Japan: Obscure Alternatives (1978)

There is a slight change in sound with this record, but I am a big fan -- especially of David's voice -- so I really don't mind. I like everything the band did, as well as all of Sylvian's solo and collaborative efforts, especially those with Robert Fripp. I'd say that the band became far more interesting as time progressed.

I think that the reviews of this record were mixed -- as they often are -- or just plain negative, but I think this is a really good record, though there are some uninspired moments, perhaps. There's even some reggae on this LP, which is kind of odd.

The Canadian pressing has a different track order to the original UK pressing. But, what else is new in the world of schizophrenic record companies? The top tracks for me is probably Rhodesia.

Japan: Adolescent Sex (1978)

I suspect that if this record were released today, there would be cries of cultural appropriation because of the name of the band and because of the image of what appears to be a rising sun. We have become a narrow-minded species.

This LP was released in Canada on vinyl and 8 Track. I still cannot fathom why anyone allowed that format. It is probably the worst format even imagined for music. Even downloading highly compressed MP3s is a better idea. I happen to have a UK pressing, though it's a re-release from 1984, which is probably when I really started paying attention to the band, though I had probably heard tracks before then, I think.

This debut is really fabulous. No adolescent boy could ever have failed to appreciate Adolescent Sex, both the act and the song. To me, this is a five star record, with solid tracks all the way through. It's punkish, but probably not punk. Call it new romantic, post punk, new wave, alternative, art rock, glam, synth pop, or whatever you want. It's awesome. It's also far different from later Japan releases, when the band mellowed out a bit.

But, here is something weird. Try search for the title track -- Adolescent Sex -- on youtube, and you will find nothing. Leave out the word sex, and you will. How dumb is that? So, here is Adolescent S*x: 

The James Gang: Thirds (1971)

I've never been a big fan of Joe Walsh, though I recall being somewhat amused by Life's Been Good To Me for a while, anyway. I really don't know much about The James Gang, apart from this record. Any classic rock lover will know Walk Away. That's probably all you need to know.

Although this record was originally released in 1971, I have a Canadian pressing from 1980. This was another lawn sale pick-up, that probably cost $1.

Colin James: Colin James (1988)

Colin James is the debut record from Colin James, a Canadian singer, songwriter, and producer who operated (operates?) in the blues-rock genre. I got this record free, I believe. If not, it was surely really cheap. This LP has a number of radio-friendly tunes, like Five Long Years, Voodoo Thing, and Chicks 'n Cars (And the Third World War). There are a number of cover tunes mixed in with original compositions. I think this is OK, but I never loved the record and I own no other releases from him on vinyl or CD or cassette.

James: Come Home (1990)

I have a UK 12" single of Come Home backed with Fireaway and Stutter (Live). The version of Come Home is the extended mix by Flood (AKA Mark Ellis), subtitled the "Extended Flood Mix." I really like this tune. In my opinion, the band left the pseudo-Smiths camp and adopted an authentic Manchester sound here.

There is no real video for the extended mix, but you can at least hear it. This is the video for the single release:

James: Strip-Mine (1988)

Manchester's James was supposed to be the next Smiths. Even Morrissey was a fan, but the next-Smiths-thing never really transpired, though the band released some solid records. On this record, there is some clear evidence at to why the band was once considered a successor to the Smiths. In the end, James just seemed to be a lesser version and they never really ignited a passion in me.

Strip-Mine is the band's second LP (released in September of '88) and it's not too bad, though I prefer the later 90s output.

The Jam: Snap! (1983)

Snap collects all of the Jam's singles plus some b-side and rarities onto two LPs. For some reason, I have the original UK pressing, rather than the Canadian pressing. It's truly an excellent retrospective, and would be perfect as an introduction to the band.

The Jam: Dig the New Breed (1982)

And, so it ends. This live record was the last LP from the Jam, with the exception of future compilations. In 1983, Weller introduced us to the Style Council, with the mini-LP entitled Introducing the Style Council. This is a good collection of live tunes.

The Jam: Beat Surrender (1982)

Beat Surrender was the Jam's last single, released in December 1982. It contains a new version of War. The five-track release also contains Beat Surrender, Shopping, a cover of Curtis Mayfield's Move on Up, and a cover of Stoned out of my Mind, originally by the Chi-Lates.

I like the title track very much.

