New Wave music reviews

Blondie was the most commercially successful band to emerge from the punk/new wave movement of the late 1970s. The lineup changed a lot over the years but at the core of the group from the day it was formed in August 1974 was singer Deborah Harry and guitarist Chris Stein, who had both been in the Stilettos. This debut album was released in late 1976 by Private Stock Records and clearly defines the group's style as taking the girl group sound of the Sixties and fusing it with the punk sensibilities of the Seventies to become new wave icons. Blondie was never punk the way the Ramones or the Talking Heads were punk, but they still had serious attitude.

This is amply proven by this album's first track and the group's first single, "X Offender." The song was originally entitled "Sex Offender," before the record company changed it, and the lyrics tell of a criminal falling for the cop who busts her. At the same time that the song fits the formula of the teenager in love angst songs of the 1950s and 1960s it also clearly mocks such songs as well. "In the Flesh," one of the few songs where Harry tries to sound really sexy, sounds like it should have come out of the Brill Building a decade earlier except Harry's vocal performance here, with its echoes of Marilyn Monroe, keys you in that there is some serious deconstruction at work here. Just listen to the final line of "Look Good in Blue" and clearly there is a tongue in cheek attitude to the double-entendres.

Rating this one is fairly easy because while Blondie would get better there is some historical significance to this debut effort and this remastered CD offers up five bonus tracks consisting of three demos, including the archetypal "Platinum Blonde," a cover of the Shangri-Las' "Out in the Streets," as well as the original single versions of "X Offender" and "In the Sun." "Blondie" is not a great Blondie album, but it does establish the group's definitive high gloss trashy sound. The result was a group whose greatest hits collection is one of the most popular every produced (i.e., everybody I know has it and listens to it on a regular basis). That strongly suggests the rest of their oeuvre is worth examining as well.

hi! i rented this cd out from the library and i absolutley love it fact its the fith time ive rented it. this is different from the other stuff theyve done as its more roc&roll but its still classic blondie, and weather you like them or not you'll like this as its only rock& roll

GET THIS BEFORE ANY OTHER BLONDIE CD. CLASSIC SOUND THAT WAS BOTH RETRO & AHEAD OF ITS TIME. A1 SONGWRITING AND CLEAN PRODUCTION TOO. WELL WORTH THE XTRA CASH!

My husband and I both just love this CD ~ something in it's rich and varied musical geography is guaranteed to touch a chord in you! The music varies from primal to modern, alternating styles from frolicking folk songs to yearning love ballads. I can't imagine not owning this CD!!

I listen to this CD at work all the time. It is different, uplifting, and never boring. In addition to a few familiar voices, this collection of modern Irish music has many songs that I humm to myself throughout the day.

This is a great collection, both for afficianados of Irish music and those who are just beginning to build their collection. It features recordings by some of the brightest stars of Irish pop and traditional music. There are well-known names here, including Bono, Kate Bush, Elvis Costello, and Sinead O'Connor, but the best part of the CD comes with the lesser known Irish artists, like Maire Brennan (lead singer of Clannad), Paul Brady, Davy Spillane, Christy Moore, and Sharon Shannon. There's no way this CD could ever be complete - there are too many wonderful Irish artists to fit on one CD. But this is a pretty good start. They should release a sequel, though, and include some of the newer Irish artists, like Sinead Lohan and the Corrs.

I haven't yet even received my copy of this anthology, and I'm already beside myself! As someone who lived through their musical journey, and first began hearing this group while the world was still fresh and new to me, I already know that this collection will be nothing less than stellar! Paul Weller was truly at his peak when he wove the artistic tapestry that was The Style Council. It's funny how some artists alone are pretty good, but when you mix just the right combination of talent... BOOM!!!! You make history, and inspire the world.

How many artists' would trash a hard fought following like the Jam eventually achieved...and as a white english guy seek to sound as soulful as The O'Jays and Ramsey Lewis Trio?

IMHO, that's a pretty 'darn' TALL order. Pulling it off...even 50% of the time is a massive artistic achievement in my book. Had Mr Weller ever known I'm sure he would count among TSC's biggest successes as having the Black (nearly all) "Dusties" (oldies) format radio station (in Los Angeles) add "Long Hot Summer" to their rotation back when it was released...which it was! I heard it.

