Hot Ladies of Rock

hotladiesFormat: LP
Label: Pickwick Records
Country: Pressed in Germany for the UK market
Year: 1982
Price paid: $6
Purchased at: Angry Mom Records, Ithaca NY

A sample of classy Pickwick comilations

A sample of classy Pickwick compilations

Pickwick Records is probably better known to readers in the UK- a budget label in the manner of Ronco and K-Tel, they released a flood of  product from the sixties onward and seemed to hit their stride in the late seventies/early eighties with sleazy compilations such as the not at all sexistly titled ‘Hot Ladies of Rock.’

At the risk of perpetuating the misogyny I would have to agree that this LP certainly does a fair job of reflecting the ‘hot’ female artists of the period- at least in terms of quality, cultural relevance, and/or chart action. You couldn’t ask for a better roster actually. The only criticism is that Pickwick could have had a wider selection of artists with less doubling-up, but I’m sure that was done for budget reasons. The only stinker in the bunch is the inclusion of ‘Paying the Price of Love’ by Crush, a group so obscure that I’ve never heard of them. And I specialize in the genre.

I have a thing for kitschy bottom-of-the-barrel vinyl compilations. You can keep your expensive high-profile cover art by The Police and Madonna; if you want to see the REAL design aesthetic of the eighties you’ve got to dig down to the level of ‘Hot Ladies of Rock.’ The uncredited model used for the cover was most probably a randomly chosen secretary working at Pickwick Records, dolled up on a moving bus while rushing to a hasty photo shoot with the promise of extra £5 in her pay, immortalized like some second-rate Toyah clone forevermore. Fantastic.

Track Listing

  • Hazel O’Connor- D Days
  • Pat Benatar- Heartbreaker
  • Toyah- I Want To Be Free
  • Crush- Paying The Price Of Love
  • Rachel Sweet- B-A-B-Y
  • Runaways- Queens Of Noise
  • Blondie- (I’m Always Touched By Your) Presence Dear
  • Blondie- Hanging On The Telephone
  • Suzi Quatro- Rock Hard
  • Pat Benatar- I Need A Lover
  • Hazel O’Connor- Waiting
  • Runaways- American Nights
  • Toyah- War Boys
  • The Belle Stars- Iko Iko


Platinum Girl: A Tribute To Blondie


Format: CD

Label: Cleopatra

Country: US

Year: 2000 (March 7)

Price paid: $1

Purchased at: thrift store, Rochester NY


Compilations are a tricky thing. When a music company sits down to hammer out a musical compendium there’s two major tracts they can take after the relatively easy concept or theme has been determined.

The first, and usually most successful, is to go out and hunt down pre-existing tracks, ponying up what needs to be paid to get the highest level of talent available. This is the most traditional route; rarely before the nineties do you see the second more insidious method pop up…

It looks great on paper: You’re a small-to-midsize indie label with a great roster of artists. A compilation album seems like a great fun way for consumers to become familiar with your talent; they buy the disc based on the few artists they do know, hoping that they’ll be introduced to new artists of a similar ilk. The problems really start to pop up when you then take those artists and attempt to shoehorn them into your ‘concept.’ Some don’t fit stylistically. Others don’t have the chops to do justice to the source material. And some just don’t give a shit.

It got pretty bad for a while there, this glut of mediocre and pointless compilations. Used CD bins seemed to be filled with them and they couldn’t give them away. You’d pick up a disc to check out the artists and be hit with a dozen or so names you’d never heard of. This first time coming across one of these was great as it seemed like quite the bargain, but by the second or third or fiftieth compilation it was apparent that you’ve never heard of these artists for a reason. In many cases the ‘artists’ didn’t even exist, or just barely so (see below.)

What it boils down to is that there are two ways to do a Blondie tribute album, the ‘right’ way and the ‘wrong’ way. Oh I’m sure there are shades of gray between these two extremes (the ‘mostly right way’ and the ‘decidedly horrible but still listenable’ way to name but two), but I’m going into this with the attitude that the compilation being reviewed here today is either a pleasant listening experience or not worthy of being used to scrape the poop off of Debbie Harry’s shoes.

A few ground rules:

This Blondie compilation will be dissected song-by-song, and at the end the results tabulated. I’ll use a one to ten grading system, with ten equaling ‘awesome’ and one being ‘pretty shitty.’ Subjective as hell I know. The categories under consideration are:

Listenability– Perhaps the most important aspect. Is it a good song?