The Jam: The Bitterest Pill (I Ever Had to Swallow) (1982)

I believe that this was the Jam's second-to-last single. It was, then, their penultimate single. The 7" version contains three tracks, while the 12" single (in some countries, including Canada) had five tracks, so maybe it's really a mini album or an EP.

Side One:

The Bitterest Pill (I Ever Had To Swallow)
The Great Depression

Side Two:

War (from Barrett Whitfield and Norman Strong)
Pity Poor Alfie
Fever (from Eddie Cooley and Otis Blackwell)

Fever has been covered by many people and I'm not really impressed with what The Jam did with it or with War, for that matter. I guess this is an OK release, but it's not fabulous.

The Jam: Town Called Malice b/w Precious (1982)

This is a Canadian 12" single featured Town Called Malice with Precious on the flip-side. I love both tunes. That's all.

The Jam: The Gift (1982)

For some an inexplicable reason, a few critics didn't like this record. I think it's great, especially as it contains my favourite Jam track, Town Called Malice.

Rows and rows of disused milk floats stand dying in the dairy yard
And a hundred lonely housewives clutch empty milk bottles to their hearts
Hanging out their old love letters on the line to dry
It's enough to make you stop believing when tears come fast and furious
In a town called malice, yeah

I'm also a big fan of the tune Precious.

The Jam: Absolute Beginners (1981)

Absolute Beginners is a five-track EP released in 1981. I have a Canadian pressing. It's a solid EP, and I like every track very much. What else can I say? Oh, how about this: I think I read somewhere that the title track is one of Weller's favourite pieces of music, or something like that.

The Jam: Sound Affects (1980)

A police car and a screaming siren
A pnuematic drill and ripped up concrete
A baby wailing and stray dog howling
The screech of brakes and lamp lights blinking
That's entertainment

A smash of glass and the rumble of boots
An electric train and a ripped up phone booth
Paint splattered walls and the cry of a tomcat
Lights going out and a kick in the balls

- That's Entertainment

The jacket for this LP opens at the top, which is unusual for LPs but not for 12" singles. Another possibility is that the images are turned on the side. Whatever. The other weird thing is that it's difficult to know which side of the cover is intended to be the front. Some sites display one side and some use the other. Take your pick, I guess. Also, the title is Sound Affects not Sound Effects.

In my ever so humble opinion, this might be the Jam's best record, and nothing that followed was quite as good. The most recognizable song on this record is probably That's Entertainment, a tune that was later covered by Morrissey. I like Mozzer's version too.

The Jam: Setting Sons (1979)

Sup up your beer and collect your fags
There's a row going on down near slough
Get out your mat and pray to the west
I'll get out mine and pray for myself
Thought you were smart when you took them on
But you didn't take a peep in their artillery room
All that rugby puts hairs on your chest
What chance have you got against a tie and a crest?

- Eton Rifles, The Jam  

Eton Rifles was the band's first top ten UK hit. In reading about this LP, I found out something that I bizarrely did not know:

"Singer, guitarist, and songwriter Paul Weller originally conceived Setting Sons as a concept album detailing the lives of three boyhood friends who later reunite as adults after an unspecified war only to discover they have grown up and apart. This concept was never fully developed, and it remains unclear which tracks were originally intended as part of the story, though it is commonly agreed that "Thick As Thieves", "Little Boy Soldiers", "Wasteland", and "Burning Sky" are likely constituents; extant Jam bootlegs feature a version of "Little Boy Soldiers" split into three separate recordings, possible evidence that the song was intended to serve as a recurring motif, with separate sections appearing between other songs on the album." [source]

Once again, the record company was up to its usual nonsense, but in this case, I don't mind too much. The Canadian LP has two extra tracks. True, they messed with the song order, but I guess I can live with that.

The Jam: All Mod Cons (1978)

Where the streets are paved with blood
With cataclysmic overtones
Fear and hate linger in the air
A strictly no-go deadly zone
I don't know what I'm doing here
'Cause it's not my scene at all
There's an 'A' bomb in Wardour Street
They've called in the Army, they've called in the police too

- 'A' Bomb in Wardour Street, The Jam

This might sound odd, but I had never heard the phrase "all mod cons" before I became familiar with this record, probably because it is a UK expression. I  guess we don't use that term on this side of the pond. I have even see the phrase mangled to become "all cons mod" and "all mods con."