Saw one of those Time-Life ads for an '80's collection. Some good stuff; a lot of trivial songs intermixed with a few catchy ones. No TSC. Bummer. These folks bestrode the '80's like giants amongst pygmies. Who else but the Beatles managed to conquer so many pop idioms, yet do them all extremely well at the same time?
Most of this has to do with the pairing of Weller and Talbot. Much as Lennon/McCartney, each partner gave a missing element to the writing, to produce a product so much stronger as a result. The true strength in this pairing comes from the tremendous drive always inherent in Paul's writing and playing (The Jam) coupled with the lucious charts and strength of Mick's playing. The result was hard-driving acid_jazz/rock/lounge/house/big_band/every_pop_idiom_under_the_sun, but so much more. After TSC, Paul's work, while always good, lacked the finesse of TSC; Mick's subsequent work lacks the drive of TSC.
Memories of the pop culture of the '80's gain great depth when listening to their music. They reinvented lounge music; virtually invented house music (the last unreleased lp) and acid jazz. I hope this magnificent collection, which is the only true single showcase of all of this variety, will boost their reputation in the States and all over the world.

For those that associate Cure live shows with limp, if faithful, reads of their later synth-heavy stuff, this disc should open your eyes. They play the hell out of these songs; and, this album really shows that underneath all the production on their studio stuff is a band made of rock-n-roll fans. This album is also great because it makes a compelling case for the quality of the album THE TOP (which is the tour from which this disc comes). They totally sell that material on this, and show why stuff like Give Me It and Shake Dog Shake are A-list early Cure material.

These songs taken from 4 different shows in May of '84 show off the Cure with a terrific line-up that wasn't around for too long (even by Cure standards). M.V.P. Robert Smith is in fine form and his guitar is often massive, sometimes employing an effect that makes it sound like a jet taking off. Drummer Andy Anderson favors heavy-hitting beats and keeps everything very uptempo. Founding member Lol Tolhurst's role on keyboards, questionable as always, seems to be largely relegated to elongated notes, although they are often useful and effective. Multi-instrumentalist Porl Thompson rejoins the fold here, a super-talented guy who would go on to spend many years with the Cure. Abandoning his previous role as a control room wizard, Phil Thornally capably rounds out the quintet on bass.

The breakdown:

"Shake Dog Shake" - Taken from an Oxford, England show. This version substitutes the churning swirl of the dense album cut for a more tightly wound kind of menace. A sick song, but the definitive take remains on THE TOP. Of course, Smith can't duplicate all his trippy vocal overdubs in concert (which, by the way, are brilliantly applied all over THE TOP - see my review, if you so choose). Instead, he stutters and spits them out which compliments the song's deranged air. ****1/2

"Primary" - A lesser Cure song in my view, because it sounds almost like an ordinary pop song and the Cure are capable of much more than that. Still, this is a fun version with "jet-taking-off" guitar flying all over the place. ***1/2

"Charlotte Sometimes" - good version dominated by keyboards and a great bass line. ****

"The Hanging Garden" - killer version - intense beat from Andy gives it a more dangerous edge. Notes are frantically scattered to keep up the pace and a heady climax is reached "as the animals die," then Smith's Japanese guitar weaves back and forth across the auditorium. *****

"Give Me It" - Talk about frantic - this one is off the hook. I might prefer this version to the one on THE TOP. Porl lays down the definitive sax part for the song on this take. *****

"The Walk" - Brilliant live translation of this synth-manufactured oddity, thanks in large measure to Thornalley's skillful interpretation on bass. Longstanding member Simon Gallup would soon refill the bass shoes, though. ****1/2

"One Hundred Years" - a great live song, this is a classic slab of doom n' gloom grilled to perfection with Smith's hovering, harrowing guitar - "thrashing in the water, thrashing in the water . . ." *****

A larger London crowd greets the opening chords of "A Forest" (complete with its lovely intro) with a rabid roar. This is the Cure's signature song. A testament to the power of minimalist rock, it solidly rocks here. While this is a very good version, I saw them on the KISS ME tour and they hit a truly heart-stopping climax (right when Smith got to that last "again!"). *****

"10:15 Saturday Night" - This is a totally wired version, a different beast from the original studio recording and altogether heavier. It rocks hard and fluidly even during the hushed ("drip drip drip") moments. The band sounds like they've blasted through this song hundreds of times, yet it still sounds fresh. *****

"Killing an Arab" - Great version of this cool Japanese/Middle Eastern flavored tune. Not actually racist, it's a tongue in cheek nod to The Stranger, a short novel by Albert Camus. The song is a riot. For the finale, Smith warps his guitar into the fourth demension, pulls everything through a wormhole, and the CD abruptly ends. *****

All kinds of people would dig this, but it's an absolute must for Cure fans!

