill at crafting an effective ballad, the frantic "I'm the Man" showcases Jackson at his most frenzied, as a freight train's worth of lyrics pile haphazardly into one another alongside a wonderfully hysteric rhythm. Not only does the track show off Jackson's free-range ability, but his sense of humor arises once again, following in the footsteps of Look Sharp!'s "Is She Really Going Out With Him." Jackson's new wave tendencies are toned down for I'm the Man, but that doesn't restrain his talent, as songs like "Kinda Kute," "Amateur Hour," and "Geraldine and John" make for catchy side servings of attractive pop. It wasn't until Jackson's next album, Beat Crazy, that he began to expand his musical latitudes into reggae, soul, and later on into jazz and other styles. I'm the Man exposes Jackson in his early stages, but it's evident that his wit and peculiar brand of pop charm is already building up its strength. 'm The Man (1979) Continuing the no-frills approach of the debut ("On The Radio"), but there are problems on multiple fronts. The gender relations numbers aern't intriguing (the vacuous "It's Different For Girls"). The social statements are often vague or trivial ("The Band Wore Blue Shirts," probing the angst of the bar musician with the same acumen as Billy Joel's "Piano Man"). Except for the frisky "Friday" and the title track, a clever if snide look at consumer culture, nothing's as memorable as anything on the first record - "Kinda Kute" and "Amateur Hour" are downright dull. Still, there's a fair amount of engaging speedy rock with reggae overtones ("Don't Wanna Be Like That"; the lazily melodic "Geraldine And John"), and the taut arrangements are a continual source of joy.

Unknown Pleasures 9½ ( 1979 ) <yearbyyear.html> <yearbyyear.html> Disorder / Day Of The Lords / Candidate / Insight / New Dawn Fades / She's Lost Control / Shadowplay / Wilderness / Interzone / I Remember Nothing The change from Joy Division to New Order following Ian's death should be enough to convince anybody that he was the soul of the group. Sure, he had help! Hooky, Martin Hannett, those drum patterns that so disturbingly mirrored Ian's own Epiletic fits. He'd dance that way, like he was having a fit. Then he'd have an actual fit, but it'd be a good few minutes before anybody realised. Ian had an interest in all things German. Were Joy Division Nazi's? Or was Ian just plugged into something? By all accounts, off-stage, out of the studio - he was quiet, thoughtful. Liked a beer. Seemed normal enough, even if his eyes burned right through you. But, you know. It was the times. Punk had happened but was on the verge of imploding. Britain suffered from poverty and everything seemed bleak - let's look to Germany. Musical influences? Kraftwerk sounded like aliens. Iggy Pop was debauched yet utterly cool. Fans of the Velvet Underground were still some sort of secret society - the group had yet to pass into being 'classic rock', or anything like that. Joy Division combined a number of influences that added to the playing style of the rhythm section and the production skills of Martin Hannett created something unique. Of course, you also had the lyrics, the artwork. Everything combined together. You had the physicality of Ian Curtis on stage. Arms flailing, nobody facing the audience bar Ian - but then, he had his half closed, half raised to the heavens, as if waiting for some kind of miracle to occur. Have you ever made a suicide pact with someone? Young love, perhaps? This girl wore an 'Unknown Pleasures' t-shirt. Two people totally together, two people who both wanted to die because they couldn't always be physically together. Poverty, bleakness. All this is cliche, but sometimes it actually happens, and Joy Division aren't the cause of that! The music of Joy Division becomes this wonderful discovery. You end up watching poor quality video's of Joy Division with all the curtains shut even though the sun is shining brightly outside. BECAUSE the sun is shining brightly outside. You cry for three days solid when the girl leaves. You can't be together all of the time. You walk the streets at night with 'Disorder' running through your brain. "feeling, feeling, feeling, feeling, feeling, feeeeeling." Raised, a shout, a call, a cry for help. Please let me feel something other than this. And then of course, 'Day Of The Lords' which sounds like the whole world is ending. The thing about Joy Division, 'Disorder' for example is just great, a genuinely great Rock n Roll song. You don't have to have ever made a suicide pact with anybody in order to think it's a wonderfully great song. Joy Division were almost perfect right from the start. Almost perfect. They'd recorded a number of songs, far more straightforward punk, and also recorded an album for RCA records that was horribly produced and sapped the power from the group. That was before 'Unknown Pleasures' though. Martin Hannett was the catalyst. He enabled the group to produce the sounds they desired. Echo, haunting soundscapes. 'Candidate' has everything, the quintessential sound of 'Unknown Pleasures'. "there's blood on your fingers.... I worked hard for this..... you treat me like this." A few of the songs here start in almost complete silence. 