The amazing thing about this record is that Paul Weller was only 20 when it was released. I find that amazing. I was 20 years old once, so this seems extra amazing. Apparently, Paul Weller had been suffering from writer's block, which he managed to overcome in time for this record.

This LP is a vast improvement over its predecessor.

The Jam: This is the Modern World (1977)

The Jam's first LP was released on May 20, 1977. Somewhat amazingly, the second record came out on November 18 of the same year! Perhaps the record company put pressure on them? With this time-frame, it's probably inevitable that the second record wouldn't be quite as good as the first, though I still like it very much. This is one of two Jam records that I also have on CD.

The Jam: In the City (1977)

The Jam were the leaders of the mod revival, which was a return to earlier styles, like The Who and some others. So, the band is often categorized as mod-revival, punk, and new wave, though I resist the latter label. I think it's punk, with a 1960s influence. And, the lyrics could be political:

In the city there's a thousand men in uniforms
And I've heard they now have the right to kill a man

- In the City, The Jam

Paul Weller, the lead singer and primary songwriter, went on to form The Style Council, followed by what I gather was a successful solo career.

I have a US copy, even though the record was pressed in Canada. I think the Jam were a really great band, with lots of great tunes. I love the intro to this video:

Michael Jackson: Off the Wall (1979)

I own this record because I found it in a thrift shop for a buck or two. It's worth a bit more than that now. Let's get one thing clear: this is a disco record. I'd really hate to call it soul or funk. I've never been a fan, and I don't particularly like this record, though I will admit that the production is fine.

Joe Jackson: Blaze of Glory (1989)

A year or two before this record came out, I bought a CD player. When that happened, I paid less attention to records, and although I picked this up (somewhere), I didn't listen to it very much. That's probably too bad. Wikipedia's post about this record is very good, so maybe you should just read that.

Joe Jackson: Live 1980/86 (1988)

This is a double live LP from recorded in Melbourne, Utrecht, Manchester, Sydney, Tokyo, and Vancouver over four different tours. The record runs as follows:

Side A: The Beat Crazy Tour, 1980
Side B: The Night And Day Tour, 1982/83
Side C: The Body and Soul Tour, 1984
Side D: The Big World Tour, 1986

I guess it's worth noting that I have never seen Joe Jackson in concert. Again, this is a problem of having grown up in a small town. It sucked. In the early days, it was difficult to get hands on records, and bands never came to town. In later days, there was a small record store, but bands never came to town. I know I would have been happier in a big city, one where you could see concerts and where the record stores carried a wider array of artists. I remember having to travel to KW to find a Billy Bragg record.

In other news, Trump has won, and I find that to be simply incomprehensible.

Joe Jackson: Big World (1986)

Big World is an odd record. Firstly, it extends to three sides, with the fourth being blank, though there is one groove with nothing recorded on it. The way Jackson presented it was that it came with a bonus side, since the record cost the same as a regular record. Secondly, it's a live record with no audience noise. Jackson asked the crowd to remain silent until each song was completely over. I've read that he wanted to capture the spirit of the live recording without the audience participation. It's interesting that he invited people to attend, rather than just playing to an empty hall. Amazingly, it seems that no one coughed or opened a piece of candy wrapped in cellophane. Apparently, there were no re-recordings to fix anything and no overdubbing.

I have a vague memory of buying this record when it came out, after having heard two tracks: Wild West and Right and Wrong, two genuine political tunes. I'd say that this is a good record, and perhaps one that causal Joe Jackson fans probably don't know much about.

The LP that followed this record was Will Power, his foray into classical music. I was not interested in it, which is probably a good thing. Allmusic said this: "Joe Jackson finally becomes the "serious composer" on Will Power. A good exercise in self-indulgence but little of anything else."[source]

Joe Jackson: Body and Soul (1984)

My copy of Body and Soul has lots of sibilance, and I've read that this is a common fault with this record. It must have been cut hot. This production fault distracts from the record which is too bad because I really like this jazzy record. You Can't Get What You Want (Till You Know What You Want) and Go For It are probably the most well-known tracks from the record.This is a very good record.

