New Wave music reviews

On this album, Simple Minds evolved from their brilliant underground electro-art-rock to, well, more accessible versions of the same thing. Although I love their previous phase, the band sounds more relaxed and natural on NEW GOLD DREAM (a bit like the change from Tears for Fears' THE HURTING to SONGS FROM THE BIG CHAIR).

Every song here is great except I really can't take "Promised You a Miracle" (the biggest hit, no less) which sounds like annoying, cheesy disco to me (obviously an unorthodox opinion, but to each his own). Typically, I skip it. "New Gold Dream" and "Glittering Prize" are also disco-tinged, but I like those two a lot. They're very up-beat with great melodies.

"Someone, Somewhere in Summertime" is one of those magical songs that warms the heart and, for me at least, evokes an indescribable feeling of nostalgia, even when I first heard it. I also really like the more "relaxed" songs like "Hunter and the Hunted" featuring a frantic-fingered Herbie Hancock (!) and the hypnotic "Big Sleep." "King is White and in the Crowd" is also hypnotic and dreamy.

The album's sound fits perfectly into the time it was made (1982), yet it doesn't sound dated, at least not in any negative way. If this is a quasi-disco album, so be it. Jim Kerr could be seen as letting his soul shine through a bit more on this one (which he continued to do more and more on subsequent albums). The band follows suit; everyone seems to have lightened up for this one. I'll always go back to this album.

(this review pertains to the original issue - haven't heard the remaster)

Man, I am so glad I finally grabbed this album on CD - it's just as cool now as it was when it first came out. It was one of my favorites back in the stone age when I was sixteen, and the album still speaks to me (and makes me want to blast it on my stereo). It just kills me that the Simple Minds are basically equated with that miserable "Alive and Kicking," but on the same token, a sellout's a sellout. Before that happened, though, the Simple Minds were a cutting-edge band that, to me at least, seem as innovative as Visage a few years before and Klaus Nomi, among others. Empires and Dance was the album that first turned me on to the group, and I immediately ran out and also bought Sister Feelings Call. I'd say that New Gold Dream is probably a little more accessable than their earlier albums, but don't discount their early stuff - it's experimental and truly innovative. The earlier stuff also, to me at least, also carries echoes of Brian Eno. Just the best! I wound up leaving the Simple Minds behind during the whole Breakfast Club thing (was I the only teenager that hated that movie?), but I'm kind of thinking of buying their newest, Black and White 050505 - an import right now, and of course no samples, GRR! Anyway, buy this album - I can't recommend it enough - it's like coming across a great friend you haven't seen in years and didn't realize how much he/she was missed.

This is a fine, fine recording of very different music. One of the things other reviewers haven't noted is the spiritual (and dare I say it evangelical) note of Jim's singing. He and Bono both came from a direction which in the US would have been called Christian Rock, but without the pigeonhole baggage US groups carried. He is so emotional in trying to deliver the lyric it is almost a collection of songs without words. You do not have even adequate coverage of the very, very best of 80's music without this CD, Sparkle In The Rain and Sons and Fascination. And the answer to "Why Didn't They Stay This Great?" is: Jim had his soul stolen by the greatest Alpha female rocker of all time, Chryssie Hynde. After her, he was never the same. Would you be any different?

The highest compliment I can pay Nick Lowe is that whenever I put on some of his songs, people who have no idea who he is like it almost instantly and ask "who is this guy?". I can't say that for other favorites of mine like Elvis Costello and Graham Parker, whose harsher styles and voices turn off many listeners before they can appreciate the depth of the songwriting.

This is a great album for fans of Mr. Lowe who prefer his rockin' easily accessible music to the more morose slower paced crooner songs he's into now. From the opening drumbeat, these songs have your toe tapping. Lowe combines a great sense of humor and a unique smooth singing voice to make songs that just make you smile. The Production is typically Nick Lowe....low-tech, and those who prefer a crisper "sound" may be disappointed. My favorites are "stick it where the sun don't shine" and "burnin", but most of the songs are good ones.