Originality– Any idiot with a guitar can cover a song. A truly talented idiot can cover a song well. But it takes a real artist to take what has come before and run with it, mutating and transforming the source material into something unique and engaging. If this hasn’t been accomplished then, well, I might as well just listen to the original.

Blondieness– Ok, so you’ve got the ‘originality’ thing covered and it’s sufficiently melodic that I don’t feel like running out of the room screaming. But is it still Blondie? If the song is changed beyond recognition then it’s not very successful, or at least not effective enough to pass as a tribute.

Alright, let’s dig into this puppy and see what we’ve got:


Mephisto Walz: ‘Hangin’ On the Telephone’– Goth band that’s been around in one form or another since the mid-80s, Mephisto Walz (formerly ‘Waltz’) was formed by Barry Galvin upon his departure from Christian Death. This cover is rather spry for the group, a jangly wall of sound with distant vocals as if sung from in a cavern.

  • Listenability: 7
  • Originality: 6
  • Blondiness: 5


Berlin: ‘Shayla’– This 80’s supergroup Berlin need no introduction I’m sure. The vocals are of course top notch, I could do without the cheesy 90’s-sounding rap nonsense that brings to mind Duran Duran’s ‘White Lines.’ Not a compliment.

  • Listenability: 8
  • Originality: 7
  • Blondiness: 6


Spahn Ranch (featuring Vylette): ‘Dreaming’– Another Goth (or Electro-Industrial to be more specific) band on the Cleopatra payroll, this group was active through most of the 90s and have an extensive back catalog. Early vocalist Scott “Chopper” Franklin would go on to be the bassist for The Cramps and in ’93 they were joined by drummer David Glass from Christian Death. The band called it a day around the time this compilation was released. I’m rather fond of this version, although with its deadpan tongue-in-cheek heavily modulated vocals it doesn’t lend itself to frequent listens.

  • Listenability: 4
  • Originality: 9
  • Blondiness: 4



Tiffany c. 2012 appearing on the TV show ‘What Not To Wear’

Tiffany: ‘Call Me’– 80’s teen heartthrob Tiffany (aka Tiffany Renee Darwish) is no stranger to covers. ‘I Think We’re Alone Now’ (Tommy James and the Shondells did it first and came in at #4 on the charts, her version reached #1 in both the US and UK) and ‘I Saw Him Standing There’ (Beatles cover, her version reached #7 in the US and #8 in the UK) were two of her biggest hits after all. Her take on Blondie is rather academic and ‘safe’, not truly doing justice to either Debbie Harry or Tiffany. Competent but unremarkable.

  • Listenability: 4
  • Originality: 2
  • Blondiness: 8


Swing Cats (with Christi Ellen Harris): ‘I’m Gonna Love You Too– Thanks to Brain Seltzer retro-swing was all the rage back in the mid-90s. Former Stray Cats associates Lee Rocker and Slim Jim Phantom formed the Swing Cats to cash in on the craze (or bring their ‘creative interpretation’ to the genre, whichever you prefer), along with form Honeydrippers’ guitarist Danny B. Harvey. Who Christi Ellen Harris is is still a mystery; suffice it to say her music career was brief at best. And that’s really a shame ‘cause she’s really good! As is this cover, easily one of the strongest of the lot. Reminds me of The Dickies ‘Banana Splits’ cover.

  • Listenability: 9
  • Originality: 9
  • Blondiness: 8


Michelle Crispin: ‘Rapture– Former lead singer of the first openly (albeit sleazy) lesbian group Fem2Fem, Michelle’s solo career seems to have never taken off. She released a lone 12” single in the late nineties and then completely fell off the radar. The music sounds like off-the-shelf video game filler from some B-list turn-of-the-century driving game and the rap parts are completely butchered beyond recognition.

  • Listenability: 2
  • Originality: 4
  • Blondiness: 2


Rosetta Stone (featuring Mula): ‘Sunday Girl– Yet another Goth band on the Cleopatra label (this one from the UK), the band had a UK top forty hit with their rather odd cover of The Rattles’ song ‘The Witch.’ Who is Mula? A complete mystery; like several other bands on this compilation it appears they enlisted a female vocalist, the sausage fest that was Rosetta Stone perhaps deemed too masculine? It’s slow and plodding, but against all odds this one’s surprisingly good… and not half as cheesy as it could have been.

