New Wave music reviews

This is one of the greatest statements of the early days of American punk rock. Boston-based Mission of Burma created an intense, somewhat claustrophobic sound that was based neither on speed nor brevity. They bash and flail on their instruments, and the music is dense (including early tape manipulations), but the songs are intelligent and captivating. "Secrets" unfolds into directed chaos with an anthemic feel; "Trem Two" also has a great sense of dynamics. Several band members contribute songs, which also keeps the album engaging. Released in 1982 but still fresh. --Robert Gordon

Cheap Trick's second album (and second of '77!) doesn't exactly pick up where its classic, hard-edged debut left off; it was the "Power" and this is the "Pop." Their workaholic gigs as an unsigned Midwest bar band in the mid-'70s left them with an impressive backlog of original material, another batch of which forms the core of In Color. Though the band disdained producer Tom Werman's bubblegum-flavored touches, it was indeed the kinder, gentler Cheap Trick that Japanese audiences first took to their hearts at Budokan, with the rest of the world soon to follow. That approach is best exemplified by the evergreen "I Want You to Want Me" (which didn't become a hit until Live at Budokan), here dolled up with a Fats Domino-flavored piano break. While Werman's poppy approach dilutes the band's wall-of-noise live bent, it also underscores their impressive individual musical talents: Rick Nielsen's manic riffing on "Big Eyes" and the album's other retro-burner, "Clock Strikes Ten"; Robin Zander's vocal multiple-personalities that range from the suicidal angst of "Downed" (surely a favorite of Trick admirer Kurt Cobain) through the sweet anticipation of "I Want You" to the world-weariness of "So Good to See You"; and the rhythm section of Tom Petersson and Bun E. Carlos anchoring everything (especially the delicious "Southern Girls") with a flawless wallop. This expanded edition features significantly upgraded audio quality, new notes and photos, and five bonus tracks: the unpredictable instrumental B-Side "Oh Boy"; 1975 demos of "Southern Girls" and the anthemic "Come On, Come On" that ably display just the "before" side of the producer argument; and live versions of "You're All Talk" and longtime show closer "Goodnight" recorded at L.A.'s Whiskey in 1977. No sophomore jinx here. --Jerry McCulley

Released in 1992 to commemorate the 30th anniversary of the release of Dr. No, this two-disc set still stands as the ultimate Bond music collection. Disc one includes all of the hit songs from the Bond films, including Shirley Bassey's "Goldfinger," Tom Jones's "Thunderball," Paul McCartney & Wings' "Live & Let Die" and Sheena Easton's "For Your Eyes Only." Disc two includes Louis Armstrong's lovely "We Have All the Time in the World," as well as a nice collection of rarities (Anthony Newley's demo of "Goldfinger"), lesser-known orchestral cuts from Goldfinger and Thunderball, and radio ads for You Only Live Twice, Thunderball, and Live & Let Die. The perfect accompaniment for a martini built for two. Shaken not stirred, of course! --Dan Epstein