I was already turned on to Nick Lowe from Labour of Lust and Pure Pop/Jesus of Cool. Of course, the foray into the works of other artists and bands, in which Nick had active and/or behind the scenes impact, created a large and diverse section of my old LP collection. When Nick the Knife came out, the band was different, the sound was different, the lyrics were classic and edgy Lowe. I purchased a new German import of the album and was enchanted. The songs have pop-hooks for the most part, but they are still unique and, to me, are hard to categorize. My favorite Lowe song of all time is "My Heart Hurts" on this record. I have to agree with some of the other reviewers for this and other Lowe records that he has become somewhat blue and morose, so I have to admit I'm partial to the "First Half" ouvre.

The year was 1989 when I bought this album for a buck in Chicago at a garage sale. I already knew that I loved Costello and Lowe and Squeeze. At first, I found the songs catchy, easy to live with. Then they grew on me exponentially and it became clear that Nick Lowe had the ability to take his Buddy Holly and his 1960s American country music influences and turn them into catchier british grooves with sardonic lyrics. Listen closely to the play on the blues and rockabilly beats. This is one of my top three favorite albums of all time. As much as I love Costello, I am not sure he would have been what he was without Lowe.

Martha Davis is an enigma. The backbone and heart of the Motels, she truly emanates mystery. I've always found that the lyrics she writes vary from the confusing to the just plain nonsensical. Which is not necessarily a bad thing, as her vocal style is truly unique - she manages to portray bitterness, loneliness, hatred, sensuality and adoration with equal intensity, a feat that few other vocalists can match. But interpretation of songs by The Motels can be very hard.

My favourite song of all is "Danger", the opening track of their second excellent album, and also (I'm pleased to say) the opener on this collection. But what is she really saying? Is she in love with someone who's out of reach, or is she imagining the whole thing? I can't tell if she has even met this person. It's the inscrutablilty of her songwriting that makes the Motels songs so challenging. Musically they are pretty standard American rock/New Wave fare, although very well produced, with great guitar riffs and drums, plus some fun MTV-friendly synth-pop elements in the later output - but it's the charisma of Davis that give them that special something

Luckily, some of the other songs are more accessible with messages you can relate to. "Celia" has a loud and clear story to tell, and it ain't pretty. "Kix" is a short and sweet ode to getting a hit (of some kind). "Total Control" is an absolutely gorgeous benchmark in rock-angst, as Martha sings plaintively over a very slow and sparse melody about her overwhelming crush on another person. But still, although the chorus is very touching, much of the verses defy interpretation. "Always certain, any moment, maybe you, maybe even you..." What? I sometimes think, Davis just strings together words that sound effective together and makes a song around them. Songs titles like "Icy Red" and "Isle of You" "Take the L Out of Lover" make me think like she is just intent on sounding clever without actually thinking the whole thing through (I swear "Icy Red" is about NOTHING!!).

Anyway, back to the album. "No Vacancy" is the one to go for, if you want a collection. If you want the whole albums, too bad for you, as the best one ("Careful") seems to be unavailable on CD. (I guess the reason No Vacancy gets my vote for the best collection is because it contains so many songs from "Careful"), and "Shock" seems likewise to have disappeared. The second best album "All Four One" can still be found, and contains other good tracks missing from this collection like "Mission of Mercy" and "Art Fails" and "Tragic Surf" - all superb. Otherwise, there's a really good selection on this CD. .

I've spent a lot of time in this review dissing Davis for being such a pretentious wordsmith, but she's one of a kind, a real characterful vocalist with a wonderful voice, so I still rate The Motels as a group worthy of much attention. Try to track down this album and see for yourself.
Adrian Griffiths

I have owned this twice and it was stolen each time. So I will buy it again. Most of the tracks are not available for download, legal or otherwise, yet they're almost all worth having. They were not the mega-chart-toppers of the era, yet when you listen you will realize that you heard these songs and were affected by them. After the rock-bottom vapidity of the late 70's, the 80's recaptured the energy and passion that had made the 60's so transcendent. But they did so in a completely new vein, and the Motels captured the combination of modernity and nostalgia better than any of the better-known bands. This compilation is as complete as you can hope for in a "best of" collection, and if you don't own their entire catalogue, this is the one to get.