  • Listenability: 6
  • Originality: 7
  • Blondiness: 8


The Electric Hellfire Club: ‘Rush Rush– Formed by Buck Ryder (aka Thomas Thorn, formerly of My Life With The Thrill Kill Cult) in 1991, this industrial-metal outfit has a history spanning decades. Another odd band choice for a Blondie cover album, but obviously Cleopatra had to work with what talent they had at hand. And again I’m shocked that this unlikely marriage of styles turned out so well. Hard and alight with buzz sawing guitars, it’s tempered by a sweet delicate female voice and crafted with loving care by musicians that not only appreciate Blondie, but ‘get’ what it means to BE Blondie.

  • Listenability: 8
  • Originality: 9
  • Blondiness: 9


Sheep On Drugs, c. 2013

Sheep On Drugs, c. 2013

Sheep On Drugs: ‘The Tide Is High– British techno/dance-punk raver band formed in the 90s and still around today. I’m not sure of their relationship with the Cleopatra label, but they appear on several tribute compilations around the time of this CD’s release. I do not like this cover. It’s a frantic mess, surprisingly empty for all of the aural flotsam being thrown at my ears.

  • Listenability: 2
  • Originality: 3
  • Blondiness: 1


Ex-Voto: ‘Accidents Never Happen– Goth/deathrock band from New Orleans, Ex-Voto have four studio albums to their name and appear to have been active at least up until 2009. Their typical work is of the depressive droning male-vocal variety typical of the genre but this tune is peppy, lively, and delightfully heavy on the synthwork. Altogether enjoyable!

  • Listenability: 8
  • Originality: 6
  • Blondiness: 7


Angela Bruyiere: ‘Heart of Glass– I know nothing about this artist, and a quick Google search pulls up absolutely nothing about her… other than she appears on this compilation and nowhere else. Competent but completely uninspired cover. Angela seems to be channeling Donna Summer, as the breathy wispy vocals evoke images of discos and roller skating rinks.

  • Listenability: 5
  • Originality: 3
  • Blondiness: 7


Razed In Black (featuring Shirley Dayton): ‘Rapture– I’m beginning to sense a theme here. Yet another goth band, this one with supposed elements of dark-wave, synthpop, and techno comprising their typical sound. The artist Shirley Dayton is relatively unknown; she appears on several other Cleopatra compilations as well as the 1999 Razed In Black (going under their alternative name ‘Transmutater’) album ‘Colony of Sluts.’ With this track we break the cardinal rule of compilation albums- ONLY ONE COVER OF THE SAME SONG PER COMILATION! Either this track or Michelle Crispin’s version should have been given the boot… it’s kind of a toss-up as to which one, as quite frankly they both kinda suck. More breathy sub-Donna Summer vocals overlaid on a barren uninspired syth track.

  • Listenability: 4
  • Originality: 1
  • Blondiness: 5


Cherie Currie and her chainsaw art, c. 2013

Cherie Currie and her chainsaw art, c. 2013

Cherie Currie: ‘For Your Eyes Only– They made a rather odd choice in enlisting ex-Runaway, sometimes-actress, and professional chainsaw wood carver Cherie to make a contribution. An even odder choice (arty or annoying, you decide) that her contribution be ‘For Your Eyes Only’, a rather disposable song from Blondie’s rather disposable sixth studio album, 1982’s ‘The Hunter.’ The song was originally written for the James Bond film of the same name, but ultimately rejected by the producers. Cherie’s take is, perhaps not surprisingly, somewhat of a bloated self-indulgent mess. Bond on lithium.

  • Listenability: 2
  • Originality: 4
  • Blondiness: 3


Puppie: ‘One Way or Another– Nothing is known of the band or artist known as ‘Puppie.’ Perhaps the singer was a secretary working at Cleopatra Records when the producers of this album came running out of the studio, desperate to find a vocalist in order to finish off the last track to meet a tight deadline. That’s my theory anyway and true or not, it sure comes off that way. The treatment of this song might have looked good on paper and it’s cute for about five seconds, but quickly becomes shrill and annoying.

