Pointer Sisters - Break Out (LP, 1983)

At some point last year, I decided that the Pointer Sisters' "Jump" was one of the purest pop songs of the 1980's. I was right, of course, and apparently the feeling lingered long enough for me to remember to buy this LP the next time I was out record shopping. Was it worth the dollar I paid for it. Yep. This record's pretty sweet.

It's also got "Neutron Dance" (their other big hit), and "Automatic" (not as big of a hit). Man, I miss the 80's. A time when old people could be cool-ass pop stars. Ruth Pointer (the one on the right) became a grandmother the same year this came out. She also sang like a dude. So that's cool.

I always thought June Pointer - the one on the left with the jacked-up teeth and overall weird look - was strangely attractive. Is that right? She's dead now, so maybe it's just inappropriate.

Anyway, this is some fun-time 80's synth-pop with mad slick production. Get with it. Or don't.

"Jump"

Jacksons - Victory (LP, 1984)

This will be the only Michael Jackson-related album I cover in this blog, as it's the only one I own at the moment. Like most people my age, I grew up with a copy of Thriller in the house, and oddly enough, I kept thinking a few months back that I should probably have one around. Now the prices are all jacked up (Everyday Music is selling used copies of the LP for 30 bucks, the assholes) and I'll just have to wait a year or two until the demand drops back to an acceptable level. Anyway.

The timing of this entry does strike me as a bit noteworthy. If I had knocked this one out before I took my break, I certainly wouldn't have had MJ on the brain in the same way that we've all been forced to since his death five weeks ago. More importantly, I wouldn't be able to mention that opportunists are trying to sell copies of this record for $1000 on eBay presently. (But, hey: free shipping!) I must have really lucked out when I paid a dollar for mine... Regardless, MJ's passing hasn't swayed my opinion of this record for better or for worse. I've always liked it, and I probably always will.

Without diving too deep into the discography of Michael Jackson, I do know that this was released between Thriller and Bad, and I recall it coinciding with a huge tour and a slew of Pepsi commercials. My parents bought this record because, like the rest of the world, they were jonesin' for some new Michael. What they got were a few tracks from MJ and some solo jams from the rest of the Jacksons. Calling this a group effort is slightly misleading, as a lot of the tracks come across as solo songs by one Jackson with the others adding backing tracks. However you want to look at it, this is a sweet pop album. Very 1984, very dated sounding now, and each song is a solid five minutes, which seems a bit much in a few cases. Who cares. It's the Jacksons for chrissake.

"Torture" is the first track, clearly the single, and it was written by Jackie but performed my Michael and Jermaine. This is really the only track on which you can distinctly hear Jermaine, though I think he does background vocals on a few others. A solid song that features some wild synth effects.

"Wait" is another Jackie-penned number, and this time he does the vocals. It's a bouncy pop number that is mad catchy and slick as all get-out. Michael ad-libbing at the end is awesome.

"One More Chance" is Randy's solo number, starting with a sweet synth groove that leads into some slightly standard soft rock. This one's for the ladies.

"Be Not Always" is pure Michael, and it's one of the most fragile and delicate songs in the history of the world. If you can stick with it and hold out while it builds, it pays off. This is the MJ I prefer to remember. No one ever questioned his singing ability, but if you need a reminder of his versatility, it's right here.

I still can't fathom why Michael and Mick Jagger didn't film a video for "State of Shock." The lyrics are flat-out terrible, but the song itself should have been a classic duet. Great guitar, great sound effects, it's all there. Apparently there's a version with Freddie Mercury floating around somewhere.

"We Can Change the World" is Tito's time to shine, and as usual, he blows it.

"The Hurt" was written by Randy & Michael and features Randy in falsetto mode, which mostly works. The verses aren't super strong, but the song builds nicely and gets shit going towards the end.

"Body" is a strange choice for the last song on the album, as it's one of the poppier cuts and stronger than the two songs that precede it. Not the most groundbreaking song in the world, but a guilty pleasure if there ever was one. Pure Marlon.

Another thing I came across while lazily researching this record: the original cover art features a white dove on Randy's shoulder, though it's removed from almost all of the covers that are out there. Wikipedia says that early copies feature the cover with the dove intact, but the only ones I can find that have it are the picture discs. Hmmm.

"Body"

Joe Jackson - Body and Soul (LP, 1984)

For only being a few short years removed from Night and Day, this album is stylistically miles away from the synth poppiness of his previous album. This is Jackson in jazzy, saucy-salsa mode, and while the results are pleasant, it's not really my cup of tea.

"You Can't Get What You Want (Till You Know What You Want)" reaches back to the pop well and goes from some radio-friendliness, but the horns and slap-bass sound terribly dated today. The song is catchy, but the lyrics go in circles and it seems like he's just trying too hard.

The other tracks aren't terrible, they just seem overcooked and over-thought. I actually find myself missing the synthesizers, which are replaced here by real instruments. That might be my problem. I've also only had this record for year or so, and I really haven't given it much of a chance. (I probably should have mentioned that in the beginning.) You can see what Jackson's going for, but you can't help but wonder if he saw this as his opportunity to indulge his studio fetishes.

His voice is still great, and when the grooves get going, they work. "Happy Ending" is a fun duet single, and it features some big harmonies. But the salsa swing of "Cha Cha Loco" and the drawn-out instrumental tinkering of "Loisaida" are hard for me to get with. But hey, the guy sounds like he's having a fine time, so that ain't a bad thing.

"Happy Ending"

Joe Jackson - Night and Day (LP, 1982)

I bought this record because "Steppin' Out" is one of the greatest pure pop songs in the history of music. I expected the rest of the record to be good, but not this good–it ended up over-impressing me with how deep and diverse it is.