'Insight' is one of those. But then you have something like 'New Dawn Fades'. Ian was a wonderful writer. A wonderful writer. Many rock lyrics, written out on a piece of paper, look like shit. They may sound great when sung, but they aren't exactly poetry. Ian could really write. These lyrics work as well as literature as they do song lyrics. Now, think about this. You try doing it! You have to be either a poet, or a song lyricist. You can't ever be both - if you try, you'll suck at least one of those disciplines, and yeah, I include both Patti Smith and Bob Dylan in that. I don't include Ian Curtis. There's a thought he'd have gone on to write novels, and given up music. I can believe it. Where was I? It's getting late. Ah, yeah. 'New Dawn Fades'...... I struggle to desribe this song. It's so dark and heavy, it really makes the supposedly dark and 'satantic' Black Sabbath seem like a kids cartoon. You want music to reflect and create the feeling of a horror movie? Joy Division did that, and more. They reflected real life, far more horrific. They also included a bass player who sounded like nobody else and a guitarist who was at least as good, if not better, than any other 'punk' group around. 'She's Lost Control' is groovy rhythms, strange rhythms, very melodic whilst still retaining the darkness you can either immerse yourself in, take solace from, or simply ignore and enjoy the fantastic music. 'Shadowplay' is pretty much perfect. Just wait for the instrumental section. The guitar is genuinely fantastic guitar, quite unlike a punk guitar, but more punk than anything else. The guitar in Joy Division rarely provided the melody. With 'Unknown Pleasures', with 'Shadowplay' - the bass and drums provide the melody. The bass especially. The guitar is allowed free to provide both 'percussion' - and in this case, wonderful solo's. Full of melody, actually, come to think of it! Rock n Roll! 'Wilderness' is all echoed drums, all bass rhythms and melodies. 'Interzone' is easily the most straightforward song on the entire record. Just a two minute punk styled blast. It has a place, though. The final song sounds like someone falling apart. This is scary, frightening. 'Unknown Pleasures', like 'Closer' which followed, is an album that begs to be listened to attentively, from beginning to end. It's one of the greatest debut albums ever made, and even made a small profit for Factory Records - the groups label. It wasn't by any means a best-seller, but it influenced a lot of groups that followed. This is a classic album, as simple as that. The small fact that 'Interzone' within itself isn't a masterpiece isn't going to sway me, because it fits. Readers Comments Simon Brigham [email protected] The title is cool, the cover is awesome, and one or two of the songs are okay: "She's Lost Control", "Interzone". But that's the only things this album has going for it. But hey, they had to start somewhere. If you want to listen to an EXCELLENT Joy Division album, listen to Closer. [email protected] I find the previous response quite amateurish. Here is mine: "She's lost control", has an exceptionally high bass-line simultaneaously played with low chords. I really do not understand how people can give this album negative reviews. There's definitely much more than meets the eye with this album, however simplistic you might think it sounds. Take for example, again, "She's lost control", the last bar towards the end, after the third stanza, the counter guitar melody against the bass line, how they play against each other, very similar to what was done in modern classical music, for instance, Ravel's bolero. I wouldn't say it's all that original, but it does go to show that the band members were thinking twice about what they played, which is more that what most bands can do today. "Day of the lords", well, I personally like it, for it's crescendo effect, increasing tempo, adds more momentum to the intensity of ! the song. And "Disorder", commonly described as poppy, upbeat, accessible. I think the point of the song, from a purely musical standpoint, was that it was supposed to be near-poppy, but not quite. When you listen to the opening bass line, you almost think that the instrument's unintentionally out of tune. The two note structure of the guitar coming in at exactly two bars binds the bass line together. I'm sure some may disagree, but when it comes to music this influential and important, you gotta wear your audiophones for a closer listen. This is why the best music critiques out there rave about this album, it's not for the casual, rock-and-roll, pell-mell listener. Consider this album a masterpiece in low art at worst, a cornerstone of modern popular music (techno, "alternative", etc, etc) at best. Chris Allan [email protected] I bought this album after seeing Joy Division at the Leeds Futurama Festival. It's difficult to imagine now what a shock it was to hear this for the first time. There'd been bands touching on the darker side of life, but this was dispair, fear and desperation with no limits. Ian Curtis was staring into the void without caring where it might take him. Even today, this sounds fresh, uncluttered and sharp as a knife. A taste of a time in music when there was a sense that intellectual and emotional ideas could be explored. Barrett [email protected] It's an enjoyable record. But what turns me off are those melodramatic fans of "rock" music. It's nothing serious folks. It's the sound of hormones scarping on metal instruments. The records does have some good melodies though. Except