  • Listenability: 2
  • Originality: 6
  • Blondiness: 2


  • Overall listenability: 4.62 out of 10
  • Overall originality: 5.57 out of 10
  • Overall Blondieness: 5.35 out of 10


The numbers pretty much play out my thoughts. A slightly better than average tribute album, brought down by a few weak acts and Cleopatra’s limited roster of talent. If they had trimmed the number of tracks from 14 down to 10 and ditched a few of the weaker links the experience would have been much more pleasant.

The package design itself is another weak link; had it been stronger this disc probably would be more widely known. As it is it comes across as one of those generic compilation albums put out by session artists. So bland and flat is the layout that when I came across this disc at a thrift store I almost passed it over. Bonus points for the incorporation of ‘platinum’ ink… but inside a jewel case it just looks gray.


Blondie: Heroes 12″


Format: 12″

Label: Chrysalis

Country: West Germany

Year: 1982

Price paid: $9.50

Purchased at: Angry Mom Records, Ithaca NY


Though nothing will keep us together

We could steal time just for one day…

‘Heroes’ is a cover of the (now) popular Bowie song, recorded live on 12 January 1980 at The Hammersmith Odeon in London.

Strangely or maybe not, as it’s a live track of merely passable audio quality it was only released in Germany- as this special official ‘Super Sound Single.’ The B-side includes the French version of ‘Sunday Girl’ (the original English version is from the 1978 album ‘Parallel Lines’, this version originally appeared on the 1979 UK 12″ single) and ‘In The Flesh’ (from their 1976 self-titled debut LP.)

Robert Fripp plays guitar on ‘Heroes’; the single was co-written by David Bowie and Brian Eno, so one assumes there must be an Eno/Fripp connection at some level. Since Eno and Fripp released four collaborative studio albums between 1973 and 2007 and all.

The sleeve art is typical of the period for a mainland Europe release. That is, an undersized photo on a plain field with some text around it. The saving grace is that the image of Debbie Harry chosen is pleasant on the eyes. Bonus points for the Andy Warhol shirt.


Like, Omigod!: The Totally 80s Pop Culture Box


Format: CD (7) boxed set
Label: Rhino
Country: US
Year: 2002
Price paid: $20
Purchased at: The Sound Garden, Syracuse NY


I have this theory, one amongst many, that when it came to American popular music the eighties were a decade of opposites. One could argue that a line could be drawn in the sand in any decade and the tea leaves unearthed easily read with multiple interpretations, but just go with me on this…
NW1The 80s had two faces. On the one hand you had the valleygirl-filled wonderland with shopping malls on every corner, pink Izod-clad preppies roaming the halls of shiny high schools fighting competitive clique warfare, and moms in Day-Glo leg warmers sweating to a Jane Fonda workout record. This was perhaps maybe two percent of America. It existed… I saw it on a trip to Los Angeles in 1986 and it was full-on rad. But for the vast majority of us it was a rather dire grey time with no cell phones or internet. Hell, growing up my house didn’t even have a microwave, VCR, and cable TV until halfway through the decade. This compilation clearly fits into the former, distilling the decade down to a hot pink Mohawk.

NW2Now that I think about it there’s another level of eighties stratification. On the one hand you had the glistening pop sphere that dominated the charts. Bubblegum and other generally squeaky-clean genres that said little… but said it loudly. And then there was that subterranean world that flowed darkly and deeply below the surface, a nameless entity that pop plundered periodically for its style. So vast, it had no name, no cohesive single style that one could hang a hat on. Towards the end of the eighties this undercurrent became more codified… more marketable… and began to be known by names such as ‘Indie’ and ‘Alternative.’ This compilation without question fits into that first camp, the likes of Siouxsie and Concrete Blonde need not apply. Although Robert Smith managed to sneak in somehow.

NW3And then there’s the whole early eighties/late eighties thing. Stylistically there’s a sharp difference between the two, and that division can be drawn pretty much at the half-decade mark. Early eighties was dominated by New Wave (capital ‘N’ capital ‘W’) with its fondness for synthesizers and neon, but by 1985 that style was swiftly falling out of favor, to be replaced by a leaner and far less fifties-style kitsch aesthetic. The gulf between Devo and New Kids on the Block (both appear here) is vast; they have nothing in common save for appearing on the head and ass ends of the decade, respectively. This compilation (thankfully) spends a vast majority of its time in the pre-1985 big hair period, with only a spattering of crap like Bobby McFerrin and later-day B-52’s.