THIS IS WHERE IT ALL BEGAN FOR ME, AT 16 IN 1984, WHEN THIS WAS RELEASED. I WAS SEARCHING FOR NEW MUSIC, STUMBLED UPON THE CASSETTE VERSION ( MORE ABOUT THAT LATER ) OF "CONCERT" AND PLAYED IT TIL THE TAPE LITERALLY HISSED. COMPARING THE VERSIONS OF THE SONGS ON THIS CD TO THE STUDIO VERSIONS IS OFTEN LIKE NIGHT AND DAY. WHAT IS OFTEN MECHANICAL AND HEAVY SOUNDING ON RECORD, IS HERE ROLLICKING, AND YES, GROOVY, AT TIMES. TAKE FOR INSTANCE "CHARLOTTE SOMETIMES". THE ORIGINAL VERSION WAS SLOWER, PLODDING, FULL OF ANGST AND JUST A LITTLE TOO SERIOUS. THE LIVE VERSION HERE MAKES THE SONG AN ALMOST JOYOUS POP OCCASION. AND NO, THAT ISN'T AN ENTIRELY BAD THING. THE BAND HERE IS TOP NOTCH, AND STRIP THE SONGS DOWN TO THEIR BASICS. THE CURE HAD FINALLY GOTTEN A COMPETANT DRUMMER (POOR LOL JUST DIDN'T HAVE ONSTAGE "CHOPS" ) IN ANDY AnDERSON, AND HE IS LIKE THUNDER BEHIND THE KIT. ALL THE SONGS ( ESPECIALLY THE ONES THAT HAD USED WHAT SOUNDS LIKE A DRUM MACHINE ON RECORDS ) BENIFIT GREATLY FROM HIS SKILLS. MY ONE AND ONLY COMPLAINT ABOUT THIS CD IS THAT THEY SHOULD HAVE MADE IT LONGER, BY THE INCLUSION OF THE ORIGINAL CASSETTE B-SDE CALLED "CURIOUSITY". FOR THE UNINITIATED, IT IS A COLLECTION OF THE CURE'S VERY EARLY, SOMETIMES MORE ESOTERIC MATERIAL, ALL OF IT LIVE, TAKEN FROM ROBERT SMITH'S PERSONAL TAPE COLLECTION. OVER THE YEARS, I HAVE BEEN FORTUNATE ENOUGH TO FIND MOST OF IT ON THE INTERNET. BUT AN OFFICIAL RELEASE ON CD WOULD MAKE THIS "CONCERT" WHOLE, AT LEAST FOR ME.

Who says time travel hasn't been invented?

Pop this CD in your player, fix yourself a gin and tonic (or a Midori Sour), lie back in your recliner, and LISTEN!

Within seconds of the start of "Don't You Want Me?" you'll be immediately transported back to that dance floor in 1981, your hair fully spiked and highlighted, wearing your parachute pants, capezios, a short short skirt, a wife beater and an open deco shirt singing to your dance partner, "You were working as a waitress in a cocktail bar, when I met you...."

According to Billboard Magazine:

"Dare! captures a moment in time perfectly -- the moment post-punk's robotic fascination with synthesizers met a clinical Bowiesque infatuation with fashion and modern art, including pop culture, plus a healthy love of songcraft."

For those of us in the U.S. for whom the sounds of the era (the late 1970's) no longer held the fascination they once had. Also, disco seemed to have become repetitive, in large part. Then.....then...out of England began to come a noise....a sound...not disco, not rock, not punk, but something much more different!

Long before there was a name for it (New Wave, as it would be called), there was The Human League.

The slick, smoothe sounds that groups such as The Human League were putting out struck just the right chord. The Human League really got started in 1977, but we, on this side of the pond, didn't know it. It wasn't really until 1981's Dare! that the U.S. got a good dose of what the latest British invasion had in store for us. Certainly, The Human League took a strong nod from Kraftwerk, but whereas that group's sound was far more "synthesized," The Human League did as their name tells us and added a much more human factor to the element. It softened out the technology and allowed the vocals to be front and center supported fully by dynamic synthesized sounds.