Best Of-No Vacancy-Motels is a super alblum!! It takes me back to the most wonderful decade of the 20thcentury "THE 80'S. "Shame", "Cries and Whispers" and "Suddenly Last Summer" are my favourites. It's too bad they don't play songs like these on the radio anymore.

By virtue of getting "Freedom Of Choice" along with the not so stellar "Oh No It's Devo" on one disc, this CD is worth the money. It is an interesting comparison, since "F.O.C." was Devo's last dirty sounding record and "Oh No" sported Roy Thomas Baker's typical sterile uber-clean polish job.

"Freedom Of Choice" was where DEVO's world-view was overtaken by a case of pop-smarts. The synths had moved almost entirely to the fore, and there was an obvious attempt at disciplined song writing. It shows most obviously on "Girl You Want" and "Gates Of Steel." The very un-devoish longing in "Girl You Want" is universal enough to have found its way into the set lists of artists ranging from Soundgarden to Robert Palmer.

This is, along with "Q: Are We Not Men," the Devo album that integrates the theory on De-evolution most completely to the music. The title track mocks the how submissive we are when it comes to culture/consumer manipulation, while "Whip It" strings together a catalog of catch phrases and self-help mantras into a crackling three minute anthem. On the side of human conditions, "Mr. B's Ballroom" cocks its eye at the kind of hole-in-the-wall establishment where best friends drink and start fights before crashing through the plate glass door. (Likely while "Whip It" is playing on the jukebox.)

Just as important, this was the album that most people probably measure their knowledge of DEVO by. "Whip It" became the kind of song that college new-wave parties did the pogo to, and corporate rallies would chant along with as a morale enhancer. By making synthesizer rock safe for frat boys, "Freedom Of Choice" is easily the second of DEVO's crowning albums.

Oh no, suffered from a lack of ideas. Unfortunately, DEVO, who had already proven they [used] the latest gizmo many times over, used on their 5th album that detracted from their strengths. Just about every song here is dependent on pitch control voice manipulation, which made all the vocals sound like they were being sung by Mark Mothersbaugh's ... helium ... twin. It also didn't help that producer Roy Thomas Baker forces the edges off the band's sound. The synths here sound slavishly of the moment, as opposed to leading the movement.

Those are the bad patches. The good stuff is still here. "Peek-a-boo!" is willfully creepy in much the same way "Smart Patrol/Mr. DNA" from "Duty Now For The Future" was, and "That's Good" should have been a dance floor smash (and if you are old enough to remember the TV show "Square Pegs," they played it at the high school dance!). "Speed Racer" does benefit from its quirky time signature, and finally, "Patterns" gives us another insightful glimpse at the theories of De-evolution.

Also of note are "Big Mess" and "I Desire." Both were written after the assassination attempt on President Reagan and the eventual discovery that the assassin was doing it to impress Jodie Foster. It inspired the immortal line (from "I Desire") "A smile I might bring you is more important than world peace." Now THAT'S truly Devo!

My personal favourite Devo tune wasn't "Whip It" like most fans, but the b-side to that single, called Turn Around. This is a brilliant song, and I'm so glad I bought this CD to get that song.

Simply put. These are Devo's two best albums. If you're looking to get into the band, this is the best place to start. Essential.

As unfair as it may seem to Peter Case, there's no denying that this CD, comprising of the original 'The Plimsouls' LP, the 'Zero Hour' EP along with some B-sides and bonus cuts, utterly destroys anything he subsequently did, including the Plimsouls' impressive major label debut 'Everywhere At Once'.

On this release, The Plimsouls are shockingly consistent, with just about every track carrything the band's trademark aggression through tight, melodic and downright memorable hooks.

Truly one of the greatest "lost" collections of songs of the eighties, virtually every song's a potential single. Of course, if you want to get hold of this piece of history, it looks as though you'll need to pay a hefty price, save for Rhino reissuing it in the near future (a very unlikely prospect). That said, it's a price I'm glad I paid.

An essential purchase.