And then there’s, well don’t get me started on the heavy US bias on display here. I guess that’s to be expected since this IS an American product meant for consumption by Americans, but it paints a weird and highly exclusive picture. Suffice it to say you won’t be finding any Toyah or Kate Bush in this collection, while artists like Bananrama and Thomas Dolby are pegged as One-Hit Wonders at best…

The packaging is exactly what you’d expect, sizzling like a radioactive avocado and nail polish. So many eighties’ design clichés are packed per square inch that the whole affair threatens to collapse in on itself in a riot of neon at any moment. At this point in the game, some 30 years on, even a blind chimp knows enough of the decade’s style to throw together a passable design. Where the package really shines though is in its excess- hefty gatefold multi-chambered case, seven garish CDs, and a colorful (if not remedial) square-bound booklet that sizzles with style over substance.




The tunes themselves are a mixed bag, but at 142 tracks there’s more than enough to go around. They range from predictable yet good (‘Whip It’, ‘Mickey’, ‘867-5309’), to the slightly surprising (‘Pac-Man Fever’, ‘Genius of Love’, ‘Voices Scary’) to the downright crappy (‘Sister Christian’, ‘Keep Your Hands to Yourself’, ‘Let’s Hear it For the Boy’.) There’s also more than a few soundtrack/TV show themes thrown in to spice up the mix a little, but with ditties like ‘9 to 5’ and ‘Theme from the Greatest American Hero’ I would have been happier with a few more B-list songs.

Overall I’d have to call this a great little set for what it is. There’s more than enough good stuff on here to entertain for hours on a long car trip and I think ultimately I think that’s what Rhino were after- a disposable glimpse into a disposable decade. Totally.



The massive track list:

Disc 1 (21 tracks)
1. “Whip It” — Devo 2:39 (1980)
2. “Video Killed the Radio Star” — The Buggles 3:27 (1979)
3. “Empire Strikes Back (Medley)” — Meco 3:03 (1980)
4. “Another One Bites the Dust” — Queen 3:34 (1980)
5. “Celebration” — Kool & the Gang 3:43 (1981)
6. “The Breaks (Pt. 1)” — Kurtis Blow 4:09 (1980)
7. “Let My Love Open the Door” — Pete Townshend 2:44 (1980)
8. “Call Me” — Blondie 3:32 (1980)
9. “Keep on Loving You” — REO Speedwagon 3:22 (1981)
10. “Turning Japanese” — The Vapors 3:44 (1980)
11. “Lost in Love” — Air Supply 3:54 (1980)
12. “9 to 5” — Dolly Parton 2:46 (1980)
13. “I Love a Rainy Night” — Eddie Rabbitt 3:10 (1980)
14. “Sailing” — Christopher Cross 4:16 (1980)
15. “Just the Two of Us” — Grover Washington, Jr. and Bill Withers 3:58 (1981)
16. “Cars” — Gary Numan 3:57 (1980)
17. “Ah! Leah!” — Donnie Iris 3:43 (1980)
18. “Sweetheart” — Franke and the Knockouts 3:49 (1981)
19. “Shake It Up” — The Cars 3:34 (1981)
20. “General Hospi-Tale” — The Afternoon Delights 4:01 (1981)
21. “The Stroke” — Billy Squier 3:37 (1981)

Disc 2 (20 tracks)
1. “Dancing with Myself” — Billy Idol 3:19 (1981)
2. “Working for the Weekend” — Loverboy 3:41 (1981)
3. “Jessie’s Girl” — Rick Springfield 3:15 (1981)
4. “Genius of Love” — Tom Tom Club 3:30 (1981)
5. “Centerfold” — The J. Geils Band 3:38 (1982)
6. “At This Moment” — Billy Vera & the Beaters 4:14 (1986)
7. “Harden My Heart” — Quarterflash 3:37 (1982)
8. “Hold on Loosely” — .38 Special 3:55 (1981)
9. “Theme from ‘Greatest American Hero’ (Believe It or Not)” — Joey Scarbury 3:14 (1981)
10. “Take Off” — Bob and Doug McKenzie 2:43 (1981)
11. “Super Freak (Pt. 1)” — Rick James 3:20 (1981)
12. “867-5309/Jenny” — Tommy Tutone 3:47 (1982)
13. “Bette Davis Eyes” — Kim Carnes 3:45 (1981)
14. “Time” — The Alan Parsons Project 4:32 (1981)
15. “Gloria” — Laura Branigan 4:52 (1982)
16. “Maneater” — Hall & Oates 4:32 (1982)
17. “The Theme from Hill Street Blues” — Mike Post 3:14 (1981)
18. “Valley Girl” — Frank Zappa with Moon Unit 3:48 (1982)
19. “Da Da Da (I Don’t Love You You Don’t Love Me Aha Aha Aha)” — Trio 3:25 (1981)
20. “You Dropped a Bomb on Me” — The Gap Band 4:03 (1982)