for "I Remember Nothing" which is an apt descprition of my experience with that song. geoffrey smith [email protected] i give unknown pleasures 10 (greatest rock album ever,)closer 9and three quarters, i saw joy division twice and bought unknown pleasures as soon as it was release. some of the reveiws on your web page are ridiculous!they seem to split between unknown pleasures praisers (though still critising some tracks!)and critising closer for being too poppy!!!!!! and closer praisers saying unknown pleasures is not up to much!!!!! these people clearly have only a superficial understanding of the music. unknown pleasures and closer are beyond criticism,in addition you can easily make a third classic joy division album from the best bits of atill and substance, eg.exercise one, sound of music,dead souls,glass,komakino,transmission, love will tear us apart, incubation, autosugesstion, from safety to where, novelty. the only way to make this third album is to complile to a cd yourself and put a good photo of ian curtis on the front so ther you have it, three colosal albums. p.s the reveiw! er who compared franz ferdinand to joy division is a twat James [email protected] Simon, your pathetic, 'there are one or 2 OKAY songs here', this album is an underrated masterpiece written by a genius, if you believe this about the album, then i honestly dread to think exactly what you would consider a brilliant album, listen to it again, or jump off a bridge you fucker Hans Heintz [email protected] Stated is that everybody should conclude that Ian Curtis was the 'soul' of the group if you look what New Order had to offer. I beg to differ. Saying that is saying that Joy Division was only about lyrics. Since the Control movie I discussed this here and there and the general conclusion was that Joy Division was one of those instances where everything came together in the right way. Let's not forget to mention Martin Hannett f.e. If you take away one of the elements of a synergy then there's a major collaps too.. But even naming it a major collapse doesn't do justice to the early work of New Order. There was some major talent to create magical music left. GAZZA A great distinctive debut album that has influenced down the years (especially the current spate of new bands) . It still sounds great mainly to the bands highly individual approach to their instruments - not technically great but distinctive players . And of course ian curtis , lyrically like a giant black cloud bearing down , the songs fadeing in from the shadows. "day of the lords" "shadowplay" prime examples . "shes lost control" inventing a new kind of funk, for people with no interest in dancing . What an original talent curtis had . The punk influence is loud and clear in the live album that accompanies this edition and martin hannetts production certainly took the edge from their sound but replaced it with something more enduring .More timeless. I think "closer" is an even better album and thats some achievement . "unknown pleasures" is a special album though - no doubt.

SETTING SONS Year Of Release: 1979 You Melody man? You Vicious Social Commentary boy? You make your choice NOW. Best song: PRIVATE HELL Track listing: 1) Girl On The Phone; 2) Thick As Thieves; 3) Private Hell; 4) Little Boy Soldiers; 5) Wasteland; 6) Burning Sky; 7) Smithers-Jones; 8) Saturday's Kids; 9) The Eton Rifles; 10) Heatwave. If you have a legacy to live up to, you might as well follow it to a tee. And Paul Weller does; since both Pete Townshend and Ray Davies started releasing concept albums eventually, why can't he? Setting Sons is the band's first (and fortunately, last) foray into conceptuality, although it's certainly closer to "meekly conceptual" stuff like Face To Face than any of Paul's predecessors' rock operas. Mainly because Weller abandoned the concept in mid-air, and his idea of making a record about three old school friends and their different fates and careers in the modern world remained carried out only for about half of the album. (Peculiar guess: Mr Weller might have learned that Gentle Giant had already recorded a similar album, called, um, Three Friends, and decided to back off lest he got sued for plagiarism. Then again, not sure if he even suspected of that record's existence). Anyway, the record is pretty good and powerful, but nowhere near as interesting in the overall sense as All Mod Cons, nosir. The only musical advance as such is Weller's ongoing conceptuality, and as you might know, conceptuality can often act as your worst enemy, making you concentrate on the lyrics and message more than on the music itself. Every now and then I get the idea that most of the melodies here were cobbled together in a matter of milliseconds: "Now there you are guys, here are some mighty fine character impersonation lyrics I've huffed and puffed upon all day, now play something ass-kicking and I'll try to sing along". On the other hand, there are almost no traces of the previous record's diversity: this is all straightahead garage rock again, granted, more intelligent and more carefully crafted than This Is The Modern World, but still suffering from the same old problems. Of which lack of originality is obviously the most painful thing for me; every time I listen to, say, 'Little Boy Soldier', I can't help but be reminded of all those classic Kinks songs like 'Yes Sir No Sir', and instead