Joe Jackson: Mike's Murder - The Motion Picture Soundtrack (1983)

Apparently, this movie -- Mike's Murder -- sucks. The good news is that I have never seen it. Side one contains five pop songs, in the same vein as Night and Day, while side two is all instrumental. The five pop tunes from side one later appeared on the deluxe CD edition of Night and Day. According to Wikipedia, very little of Jackson's material ended up in the film, so I guess there is no reason to see it, unless you are a fan of Debra Winger or James Bridges, whoever he is. It also means that the subtitle (The Motion Picture Soundtrack) is misleading, to say the least.

This is a good record, but not as good as Night and Day, which is fine. The best track might just be Zémio, the 11+ minute instrumental.

Joe Jackson: Night and Day (1982)

In my ever-so-humble opinion, this is the best record that Joe Jackson ever made. It's also one of my favourite records of all time. I'd almost call it a masterpiece. The record contains Steppin' Out, one of the finest pop singles ever released. My first copy of this record was on cassette and I played it so much that the tape stretched and it became unplayable.

Of course, there is Jackson's weird take on Cancer:

Everything
Everything gives you cancer
Everything
Everything gives you cancer
There's no cure, there's no answer
Everything gives you cancer

On one level, that's fair enough, but then he says:

No caffeine
No protein
No booze or
Nicotine
Remember –

On the surface, this is also fair enough, since we know that tar is the cause of cancer not the drug nicotine. But, the primary medium for most people to use nicotine is smoking, and that is definitely cancerous. I wish he would just accept that he is an addict and dump the smoking apologies. But, back to the music.

There is not really a bad track on the record. I just wish the record was a bit longer. The weakest song might be T.V. Age, mostly because of his vocal delivery.  Steppin' Out, A Slow Song, and Real Men are highlights for me.

You don't want to sound dumb – don't want to offend
So don't call me a faggot
Not unless you are a friend
Then if you're tall and handsome and strong
You can wear the uniform and I could play along

Joe Jackson's Jumpin' Jive: Joe Jackson's Jumpin' Jive (1981)

Somehow, we have been saved from the ridiculousness of discogs overly-specific categorizations, meaning that this record is listed under Joe Jackson, despite the protestations of one person who made a comment that this release that it should listed be under Joe Jackson's Jumpin' Jive, as if that was the name of the band. I mean, maybe it was, but really?

Anyway, this record contains all cover versions of 1940s swing and jump blues (mostly from Cab Calloway and Louis Jordan), and it's really really catchy, though I remember being somewhat surprised by it and I avoided the record for a while thinking that I would not like it. When I finally picked it up, I found that I liked it. It's packed with energy.

Joe Jackson Band: Beat Crazy (1980)

Beat Crazy is credited to the Joe Jackson Band, rather than to Joe Jackson, so sure enough, Discogs lists it under the Joe Jackson Band. How stupid. I repeat, there should be uniform titles. Under this rule, Joe Jackson's Jumpin' Jive should be listed under the artist "Joe Jackson's Jumpin' Jive," not Joe Jackson, which it isn't. Someone screwed up, or they did it right, IMHO

I guess one could say that Joe left new wave and added lots of other musical styles, like reggae. This is a great LP, but not as great as the first two. I admire the guitar work on the title track, especially.

Beat Crazy, Biology, Pretty Boys are all great tunes. I'd say that Joe was three for three at this point.

Joe Jackson: I'm the Man (1979)

Right now
I think I'm gonna plan a new trend
Because the line on the graph's getting low
And we can't have that
And you think you're immune
But I can sell you anything
Anything from a thin safety pin
To a pork pie hat
Cause I got the trash and you got the cash
So baby we should get along fine
So give me all your money
Cause I know you think I'm funny
Can't you hear me laughing
Can't you see me smile

Look Sharp was released in early 1979. Somewhat surprisingly I'm the Man came out in October of 1979. I guess he had a lot to say in 1979. This record contains one of my favourite Joe Jackson tracks, the title cut, I'm the Man. That's simply a fantastic punk song, and the rest of the record is pretty good too.

Joe Jackson: Look Sharp! (1979)

"Is she really going out with him?"
- New Rose, The Damned (1976)

The first time I heard Joe Jackson's Is She Really Going Out With Him? I thought it was some sort of novelty song. I didn't take it seriously, nor did I like it very much. It wasn't until I heard the whole album that I understood what Joe Jackson was all about, and that might have been new wave or new wave punk, pseudo-ska, and -- later -- jazz and jump blues. Others might have labelled him a singer-songwriter or maybe alternative or simply pop.