Disc 3 (21 tracks)
1. “Hungry Like the Wolf” — Duran Duran 4:05 (1982)
2. “The Look of Love (Pt. 1)” — ABC 3:31 (1982)
3. “Tainted Love” — Soft Cell 2:42 (1981)
4. “Rock This Town” — Stray Cats 2:40 (1982)
5. “Lies” — Thompson Twins 3:14 (1983)
6. “Words” — Missing Persons 4:24 (1982)
7. “Don’t You Want Me” — The Human League 3:58 (1981)
8. “Love Plus One” — Haircut 100 3:37 (1982)
9. “Down Under” — Men at Work 3:43 (1982)
10. “Steppin’ Out” — Joe Jackson 3:47 (1982)
11. “I Want Candy” — Bow Wow Wow 2:46 (1982)
12. “Come On Eileen” — Dexys Midnight Runners 4:14 (1983)
13. “Mickey” — Toni Basil 3:27 (1982)
14. “Twilight Zone” — Golden Earring 4:51 (1982)
15. “You Should Hear How She Talks About You” — Melissa Manchester 3:58 (1982)
16. “Key Largo” — Bertie Higgins 3:07 (1982)
17. “Pac-Man Fever” — Buckner & Garcia 3:55 (1982)
18. “Total Eclipse of the Heart” — Bonnie Tyler 5:35 (1983)
19. “Africa” — Toto 4:19 (1983)
20. “Goodbye to You” — Scandal 3:47 (1982)
21. “Puttin’ on the Ritz” — Taco 3:25 (1982)

Disc 4 (20 tracks)
1. “Jeopardy” — The Greg Kihn Band 3:47 (1983)
2. “She Blinded Me with Science” — Thomas Dolby 3:42 (1982)
3. “Electric Avenue” — Eddy Grant 3:49 (1982)
4. “Sweet Dreams (Are Made of This)” — Eurythmics 3:36 (1983)
5. “Our House” — Madness 3:23 (1982)
6. “The Salt in My Tears” — Martin Briley 3:30 (1983)
7. “Girls Just Want to Have Fun” — Cyndi Lauper 3:53 (1983)
8. “Talking in Your Sleep” — The Romantics 3:57 (1983)
9. “Major Tom (Coming Home)” — Peter Schilling 4:12 (1983)
10. “Always Something There to Remind Me” — Naked Eyes 3:41 (1983)
11. “In a Big Country” — Big Country 3:55 (1983)
12. “One Thing Leads to Another” — The Fixx 3:24 (1983)
13. “Der Kommisar” — After the Fire 4:08 (1983)
14. “Suddenly Last Summer” — The Motels 3:42 (1983)
15. “Karma Chameleon” — Culture Club 4:08 (1984)
16. “Let’s Go to Bed” — The Cure 3:34 (1982)
17. “Too Shy” — Kajagoogoo 3:36 (1983)
18. “Maniac” — Michael Sembello 4:11 (1983)
19. “Sister Christian” — Night Ranger 4:21 (1984)
20. “Cum on Feel the Noize” — Quiet Riot 3:27 (1984)

Disc 5 (20 tracks)
1. “Owner of a Lonely Heart” — Yes 3:51 (1983)
2. “Mr. Roboto” — Styx 4:49 (1983)
3. “I’m So Excited” — The Pointer Sisters 3:50 (1984)
4. “Back on the Chain Gang” — The Pretenders 3:53 (1982)
5. “I Want to Know What Love Is” — Foreigner 5:00 (1984)
6. “Sunglasses at Night” — Corey Hart 3:54 (1984)
7. “Missing You” — John Waite 4:02 (1984)
8. “99 Luftballons” — Nena 3:53 (1983)
9. “Tenderness” — General Public 3:31 (1984)
10. “They Don’t Know” — Tracey Ullman 3:01 (1983)
11. “Heaven” — Bryan Adams 3:58 (1985)
12. “White Horse” — Laid Back 3:53 (1983)
13. “Let the Music Play” — Shannon 4:31 (1983)
14. “Let’s Hear It for the Boy” — Deniece Williams 4:10 (1984)
15. “Cool It Now” — New Edition 4:09 (1984)
16. “Ghostbusters” — Ray Parker, Jr. 4:00 (1984)
17. “Footloose” — Kenny Loggins 3:44 (1984)
18. “We’re Not Gonna Take It” — Twisted Sister 3:39 (1984)
19. “Rock You Like a Hurricane” — Scorpions 4:12 (1984)
20. “The Glamorous Life” — Sheila E. 3:42 (1984)