While I was driving one day, I heard a song on Sirius Radio's Underground Garage station that just blew me away. It was just an amazing song, and I just had to have it. That song was "Everyday Things". As soon as I got home, I did some serious web searching trying to find a copy of the CD that had this song. Unfortunately, I found that it was on an out-of-print CD that many people wanted at least $60 for! It was crazy; I loved the song so much and I just had to get my hands on a copy. Finally, I was able to get a copy on Ebay for $25, and it's a purchase I will never regret.
Sure, not every track on the disc deserves a 5-star rating, but none of it is filler. It's packed with great songs like "Everyday Things", "Now", "Zero Hour", "Great Big World", and "How Long Will It Take", just to name a few. If you've never heard this album, you don't know what you're missing. It's like hearing Paul Westerberg and Marshall Crenshaw combined. It's just a wonderful album of great music that should have been huge hits.
If you want it, you'll have to pay a bit more that you usually would, but it's worth it!

If you had to compile a collection of must-have albums (CD's) from the early 80's (power pop's golden period, other than the early-mid sixties) this CD should be considered for one of your first purchases. Melody, churning guitars and hardy drumming come together in one potent package. "Now" is a typical lost classic, and one of the songs that belongs on your power pop compilation tapes. Great songs abound on the disc, and as a special bonus, it includes the EP "Zero Hour", which also contains another lost classic, "Great Big World", a perfect slice of pure pop bliss!

At some point during "It Goes" I felt shaken from my heart to my toes. By the end of "My Ruins" I was in tears. Carroll is an awesome conduit of the Bard. Rimbaud lives! There are songs and spoken word on this disc. Be warned faint of heat. This will be your most precious of pains. By this CD>

As a 17 year old I wore the ink off my "Catholic Boy" cassette and found "The Basketball Diaries" hypnotic. I forgot about Jim until I stumbled into "Pools of Mercury". He is a breathing Rimbaud, blessed with musical talent. Buy this CD!

If you would ask me to tell you what's the best track on Pools of Mercury. I could not tell you. It's magic from the beginning to the end. This record is the best i have ever heard in my live. I can not compares it with anything.

Man is this music gorgeous. It doesn't matter if you haven't seen the movie (and if you haven't then do it!), when you hear for the fist time "Fashion Show I" you can't avoid that warm feeling of happiness for just being alive one more day. This melody keeps coming in other pieces as well with few twists here and there. The movie is a masterpiece, it tells a story of people searching for a meaning in life, trying to keep the faith in a better future than the apparently meanningless present. But the movie would never be the same without Zbigniew Preisner's fantastic music. It captures the mood of the story like few other soundtracks have done before or after, and listening to it will help you to understand and like even more the movie.

This review refers to the "Trois Couleurs - Rouge" CD(MK2/Virgin Records).....

The final act of Krzystof Kieslowski's beautiful trilogy is "Red". The music of this trilogy,composed by Zbigniew Preisner,is as much a part of these stories as the actors themselves.Preisner did much of the composing for Kieslowski's films, and he never fails to capture the essence of the story and the characters with his exquiste music. And in "Red", the ultimate story of a chance meeting that may change the lives of those involved, we find the best was saved for last.

In "Blue" and "White" most of the tracks were very short, with the music flowing from one scene to the next. In "Red" most of the tracks(16 in all) are a bit longer. Bookended by two astounding vocals,'Milsoc Od Pierwszego Wejrzenia' sung by Zbigniew Zamachowski, and 'L'amour Au Premier Regard', sung by Jean-Louis Murat,you'll be drawn in to the drama and emotion of
the entire story depicted so beautifully in every track in between.(See the buying info on the product page for a complete list of songs)

The orchestrations are a delight to listen to, the Bolero theme is heard throughout, the solos outstanding and on tracks 8 and 13,'Do Not Take Another Man's Wife I and II'( the Van Den Budenmayer music),Elzbieta Towarnicka will mesmerize you with her superb soprano voice.

The music is the epitome of perfection.It may be enjoyed, whether or not you have seen these films.If you haven't seen them, you will want to after listening to this and if you have you can relive all the wonderful moments with this CD. The CD is an excellent quality, put it on your stereo and feel the drama.

enjoy....Laurie

...Just as rich as the movie...the best of the soundtracks of the three parts .

