Squeeze out another indispensable new wave experience with 1981’s East Side Story. Though not as electrifying as their 1978 debut (Squeeze), or as pop-friendly as their second album (1979’s Cool for Cats), East Side Story shows, I believe, the greatest jump in maturity between their early, and essential albums. Whether you’re in the mood for a very well-written, new wave classic, or if you’re longing for the chorus to Tempted, East Side Story is just a 33 1/3 revolution away.
Happy to welcome my first colored Tim Hardin record into the library. To my knowledge, it’s the only one, and a German pressing to boot. Titled The Homecoming Concert, this live performance was recorded in the songwriter’s home town the same year of his untimely death, and is rumored to have been his last live performance, though, the jury is still out on that claim.
Bauhaus’ sophomore effort isn’t as head-splitting as their monstrous debut, which would be an impossible feat in and of itself, but 1981’s Mask is certainly deserving of the same analytical repeated listening treatment as 1980’s In the Flat Field. I can only speak for these two albums as, within them, exists the limits of my exploration, but I will say, albeit obviously, that I’ve not heard a Bauhaus track that I didn’t absolutely adore. Dig it.
I’ve recently exhausted (in a good way, and mainly on trips to and from the office), Bauhaus’ debut masterpiece, 1980’s In the Flat Field. Mask, the band’s second album, waits impatiently on the shelf for the cloud of brilliant indecency to subside. Tracks 1-4 on …Field rival anything released in the past 40 years, and I challenge anyone who says otherwise.
With arguably the most recognizable keyboard intro to any track to kick off any album in all of rock (save maybe for Baba O’Riley), Freeze Frame, the title track on 1981’s appropriately titled Freeze Frame by The J. Geils Band took second seat to the the band’s most successful incarnation, Centerfold. That’s right, both Freeze Frame AND Centerfold are featured on this album. Shocking, I know.
The band’s sound (somewhat) drastically shifted over its tenure, but it’s humbling to imagine a band can (finally) hit its stride on its 12th album. The J. Geils Band would ride on the success of Freeze Frame (the album, not the track) for another two albums until calling it quits with 1984’s You’re Gettin’ Even While I’m Gettin’ Odd. For a damn fine radio-friendly example of early 80s mind-numbing awesomeness, check out Freeze Frame. Your yester-self (it exists) could use a solid, loving punch in the shoulder.