Disc 6 (20 tracks)
1. “Obsession” — Animotion 3:58 (1985)
2. “Shout” — Tears for Fears 4:06 (1985)
3. “Take on Me” — a-ha 3:47 (1985)
4. “Don’t You (Forget About Me)” — Simple Minds 4:20 (1985)
5. “Walking on Sunshine” — Katrina and the Waves 3:59 (1985)
6. “Voices Carry” — ‘Til Tuesday 4:23 (1985)
7. “Weird Science” — Oingo Boingo 3:49 (1985)
8. “You Spin Me Round (Like a Record)” — Dead or Alive 3:17 (1985)
9. “Miami Vice Theme” — Jan Hammer 2:27 (1985)
10. “Life in a Northern Town” — The Dream Academy 4:17 (1986)
11. “Kyrie” — Mr. Mister 4:15 (1985)
12. “Everytime You Go Away” — Paul Young 4:16 (1985)
13. “We Built This City” — Starship 4:56 (1985)
14. “St. Elmo’s Fire (Man in Motion)” — John Parr 4:10 (1985)
15. “Addicted to Love” — Robert Palmer 4:01 (1986)
16. “Axel F” — Harold Faltermeyer 3:01 (1985)
17. “Rhythm of the Night” — DeBarge 3:54 (1985)
18. “You Look Marvelous” — Billy Crystal 3:58 (1985)
19. “Heartbeat” — Don Johnson 4:17 (1986)
20. “Everybody Have Fun Tonight” — Wang Chung 4:11 (1986)

Disc 7 (20 tracks)
1. “Venus” — Bananarama 3:50 (1986)
2. “Walk Like an Egyptian” — The Bangles 3:23 (1986)
3. “Paranoimia” — Art of Noise and Max Headroom 3:18 (1986)
4. “If You Leave” — Orchestral Manoeuvres in the Dark 4:26 (1986)
5. “Keep Your Hands to Yourself” — The Georgia Satellites 3:24 (1986)
6. “What You Need” — INXS 3:35 (1986)
7. “Walk This Way” — Run-D.M.C. 3:39 (1986)
8. “Rumors” — Timex Social Club 3:33 (1986)
9. “Don’t Dream It’s Over” — Crowded House 3:57 (1987)
10. “Holding Back the Years” — Simply Red 4:12 (1986)
11. “I’ll Be Loving You (Forever)” — New Kids on the Block 3:57 (1989)
12. “Tuff Enuff” — The Fabulous Thunderbirds 3:23 (1986)
13. “Since You’ve Been Gone” — The Outfield 4:13 (1987)
14. “Only in My Dreams” — Debbie Gibson 3:52 (1987)
15. “Never Gonna Give You Up” — Rick Astley 3:32 (1988)
16. “La Bamba” — Los Lobos 2:54 (1987)
17. “Wild, Wild West” — The Escape Club 4:06 (1988)
18. “Don’t Worry, Be Happy” — Bobby McFerrin 3:55 (1988)
19. “Right Here Waiting” — Richard Marx 4:25 (1989)
20. “Roam” — The B-52’s 4:04 (1989)

Mojo: Issue #63, February 1999


Format: Magazine

Publisher: JAT Publishing

Country: UK

Year: 1999

Price paid: $2.50

Purchased at: The Books End, Syracuse NY


An ongoing monthly publication since 1993, Mojo (Magazine) is a British periodical concerned with all things music, touting itself as ‘THE Music Magazine®’ (my emphasis.) Originally boasting a ‘classic rock’ focus centered around artist such as Bob Dylan and the Beatles, the magazine (by the publication of this issue, anyway) evolved more of a general rock focus which included contemporary breaking bands.

mojo_blondie4The band Blondie had lay dormant for well over a decade, but reformed in the late 90s. The album ‘No Exit’ was released in February of 1997 to great success, reaching #18 on the US charts and #3 in the UK, where it went gold. As a long-time Blondie fan I feel at least a slight bit of conviction when I state that the album- exception of the awesome single ‘Maria’- wasn’t really that good. Or at least not as immediate and edgy as their 80s fare.