Joe Jackson is one of those rare artists that should, by any and all rational means, be as popular as an Elvis Costello or a David Byrne. However, he's always managed (at least in the U.S.) to stay one tier below guys like that. It's not for a lack of great songs. While he'll eternally be linked with the bland "Is She Really Going Out With Him?", there are non-single tracks on this LP ("Target" comes to mind) that run circles around the saccharine lumps in that radio staple.

Keeping in mind that I have a fairly uninformed opinion of the man's entire career, Jackson strikes me as one of those guys who is maybe too good a musician to really do the pop thing justice. Even the slicker pop numbers on this record (like "Breaking Us In Two") are sprinkled with tricky percussion and lots of little hits and intricacies, and often take left turns to allow for dense solos that are, while really great, unexpected when taken in context with the catchiness of the melodies.

I was listening to "Steppin' Out" a few weeks ago, and my wife made some comment about Jackson not being much of a singer. I had never really thought about that, but maybe his voice is a little off-putting. I've always found it sort of shaky and charming, adding a strange nervousness to the music. I guess that might not be a good thing...

Either way, this record is another one of those bargain bin scores that you shouldn't pass up. If you've got a turntable, you can easily find a copy of this on vinyl for a few bucks. Love it for "Steppin' Out," hold onto it for the other eight terrific songs.

"Breaking Us In Two"

Full Force - Full Force (LP, 1985)

It must be discouraging for the members of Full Force to be recognized more for being the "I smell pussy" guys from the House Party films than for their music, though I doubt they get recognized much at all anymore. I guess they can keep crossing their fingers for that Lisa Lisa and Cult Jam comeback...

This LP was a gift from my brother (based solely on the cover), and it's always been more fun to look at than listen to. Every time I play this record, which isn't often, I am utterly amazed at how bad it is. And not bad in a strictly dated sort of way (though that is also a problem), but musically, as well. It's some of the most basic music you can imagine, and the fact that it took six dudes to put it together is astounding. It sounds like they just chopped up the drums from Billy Squier's "The Big Beat," fed it into their drum machine, had somebody who could barely play drums make some really basic loops, and then took turns dicking around with vocal parts. It's brutal.

But, like I said, you can't beat that cover. You also can't beat Bow-Legged Lou, and his line from "Unselfish Lover": "I'm comin' inside your love."

It's white slacktastic.

"Alice, I Want You Just For Me!"

Eurythmics - Be Yourself Tonight (LP, 1985)

For some reason, this has always been the one Eurythmics album I've continuously had a copy of. I used to own the cassette (maybe I still do), and I still have this LP on the shelf. I have a vague recollection of owning both their Greatest Hits on CD and Touch on LP, but those seem to be gone.

Maybe it's because "Would I Lie to You?" is my favorite song of theirs and also one of my guiltiest pleasures. Annie Lennox's voice on that song is just huge. I've always been a sucker for it. Maybe it's because it's the least synthy of the Eurythmics albums I'm familiar with, and I feel like it's more of a soul record than anything. (Not that I'm some sort of soul freak, but, y'know.) Maybe I find "Sisters Are Doin' It for Themselves" to be so campy that it's awesome. Maybe it's all of these things.

I'm realizing I haven't listened to this record in a long time. It's another one of those LPs that I just like to know is there, sitting on the shelf, in case the need arises. Apparently that need hasn't bubbled to the surface in quite some time. But if it does, I'll be prepared.

Oh, and I like "Adrian," Lennox's duet with Elvis Costello. Solid pairing.

"There Must Be an Angel (Playing With My Heart)"

Bronski Beat - The Age of Consent (LP, 1984)

In case that big pink triangle in the middle of the album cover didn't tip you off, Bronski Beat is gay. Like really gay.

If you missed the pink triangle on the front, there's one on the back. And if you missed that, don't worry: the first song ("Why?") is about making out with a dude. So, they weren't in the business of hiding their sexuality. That's pretty gutsy, considering this was 1984, and also considering the title they chose for this, their debut LP. Apparently they took some shit for it. But, good for them. Like I said: gutsy.

The inner sleeve of this record contains the ages of consent for "lawful homosexual relationships between men" in various countries, along with the number for the National Gay Task Force. So, yes, they've made their agenda clear. And they make it even more clear in during the course of the 10 songs on this LP.

While the music is synthy pop, the songs are at times incredibly serious, taking on gay bashing, war, drugs, and religion. But, there's also songs like "Heatwave," which is just a fabulous gay party anthem, and "Need A Man Blues," which is pretty self-explanatory.

This record (and the band, for that matter) is probably best remembered for "Smalltown Boy," a catchy tune about a kid running away from home because nobody accepts his homosexuality. It's one of those weird songs that is both terribly tragic and super catchy, and if you're not paying attention, a fun little dance number. I have a feeling this was constantly a problem for the Beat. They're opening up about a serious societal woe and kids are swinging their hips with a spoon up their nose.

Been there!

In all honesty, it's a great song. And this record is well worth the dollar you will have to pay for it.

"Smalltown Boy"

ABC - The Lexicon of Love (LP, 1982)

When I'm feeling particularly cynical, I have no problem writing Martin Fry off as nothing more than a poor man's Bryan Ferry. But, in the end, I don't think that's giving him enough credit. While he has certainly cribbed some of Ferry's moves, he plays up more of a thwarted wuss angle, and it works well for him.

Any semi-extensive knowledge I have of ABC pretty much begins and ends with this record, but as I sit here and listen to it, I can see why it was such a big hit back in '82. It manages to be both poppy and slightly sophisticated, while also incorporating some pretty ambitious arrangements.

And, when it comes down to it, "The Look of Love (Part One)" is just a delight to listen to.

"Poison Arrow"

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