Is this all too much lavish praise to heap on The Human League? Not really. While there were many groups in England at about the same time creating a similar sound, it was The Human League that really were the first out the gate with the most fully realized, fully formed elaborate orchestrations of synthesizers and slick vocals.

Dare! is not their first album but it is quite possibly their most important album, because it cemented their amazing talent in the collective mind of the U.S. with the tremendously popular and danceable "Don't You Want Me?"

While each song on this album is a hit in its own right (if not charted as such), remember that it was widely received by the music industry as a benchmark album.

You will want this album so that you, too, can travel back to 1981 with no trouble at all!

Dare! is worth the trip.

The Human League. 1981. DARE!, one of the best synthpop albums to come from the best decade for music. Ah, where to begin? Anyone glancing at this review has certainly heard the smashing hit "Don't You Want Me," but this album has so much more to offer an electronic-minded listener. First, there is
1. "The Things That Dreams Are Made Of," a delightful, bouncy number featuring somewhat laughable lyrics, my favourite being "March, march, march across Red Square!" All in all, a fun, energetic track perfect for the urban dillettante. Next, we have
2. "Open Your Heart," a nice tune with rather decent lyrics and lovely synths--as usual. But the next track is possibly my favourite--or second favourite--on the disc. It is
3. "The Sound of the Crowd," which certainly deserved its number twelve spot in the British charts back in '81 soon after the original band split into Heaven 17 and what is now more or less The Human League. I adore this song! It features decadent, hedonistic dance lyrics and beats with Phil's signature delivery backed up by the girls. This song soon gives way into
4. "Darkness," a somewhat creepy, pessimistic song about madness and fear. Cool vibes throughout, though, and it segues nicely into
5. "Do or Die," which has extremely awesome synths all over the place--especially its synth solo in the middle part of the song--and it has a catchy, upbeat chorus. Then, we get
6. "Get Carter," an extremely short instrumental that acts as a prelude to
7. "I Am the Law," which would have fit perfectly on TRAVELOGUE, The Human League's 1980 effort. It's rather minimalistic and dour, with none of the bounce or flair that the other tracks possess, but it has interesting lyrics that actually make some sense. However, I usually skip this one and go on to
8. "Seconds," another creepy track, but this one concerns the Kennedy assassination--at least from what I can tell from the lyrics. Icy cold, this one song is perhaps another vestige of The Human League's creative and innovative period of their career. It certainly isn't like its more pop-oriented peers on this album. But! we're now at my all-time favourite The Human League track which is
9. "Love Action (I Believe in Love)," an all-around perfect pop tune--it reached no. 3 in the British charts--that encapsulates everything I love about the League: quirky synths (come on, check out the opening one! I never fail to smile when this pops on), cool vocals, and cheesy lyrics. Listen and love it as I have. Ah, but now we have
10. "Don't You Want Me," the League's most famous track, one still played on radios and Muzak all over the world, one performed at karaoke bars, one forever beloved by the masses...etc., etc. Everyone knows this song! And rightly so: it's pop perfection, and it helped cement that distinctive '80s sound, so infused with synths and Casio keyboards and British/continental elegance. But I'm digressing...The rest of this remastered edition is the 1982 remix album, LOVE AND DANCING, which features instrumental or dub-ish sounding versions of most of the songs found on DARE! This is a most worthy purchase. You will be happy for buying this epic synthpop/New Wave marvel, I can assure you.

I was born after all the songs on this album were released (1987), But I can definitly appreciate each and everyone of them. I first was introduced to The Human League via Vh1's I Love the Eighties. From there I downloaded "Don't You Want Me" and "The Lebanon." Simply put this has become one of my favorite records. I'm only 18, but this has solidified in my mind my love for New Wave music. All the tracks are different and crisp sounding from the original Dare! record. Each has a different mood and all are extremely enjoyable. The Second half of the CD is comprised of remixes from the Love and Dancing album. This second half was just as enjoyable as the first for different reasons. Of course since the songs are only remixes they can't be new. Wrong. Yes, they comprise the central elements from the original recordings, but they are each journies into a soundscape original to each song. Being a dance and techno enthusiast they would be very easy and fun to dance to along with rivialing many of today's "top" remixes. Buy this if you have even heard and liked just one Human League song; buy it even if you haven't.