This is a really great debut LP. But (or should I say "butt"?) I have to temper my appreciation for Mr. Jackson because of his crazy smoking ideas, as I have mentioned in the past. Here we have a seemingly intelligent individual spewing the most ridiculous anti-science. It's a good case of cognitive dissonance.

At some point or other, someone compared Joe Jackson with Elvis Costello. That had never occurred to me before, but I guess it makes some sense. Both were lyrically-interesting versatile new wave artists.

The good news is that after the catchy but bizarre, Is She Really Going Out With Him? there are some other truly great tracks, like Sunday Papers, Look Sharp, Got the Time, etc.

I am pretty sure that my sister bought a copy of the 7" 45RPM single of Is She Really Going Out With Him? Sometime after that, I picked up a copy of this record, and I remained a Joe Jackson fan for some time. That is, until he started dabbling in classical music, not that I dislike classical music. I just prejudged it and was never really interested at all. His career had trailed off by the point anyway.

The J. Geils Band: Freeze-Frame (1981)

Years go by I'm lookin' through a girly magazine
And there's my homeroom angel on the pages in-between

- Centerfold, The J. Geils Band

My dad once told me that a former co-worker of his went to school with a woman who later appeared in a Playboy spread. I'm not sure if she was the centrefold and she wasn't his girlfriend. Even then, that's more or less the story of the tune, Centerfold. That must have been a fascinating experience nonetheless.

This is a record I should not own, but I somehow inherited it, along with a second copy that I disposed of. I think my sister had a copy of this as well as Love Stinks. Oddly, this band was formerly a bar blues band (I used to own an early J. Geils blues record) that somehow morphed into a new wave act.

David J: Candy On The Cross (1992)

As far as I can tell, this EP was released only in the USA on CD and 12" vinyl. By 1992, vinyl was in its death throes, so I am somewhat amazed that the record company bothered, especially in North America. It seems to me that vinyl had a longer life in Europe. At one time, I owned a copy of this EP on CD, but I have no idea if I still have it.

Candy on the Cross really only has three tracks, plus a brief reprise at the end. The tracks are:

Candy on the Cross
Antarctica Starts Here
Memphis Ghosts
Antarctica Starts Here (Reprise)

Some music fans will know that Antarctica Starts Here is a John Cale tune from Paris 1919, which, in my mind, is Cale's finest record.

If you listen closely, you can hear Peter Murphy on backing vocals on Candy on the Cross.

David J: Etiquette of Violence (1983)

David J's first solo LP is dark and gloomy. There can be no question about that. It has it moments, but some of his later work is better. (Oct 12, 2016, 11:00 AM)

David J: Joe Orton's Wedding (1983)

I had never heard of Joe Orton, prior to owning this EP, so I had to investigate. Orton was an English playwright and author. He was murdered in 1967 at the age of 34 by Kenneth Halliwell, who struck him repeatedly with a hammer on his skull. Halliwell then committed suicide by consuming a bottle of Nembutal, dying before Orton gave into his injuries. Check out Wikipedia entries for both men for more on this story.

"Mrs. Orton* penned the ending
The final play for today
Putting faith in nembrutals
And a hammer to keep it that way"
(*Mrs. Orton was Kenneth Halliwell)

Of course, David J (originally David John Haskins), was the bassist for Bauhaus and Love and Rockets. David is also an artist and a playwright.

By the way, I never really knew where to alphabetize David J, as J is really is middle initial, but I guess the J section makes sense.

INXS: Listen Like Thieves (1985)

In Canada, Listen Like Thieves was released in standard jacket and gatefold jackets. I have the latter. There was probably a club edition too. This record has a few somewhat memorable tunes, like What You Need and Listen Likes Thieves. At one time, I had a 12" single of What You Need. I'm sure if you asked any INXS fan they would rave about this LP. It's a fine record, but I was done with the band at this point. In the future, we'd get the ridiculous Suicide Blonde. That song sucks mightily.

INXS: The Swing (1984)

I became an admirer of INXS when this record came out, but that admiration never really stuck. My enthusiasm just died upon subsequent releases. I will make this bold statement: INXS has released only one good record, The Swing. The rest is forgettable. I know, lots of people will disagree with me. I think I still have a copy of this on CD as well.