The Vapors released a great New Wave debut album in 1980 in New Clear Days. Everybody has, of course, heard Turning Japanese. It's the one song that forces The Vapors into "One-hit wonder" status, which is unfortunate.

After some variable success with several singles and the resignation of their manager, The Vapors were turned off by the "machine" and called it quits.

New Clear Days is a hidden classic of '80s new-wave. If you're a fan of that genre, do yourself a favor and pick this up. Turning Japanese is, of course, infectious. The other tunes to look out for here are "Sixty Second Interval", "Letter From Hiro", and "Bunkers".

There really aren't any throw-away songs. This album rocks from start to finish. My only regret is having taken so long to pick it up. Now I need to go find "Magnets", their second and last album.

For far too many people, The Vapors' career consists of nothing more than the very overrated "Turning Japanese". While it is a pleasant bit of harmless New Wave, the band had songs which were far superior.

As with many New Wave albums, New Clear Days was released in the U.S. in an altered version from its UK counterpart, though it was not to its benefit. The U.S. dropped two of the albums strongest tracks, "Cold war" and "America", in favor of including a different recording of their debut single "Prisoners".

On this album, the music of The Vapors if fairly run of the mill Power Pop. They sounded like a band who were finding their sound, which they do quite well on their second album, Magnets. New Clear Days has great and creative songs like "Letter from Hiro" and "Bunkers" along side forgettables like "Somehow" and "Waiting for the Weekend". They seemed to save some of their best material for the single B sides. "Sunstroke" is a great rocking number with some heavy duty drumming and a catchy hook. "Here comes the judge" is also a classic, even though it only exists in this live version.

The mastering on this CD leaves a bit to be desired. Though all of the original sources are from master tapes, it doesn't hold true to the original album, and appears mostly to be a collection of songs from previously mastered CD compilations. On the original UK album, the song "America" merges into "Trains". Here they are treated independently with the songs fading out/in, exactly as they are on the "Turning Japanese - The Best of the Vapors" CD. Also, the single "News at ten" was remixed for its 7" release, and was also included on the U.S. LP in this form. This single version is actually repeated twice on this CD, and the original UK album mix still remains unreleased on CD. And last, the single version of "Prisoners" is a far better version than the re-recorded version on the U.S. album. The version included here is the U.S. version, leaving the original single version still unreleased on CD.

Like with many debut albums, New Clear Days shows a band trying to develop an identity. It could have gone in a more mainstream direction for their next album, or a more creative route. Thankfully, they took the more interesting route for their follow up album, Magnets. Unfortunately, that album would not prove very successful, and the band split soon after.

I bought this in '80, I don't get tired of it.....simply put this is THE record from the late 70's - early '80's New Wave period....w/ the bonus trax the power and beauty of the original is greatly enhanced......sweep this up NOW!!! These bands are gone!!!! The kiddie bands today don't hold a candle to The Vapors' level of playing or songwriting....melodic, poppy, catchy, heavy and beautiful...Here Comes the Judge says what the Vapors were all about.....this cd/record is in my top 5 of all time for this period along w/ the remasters of Machine Gun Etiquette by the Damned, 999's 1st, Buzzcocks Singles Going Steady, Jam Box Set (ok, I'm cheating) and Undertones A's and B's.......good luck!!

The Pacific Age, while not completely devoid of substance, finds OMD watching the cutting edge fade in the rear view mirror, replaced with slickly produced pop that struggles to be relevant. "The Pacific Age," "The Dead Girls," and "Southern" are standout tracks. "Forever (Live and Die)" with lead vocals by Paul Humphreys is charming and melodic but maybe not as compelling as some of his older songs like "Souvenir" and "Never Turn Away." Those four tracks would have made a four-star EP, but instead those songs are bundled with a larger amount of filler, from the annoying, throbbing disco of "We Love You," to obvious throw-away tracks like "Stay," "Goddess of Love," "Shame," and "Watch Us Fall." Out of all the releases by OMD's original lineup, this is definitely the weakest.