I have loved her voice since the early 80's.....and thanks to Amazon I am finally getting the chance to get some of these great German albums of hers. Yes, she sings in German, but her music transends languages & nationalities......she has a universal sound and a great voice. Favorites are tracks 1,3,4 & 10. This album is awesome!

When I first listened to this album - I was really surprised how much the Nena Band changed since Feuer & Flamme. At first, the songs were not familiar at all, but then after a few listening I realized that this is one of the best Nena Band album ever. The songs are filled with passion and emotions and the music itself is more live sounding instead of electronic.

I love this Cd. My favorite songs are: Engel Der Nacht, Mondsong, Zusammen and Eisbrecher. How true! "The Icebreaker does not break the heart, it only breaks the ice".

Great work Nena Band! ...

Great album for Nena fans - In my opinion some of the best Nena songs I've heard since 99 RB. Very nice lyrics, some very deep emotional stuff as well. Don't know how I lasted without this album for this long.

I had the pleasure of playing with these guys in Boston a few times. Popping in the cd's makes me 20 again. Very Heady Days !!!

When CHINA first came out I was hooked!Fantastic song!I was a young kid then,never had any money,so I bought the 45.I played it like crazy and read about them in Cream magazine.They said they started as a punk band and the angry "b"side of the 45 VOICE OF AMERICA attested to that ethic.Well,many years later I'm an adult and can afford albums(CDs,in this case)and was delighted when I saw this sitting there.This CD has both their big label LPs,and are both excellent new wave pop rock that will have you humming.Someday I hope to hear their punk records.A great band!

As someone lucky enough to be old enough to remember seeing these guys live in the 80's, I can vouch for this CD's quality. Unfortunately, their only hit was China, minor as it was, but every track is a nugget to be cherished. In New Orleans, even the "new rock" stations occasionally dust this one off... And by all means, keep NEW WAVE alive!

If you decide to buy this CD because you like the pop-punk sound of Holly's first effort "the right to be Italian" you may be thrown for a loop! You really have to give Holly Vincent credit for "doing her own thing" regardless of what the trend might have been at the time. Where "the right to be Italian" has classic early 80's stamped all over its sound, this release will confound anyone who listens to determine when it was recorded. That's a compliment but is also a statement regarding the eclectic nature of this recording.

The first track is FANTASTIC, something you will be hard pressed to describe or place into a genre. The sound here is original and impressive but suffers at the hands of producer Mike Thorne (he doesn't have the magic touch of Richard Gottehrer). Because this release is far more original and experimental than her first you may find that it contains more songs that you may not "connect with" as easily. That's a nice way of saying that you may find more "duds" here :) For instance, without being too critical I can say that her version of "for what it's worth" is probably the worst version of that song ever recorded.

If you like this CD you should seek out the DOUBLE CD named "demos federico", which contains the definitive versions of the tracks "it's only me" and "fanzine" (weaker versions are included as bonus tracks on "right to be italian"). Holly later recorded with a group called "the oblivious" and also the group "vowel movement" with Concrete Blonde singer Johnette Napolitano.

If you'd like to check out a very unique and totally overlooked 80's talent..... give Holly a listen!

P.S. this CD also contains a version of the Sonny & Cher song "I got you babe" (a duet with Joey Ramone).

-JM

Like some other reviewers I'm truly glad to learn that there are other people out there who regard Holly Beth Vincent as one of the greatest female rockers of all time. I thought I was the only one who remembered her. How she was so undervalued and overlooked is almost beyond belief. Her voice had the same cutting command as a Chrissie Hynde, and a rough girl sexiness that has never been equalled. "Miles Away" (which is featured on her debut album "The Right To Be Italian") is quite probably the best "pop" song in the entire Punk/New Wave oevre -- and you're getting this from a guy who reveres the late Joe Strummer. It truly is as if Holly channelled the massive sentimental, heartaching attack of the Phil Spector girl bands then laced her music with the strutting raw confidence of punk. I saw most of the punk/new wave bands that played in London from 1976-1981, including The Clash and Elvis Costello. Holly's problem was she came into the UK scene about 18 months too late - there was aready a sense that new wave had peaked, so she failed to get noticed the way Hynde and the Pretenders had just a few months earlier. Which is tragic - because on stage in those small British clubs Holly was amazing. Her voice sent chills down your back. She absolutely blistered her guitar, and what you hear on the records is really close to how she performed. Although she had great stage presence, she had a band - particulary a drummer - that just didn't connect with the audience. It was like watching a great artist backed by session musicians. Competent players - but no personality and no style. What happens is you get this central powerful performance, but it's a solo event -- the "group" vibe doesn't happen. On record, that's not a problem - but 'live' onstage the lack of a cohesive "band" (in the way The Attractions complemented Costello) made Holly appear manufactured. Not even the power of her performance and the quality of her material could ever compensate for that. Whenever the talk gets to great music artists, I always bring up Holly - and nobody has ever heard of her. Unbelievable. Buy both albums. Marvel at what might have been.