My LP is a US pressing. with a "Special Limited Edition Album Cover." I have never been able to determine what is special about it, other than the fact that it is a gatefold and some others were not. The centrepiece on the record is Original Sin, but music fans might know I Send a Message, and Burn for You.

Intended Play: (Matador & True Panther 2011-2012) (2012)

On the upper right corner of the record jacket is the phrase: "PAY NO MORE THAN $1.98." When I bought the LP, the sticker price was $1.99, but that was in Canadian dollars, so that translated to way less than $1.98 US. On top of that, I got it at 40% off, so I really only paid $1.19 CDN, or about five cents American. That's a deal.

This is compilation of Matador recording artists, as follows:

Side 1
The Young - Don't Hustle For Love
Kurt Vile - Life's A Beach
Girls -  My Ma
Ceremony - Hysteria
Tanlines -  Brothers
Lee Ranaldo - Off The Wall

Side 2
Fucked Up -  Into The Light
Esben And The Witch - Hexagons II (The Flight) 
Perfume Genius - All Waters
Cold Cave -  Confetti (Edit)
Stephen Malkmus & The Jicks - Polvo

In Harmony 2: [Various] (1981)

As I wrote in reference to an earlier record in my collection: "I own this record because I went through a major Springsteen phase (more on that later)." The same applies here. I bought this record simply because there is a Bruce Springsteen song on it, and it's a bad Bruce Springsteen cover version. I hate Christmas music, and this track is no exception. Bruce Springsteen's version of Santa Claus Is Coming To Town is the last track on this record. Oddly, that track might be the highlight on this LP. I suppose the Dr. John track is OK, but most of this record sucks. I think kids hate it too.

Side 1
Billy Joel - Nobody Knows but Me
James Taylor - Sunny Skies
Lou Rawls And Deniece Williams - The Owl and the Pussycat
Teddy Pendergrass - Reach Out and Touch
Janis Ian - Ginny the Flying Girl

Side 2
Crystal Gayle - Here Comes the Rainbow
Dr. John - Splish Splash
Kenny Loggins - Some Kitties Don't Care
Carly And Lucy Simon- Maryanne
Bruce Springsteen - Santa Claus is Coming To Town

Images In Vogue: Call It Love (1985)

The 12" single for Call it Love contains Call It Love (Extended Mix), Call It Love, and The Swim. A 12" and 7" version were also pressed in Germany.

Images In Vogue: In The House (1985)

The debut LP from IIV was released in Canada and Australia. It contains Call it Love and Save It, originally released on the previous EP, plus a bunch of other tracks. It's pretty good new wave stuff from Canada.

Images In Vogue: Rituals (1984)

Rituals -- again, an EP pressed only in Canada -- contains five tracks, the most familiar of which is probably Call it Love (or perhaps Save It), both of which would appear in reworked versions on the band's debut LP in 1985. The other tracks are Rescue Me, Everything About You, and Calling My Name.

Images in Vogue: Images in Vogue (1983)

This five-track self-titled EP was only released in Canada. This record contains one of the band's best known tracks, Lust of Love: "Don't mistake my lust for love." We've all been there. I like this track very much.

I feel that the band should have had more success than it did. I guess the band felt that way too, and they started bleeding members. For example, the drummer eventually left to form Skinny Puppy, one of my favourite Canadian bands. The band has been compared to Depeche Mode and Japan, but I am not sure about that. There's a little Peter Murphy in the lead singer's voice, to my ears anyway.

Billy Idol: Charmed Life (1990)

What happened to sides seven and eight. This record has sides nine and ten. Charmed Life has sides five and six. Someone, please tell me where I can find sides seven and eight?

It took four years since the last release, but Billy Idol finally greeted the new decade with Charmed Life, a reasonably good record probably most notable for his cover of the Doors' LA Woman. The record was a bit deeper than that, with tracks like Prodigal Blues and Cradle of Love. If you listen to this record and think that something is missing, that something would be Steve Stevens, who had worked with Idol since the early days. Without Stevens, the record is probably just not as good as it could have been. Still, it's not terrible.

I lost track of Mr Idol after this record.

Billy Idol: Whiplash Smile (1986)

I never understood why it took three years for a new Billy Idol record to be delivered after Rebel Yell. One would have thought that the record company would have pressured him to follow up Rebel Yell as soon as possible. You know, otherwise, the music buying masses might forget about him.