of sitting for three and a half minutes thinking, 'hey, what a cool little multi-part anti-war number', I sit thinking, 'hey, I believe I'll go and put on Arthur right after the song is over... dang, why does three and a half minutes time take so goddamn long?' Lack of hooks is another problem, and again a very actual one. You know, if after sitting ten times through a song I still can't remember how it goes, there's gotta be something wrong on this planet of ours, and I dare say it's not something wrong with me - yeah, this might seem presumptuous, but then again, I was raised on short poppy songs, not on twenty-minute long avantgarde jams or neo-ambient, and this was pretty much my main cup of tea for years. And yet there's nothing positive I could say about bland, hookless, undiscernible numbers like 'Thick As Thieves' or 'Burning Sky'. All the anthemic and ultra-sincere qualities of the former can go to hell with me - I might as well be listening to 'Thunder Road', then. It's generic power-chord based garage rock, just as, uhm, Bad Company's 'Simple Man' is generic blues-based soft-rock. Why should I prefer one to another? That said, let's move on to the positive things in our reviewing lives, or else you might be wondering why on earth I'm giving this an 11 and not a 5 or something. The Jam were tremendously inconsistent, for sure, but that doesn't mean they had a bad sound going for them, and every once in a while even Setting Sons catches fire. In fact, once the melodic background even remotely starts approaching the intensity of the lyrics and Weller's rebellious snarl, the result is a masterpiece. 'Private Hell', for instance, begins with a grim glummy bassline not unlike something off a Motorhead album, and for once, Weller falls upon a really rich apocalyptic guitar tone - this is as close as the band ever came to having a chainsaw buzz, but all the power chords and the white noise actually come together in a memorable riff - not just a memorable riff, a frantic, thrashing musical apocalypse. And coupled with Weller's ominous, subdued utterings 'private hell... private hell', each one followed by a nervous drumburst (the song itself is about the routine life of a housewife - the band's own 'Mother's Little Helper'!), the song really gets me going. Likewise, 'Eton Rifles' is easily the Jam's best political number, and one that could significantly compete with The Clash's best attempts at the political genre - lyrically, even better, considering Weller's ever-improving use of metaphoric images; and if you're not sick already of the song title serving as the main hook on Jam songs (on so many occasions!), you'll definitely enjoy the way Weller screams 'Eton rifles! Eton rifles!' in a half-appraising, half-scared tone. Other melodically strong songs would include 'Wasteland', a pretty poppy 'interlude' carried by an excellent recorder line and featuring cheery organs in the background, even if the lyrics deal with living in a 'drab and colourless world', but then again, the power of love will overcome even the drabness, I guess. Say, doesn't the lyrical message kinda remind you of a certain Who song, by the way? The one that starts with 'Baba' and ends with... well, you prob'ly know what I'm talking about, and if you don't, turn off your Jam immediately and go listen to the source first, you naughty impertinent boy. To cut a long story short, 'Girl On The Phone' is a cute New Wavish rocker that rolls along nicely but never makes you gasp in awe; Bruce Foxton's 'Smithers-Jones' is the album's most "unique" cut, carried forward by a string quartet of all things, but just as unmemorable as anything else actually; 'Saturday's Kids' has a good beat, but no hook apart from a few perfunctory la-la-las; and the cover of Martha and the Vandellas' 'Heatwave' which closes the album is excellently done, but doesn't fit in in any way, and enough with the Who imitations already, guys (it's done very close to the Who's version on A Quick One, just as 'Batman Theme' was done very close to the Who's version on an obscure B-side, now available as the bonus track to, er, A Quick One)! We know your influences, we really do. That said, Setting Sons has gone down in history as the Jam's masterpiece, so go ahead and roll yer own if you don't trust me. I'll be the first to admit the magic of 'Eton Rifles' and 'Private Hell', but the rest is related rather to Weller's improvement as a lyricist and the bleak pictures of everyday life he offers, even if I can only reiterate that essentially, Weller says nothing that hasn't been said by the Kinks ten years ago. But! He does say it with a lot more energy and aggression, that's for sure, and as far as late Seventies' pissed-off records go, I don't think there's a lot of competition for it, even considering the sheer number of pissed-off records at the time. The Clash, maybe, another album I'm not a major fan of. I must admit I could be a little biased here; see, the formula "fuck melody, just sing about life's troubles with a lot of feeling and a lot of pretentious lyrics" is quintessential for Russian rock, whether good or bad, and I've heard so many melody-less generic bores of the kind that I'm automatically sceptical towards anything like Setting Sons. But at least I hope I have given you some impression of what that thing sounds like, anyway. Featured Songs' 1 Privaye Hell 2 The Eton Rifles