I got this album when it first came out an its been on my "Desert Island" list ever since. As previously noted the CD track listing is different than the album. Im interested to see how the CD "plays" through.

The story I heard was that Holly spent time as a Dominatrix in the UK prior to the making of this album.

It certainly spoke to me at the time it came out - of the angst of a lonely heart torn life. The lush backgrounds, the use of horns and strings, the rolling wall of sound that made the songs envelope your moods...

I did see her live a few years after the album in a tiny bar in New Brunswick NJ - the show was a shell of the album - as if the terror of disappointment did indeed come true.

I will treasure my vinyl copy (downloaded to CDR) - Ive heard nothing like it since...

This is a classic album (well ok, actually two albums) that somehow got overlooked by many people, and even though I don't dwell on 80s music much anymore, I still love listening to this today. I won't even bother listing the tracks I like because they are ALL good. Seriously. It's amazing how consistently good the songwriting is. Shame they don't make too many albums like this anymore that are good from top to bottom. I also recommend the Wire Train albums NO SOUL NO STRAIN and the self-titled WIRE TRAIN, if you can find them. These came out later (early 90s?), and although very different from this album, they are also solid. I was lucky enough to see these guys live a number of times in the early 90s when I moved to San Francisco, and it's a shame they never quite broke through into the mainstream.

The music world is full of casulties and this band was one of them. They should have been filling large halls and stadiums. What was the friggin record company thinking about? Two words describe this band:GREAT SONGWRITING! Buy this, because you won't be disappointed. Why did all these great bands fall by the wayside during the 80's? Check out The Last Perfect Thing and I Will.Two great songs out of many that this band released.
This band holds a very special place in my heart and I was already thirty years old when I first heard them in the mid-eighties.

I have read a lot of the reviews and can tell these are fans of Wire Train. And basically for the same reason that I am. I bought the tape of Chamber in 1988. It is 13 years past now. i am buying the double CD for the same reasons I bought the tape so long ago (I still have the tape BTW). This music is undefinable. I cannot place it with anything. It's heavy bass, tight lyrics and great vocals. i love these songs now, as much as I did so long ago. I don't know whateve happened to this band, but this is one of those rare gems that you find and be glad that you have it. My favorite song is Slow Down. I have no idea what it is about - to this day - but its a song that just takes me back. And that's what I want. Why in the hell are you looking to purchase this CD is beyond me - you shouldn't know this band - but if you are thinking about it. This CD stands that test of time. Truly one of the best I have ever heard or owned. Great production. Recommned it highly.

In 1981, after making a name for himself fronting the British punk band Generation X, Billy Idol relocated to New York City to make it on his own. While Generation X never broke though the mainstream to achieve massive success, and while the band was generally snubbed by many punk purists as being overtly commercial, Billy Idol was born to be a star. His charisma, photogenic good looks, and ultra-cocky persona were destined to make him an icon in the flashy, glitzy 80s. After three albums with Generation X, "Generation X," (1978) "Valley of the Dolls," (1979) and "Kiss Me Deadly" (1981) Idol unleashed his solo debut, the self-titled "Billy Idol" (1982).

For his new band, Idol hooked up with guitar virtuoso Steve Stevens, bassist Phil Feit, and drummer Steve Missal. While the album title says "Billy Idol," it should be emphasized that the greatness of Idol's early solo works rests on the fact that Idol had a killer, killer guitar player with Stevens and an excellent producer and collaborator with Keith Forsey.