It is truly a shame that this Album was never re-released in the US after the CD boom. It is also amazing how difficult it is to find overall as it spawned one of OMD's biggest hits: (Forever) Live & Die. There's not a bad track to be found here, and though it is still a product of the time, the music does not feel dated a decade & a half later. Not too many other snyth-pop bands of the 80's have weathered the test of time, nor have all of OMD's other releases.

The main reason why the CD stands up is the flow from song to song. The transition from upbeat (Stay) through melodic ((Forever) Live & Die & The Pacific Age), to more emotional (The Dead Girls, Shame, Southern, and Flame of Hope), and back (Goddess of Love & We Love You), and a great closing song (Watch Us Fall), few albums flow from start to end as well.

I was estatic to finally find a Marketplace seller with this CD in stock. Overall, a highly recommended listen.

Beautiful songs: strong melodies and hooks of broken hearts, angst, love lost and more l'amore! The music is mature new wave- and that's a good thing!
I won't comment on the songs individually, as I would be remiss to leave out any of these great tunes. Each song stands well enough on its own, but the album is best enjoyed when you listen to it in its entirity.
Pacific Age started out as being my wife's, but I have become hooked on it, playing it countless times.

Mushy ain't it?

I'm a Sparks admirer, but I am reluctantly compelled to point out that this is not their best work. It is perfectly OK to revisit your stuff and redo it -- you have the copyright, after all. But I must say that two-thirds of these remakes are poorer than the originals. They substitute lush "101 Strings" orchestrations for the faster-than-the-speed-of-thought drive and precision of the originals. This comes perilously close to elevator music. There are two versions of their breakthrough hit, "This Town Ain't Big Enough for the Both of Us," and the first is pretty lame. The second almost, but not quite, measures up to the incandescence of the original. There is a very skillful a capella rendition of "Propaganda" that is worth listening to, though it sounds rather silly and faux-Elizabethan. The remake of "Funny Face" has a rather sweet,sad, precious, chiming quality to it, quite far from the original and very pretty. It is the equal, but not the superior, of the original. But it lacks the final, resolving chord that ties the whole song together. I thought "Change" was a travesty of the original, which is one of the Sparks' strongest, most brilliant tunes. "Never Turn Your Back on Mother Earth" is another vivid embarrassment. It sounds as if it were scored by Mantovani. "Angst in my Pants" is a somewhat interesting do-over, but again, not a patch on the original. "Beat the Clock" may be a hair's breadth better than the original, in that the head-pounding rhythms have been toned down and the music is allowed to flow more freely. "Big Brass Ring" is a pleasant enough instrumental, but it sortv reminds me of the background music in "Miami Vice." It is accompaniment. "Amateur Hour," is, to my mind, the best cut on the CD. The Sparks have added an extra filigree of electronic gold to the brocade. It is the most harmonically satisfying thing on the whole disk.

I don't want to turn anyone away from the Sparks with this tepid review. They are an extremely interesting and talented group and "Li'l Beethoven" is astounding. But this is the problem. I don't think anyone would go crazy over the Sparks on the basis of this album. No one would say: "My God! I've got to hear more of these guys!" This is not an album for beginners, but rather for dyed-in-the-wool Sparks afficionados, or completists, who want to have every single note they ever recorded. Perhaps this is the highest compliment of all: The Sparks are so "sui generis" that they cannot be plagiarized, even by themselves.

I stumbled across a copy of this at a used CD store for nickels. I like Sparks but I'm no Sparks kook and I fell in love with this beast 15 seconds in. The covers of their own songs are brilliant, danceable, and great fun. What wonderful songwriters these guys be. What wonderful arrangements. This is a minor masterpiece and I like it tons better than the last fifty fool things by important modern bands I've heard. God was shining blessings on me the day this fell into my hands.

I didn't read the fine print very well when I purchased this album on a trip abroad, thinking it was a best-of. Instead, I found that I had bought something very different indeed, and it's better than a best-of could be. Normally I wouldn't have bought a remakes album, but the version of "This Town Ain't Big Enough For The Both Of Us" with Faith No More (Mike Patton sounding a bit like the singer of Turbonegro in this case) is worth the �3.99 I paid for it. It is truly something spectacular and strange, and a fine addition to the Sparks catalogue. Highly recommended.