When this record finally arrived, it was a mixed bag. On the one hand, it contains the very good To Be a Lover. However, the rest of the album doesn't really equal what he did previously, but there are a number of good cuts, like Sweet Sixteen and Don't Need a Gun.

Billy Idol: Rebel Yell (1983)

This record was a huge one for Billy. I didn't own a copy at the time, mostly because everyone else did, or so it seemed. His videos were all over TV, and several tracks from this record could be heard almost everywhere. One day, I acquired a really beat up copy of this record for next to nothing, and later, found an equally cheap copy in fabulous condition.

A curious thing about this record is that side one and two are labelled as sides three and four. Billy continued this numbering system after this record with sides five and six on Whiplash Smile.

I'm not a huge fan of this record, but I think that the songs were well put together and it works as a pop/synth record. It's not punk by any means. In fact, it seemed that Billy wanted to capitalize on the new wave sound, but it missed the mark a bit in that respect.

Billy Idol: Billy Idol (1982)

You can easily find versions of this record with different covers and with different track listings. The record company swapped covers, exchanging the image of Billy in a Hawaiian-looking shirt (tied around the mid rift) for an image of him wearing a leather-looking vest that had the added bonus of exposing a tattoo. I get why they did this. The leather makes Billy look a bit more masculine and expresses a more punk attitude.

On some copies, Congo Man was dropped for Dancing With Myself. I guess it made sense to add the most famous Gen X track to the record. I have the original cover with the track Congo Man. This LP is also notable for containing White Wedding (Part 1) and Hot in the City. This is a pretty good record, though I still do not believe that it can be labelled as punk. It's pop, but it's a pretty good pop record, even though there's not much of interest beyond the three tracks just mentioned, though Come On, Come On is not bad.

I have to argue that Billy probably enjoyed more fame than perhaps he would have, like many other artists, because of the advent of music television (MTV, and the rest). That's not meant to detract from his success. The smart recording artists invested in video and it paid off for them.

Billy Idol: Don't Stop (1981)

The first post-Gen X release from Billy was an EP that contains one Gen X track, one cover song, and two originals. The tracks are: Mony Mony, Baby Talk, Untouchables, and Dancing With Myself (Long Version), by Billy Idol With Gen X. Yes, Mony Mony, that song you like to curse along with at weddings, etc., was originally recorded by Tommy James & the Shondells. Just check it out, if you don't believe me.

I resist labelling Billy Idol as punk, because there is overarching pop sound to my ears. I'm not sure that Mr. Idol is someone I would have chosen to listen to had it not been for my very good friend, who was a big fan.

The Icicle Works: Blind (1988)

The US version of The Icicle Works' fourth LP (the one I have) is radically different from the original UK, and other versions. The artwork is different, the track listing is different, and even some of the edits are different.  

Blind has a different sound, as the band clearly moved away from new wave to something else. It's not bad. I think the word different describes everything about this record.

The Icicle Works: If You Want To Defeat Your Enemy Sing His Song (1987)

My Canadian pressing of this record was bundled with a 12" bonus sampler. The bonus LP contains two tracks each from The Icicle Works, Pierce Turner, The Go-Betweens, and Passion Fodder. Both tracks from The Icicle Works appear on the record, so that is odd. Wicklow Hills from Pierce Turner really brings back the memories. It is a really great song.

Again, I think I can say that this is not as good as the debut record, but it's a fine record. Understanding Jane was a hit, as I recall.

The Icicle Works: Seven Horses Deep (1985)

Until I read the Wikipedia entry for this band, I never knew that they were named after a short story by Frederik Pohl called "The Day the Icicle Works Closed."

There is not blockbuster hit on this EP, but all of the tracks are fine. Oddly, the UK pressing is entitled Seven Horses, while the Canadian pressing, in a gatefold sleeve, carries the title Seven Horses Deep.

Deep Side

Seven Horses
Beggars Legacy
Goin' Back

Wide Side

All The Daughters (Of Her Father's House)
(Let's Go) Down To The River

The Icicle Works: The Small Price of a Bicycle (1985)

Somehow, I have the first UK pressing of the sophomore efforts from TIW. I think that's because, for some reason, it was not released in Canada. No, it is not as good as the first. There's more big guitars and big vocals here, but the songs aren't quite as good as the first record.