There are a lot of Shredders and guitar virtuosos out there, but Stevens is one of the best and certainly most underrated. His playing is flashy, but also has soul, and is always fully captivating. The Idol/Stevens/Forsey combo produced some of the best, most memorable singles of the decade.

While Idol's sophomore classic "Rebel Yell" (1983) is his best album, the self-titled debut is almost as good. "Billy Idol" possesses the same radio-friendly pop-punk elements as Generation X, but Idol's solo debut is a far superior offering. For one thing, the songs are better written, with tighter, catchier hooks and unbelievable guitar work. "Billy Idol," with its ferocious riffs, strong melodies, cool synths, and stellar guitar work is equal parts punk, pop, and hard-rock. "Billy Idol" is probably Idol's most organic album, as the synths aren't a focal point and the album is generally more of a meat-and-potatoes affair compared to the more ambitious follow-ups.

While "Billy Idol" is generally given good reviews, it's still an underrated album. A common claim by both fans and critics is that the album has a few strong singles and a lot of filler. I would strongly refute this claim. While some songs are better than others, the entire album is quite strong. A lot of Idol's most memorable work can be found on this release.

"Billy Idol" opens up strong with the hard-rocking "Come On, Come On." Idol's sneering; cocky delivery over the brutal assault of Steve Stevens makes this one of the album's strongest tracks. The MTV staple and 80s classic "White Wedding" follows next. Its eerie background sighs, tension filled verse, and contrasting dark imagery and pop-sensibility make "White Wedding" a triumph. The album takes a left turn with the popish, stylish, seductive ode to New York City with "Hot in the City." "Dead on Arrival" is a good-but-not-great middle of the road rocker. "Nobodies Business" is perhaps Idol's most underrated song. Its infectious sing-along harmonies, light-as-a-feather but strong melodies and crunching solos make it pure ear-candy. The off-beat "Love Calling" is another strong, underrated song. With its jungle beats, what sounds like Asian back-up singers, and horns, "Love Calling" comes out of left field, but it works. While its lyrics are completely nonsensical ("if you wanna rub-a-dub-dub-dub') and Idol's overtly sexual overtones are beyond dated and cheesy, it only adds to its charm. "Hole in the Wall" is a solid, memorable, somewhat dark atmospheric rocker. "Shooting Stars," a tale of innocence lost to drugs and indulgence, is both sympathetic and cautionary. The album's most relaxed, calmest moment comes with "It's so Cruel," a song of longing that also manages to be cocky (leave it to Idol). "Billy Idol" closes with the Generation X staple, the up-beat, catchy ode to masturbation "Dancing with myself."

If cool is defined as timeless, and hip as trendy, "Billy Idol," much like Miami Vice, is equal parts cool and hip. This album is dated, very dated, and while Idol's persona is cheesy and Idol is a relic of a bygone era, he's still cool as sh.t. Dated as it may be "Billy Idol" is very well-written, with killer hooks and grooves, and outstanding guitar work. If you are a fan of punk, new-wave, hard-rock, pop, or anything 80s, this album is sure to please.

Back in the early 80's (in Canada) I picked up Billy Idol's solo album on cassette since I was impressed with the songs I had seen and heard on MTV while on vacation in the USA. The original cover had a picture of Billy Idol wearing a Japanese camouflage shirt with big red suns on it behind what appeared to be a background of camouflage. In actuality, the background was a group of people walking down a street casting shadows (Hot in the City). The last track on the cassette was not Dancing With Myself, a song from his previous EP, but the song Congo Man, which fit the theme of the CD perfectly (the camouflage/Japanese look that was all the rage in the early 80's). But then once Billy started getting popular, and Dancing With Myself began to get airplay, they reissued the album minus the Congo Man track, replacing it with Dancing With Myself, and redid the album cover artwork to match the leather look of the Dancing with Myself video. Personally, I never cared for that track, or the leather bondage look, so I searched (in vain) for a reissue on CD of the original. I finally found the original album on CD in 1995. It was released in Germany as part of a 3-CD box set called "Billy Idol - The Originals", which included the first three albums as they were first released in album cover sleeves with the original artwork (including the Japanese cover) with all the original tracks, (including Congo Man) in a nice little presentation box! So, contrary to the reviewer below, Congo Man has been released on CD, just not here in the USA.

This album was idols first and probably hardest sounding album besides his new one. I put this as my second favorite Idol cd.