Also released in February of 1999 was this issue of Mojo with a well timed cover story on Blondie. Mojo doesn’t dick around; Blondie’s article is a massive 20-page affair litter with a generous helping of images, both old and new.

Other than the stunning Blondie coverage, articles of relevance to this blog include:

  • Interview with Saffron of Republica
  • New Order- New year, new album?
  • 10 Questions for Alanis Morissette
  • The Theatre of Cruelty: John Cale and the Velvet Underground


  • Various- ‘1-2-3-4: Punk and New Wave 1976-1979’ (5-CD set)
  • Iggy and the Stooges- ‘Metallic K.O.’
  • The Selecter- ‘Cruel Britannia’
  • Nick Lowe (review of live gig)

The ever-lovely Saffron displays her fine taste in music…

This is the only issue I currently have of the magazine, so my aesthetics evaluation is based on this loan example. The text is dense and packed with photos. Ads are minimal, and when they appear are music-related (usually album promotions.) The reviews section is massive and comprehensive. A lot of bang for your buck. My only real complaint would be that the magazine appears to be male-centered (only guys can make serious, meaningful music after all) as all but ONE of the 60 or so issues shown available for back order have a female on the cover (Chrissie Hynde, issue #11.)



A sample of the live acts you could have caught in the first half of ’99

Adult Net: Where Were You / Over the River

adult net_ where were you

Format: 7″

Label: Fontana (BRX 2)

Country: UK

Year: 1989

Price paid: $1.50

Purchased at: My Mind’s Eye, Cleveland OH


You’re looking good it’s hard to fight it

No use explaining, I’ve already decided

That living with you’s worse than living without you

I won’t spend a lifetime worrying about you

‘Where Were You’ was Brix’s highest-charting single, reaching #66 on the UK charts. It was released in this standard version and a gatefold version. A brief history of the band and its connections is discussed in the description of her LP ‘The Honey Tangle’ although I will mention here that the band consisted in part of Clem Burke (Blondie), James Eller (The The), and Craig Gannon (The Smiths.)

The song is indicative of the entire album- jangly power-pop with more than a tinge of neo-psychedelia. Hazy and dreamlike, similar in tone to other UK ‘blonde’ bands of the period, but with a unique spin to the subgenre- in no small part due Brix’s distinctively whiny yet lilting voice.

The sleeve art is a slick sensuous electric blue delight designed by John Warwicker, an artist responsible for many of Adult Net’s sleeves as well as designing for genre bands such as Iggy Pop, Susan Vega, The Thompson Twins, and Duran Duran.

adult net_ where were you2

Blondie: Blondie’s Hits

Format: LP

Label: Chrysalis

Country: Germany

Year: 1981

Price paid: $10

Place Purchased: The Record Archive, Rochester NY


For some reason Germany felt the need to reinvent the wheel. Badly.

I picked this one up just ’cause I thought it was a cool variant. The art design is crude and near-bootleg in quality. What a naive and inappropriate font choice- it’s so huge and smushed together! But that’s part of the charm IMO.

Not too much to say about this one really. Wiki lists the US and international versions of ‘Best of Blondie,’ but does not list this album. The US and international versions have different track orders, and the international has two more tracks than the US version. This German version is identical to the US version… except they switched out one track. Weird, why bother?

Comparison of US (left) and German (right) compilations

New Women in Rock

Author: Liz Thompson (editor)
Format: book
Publisher: Delilah/Putnam/Omnibus Press
Country: US
Year: 1982
Location purchased: 1/2 Price Book Warehouse, Syracuse NY


If you don’t know by now female vocalists are my thing. British groups/artists in particular. No one text has had a greater impact on my musical tastes and education than this book- flipping through it now I’m STILL amazed by the sheer amount of obscure data it contains…

‘New Women in Rock’ covers (not surprisingly) female artists that were hot in 1982. So tight is its focus though it could have been easily been called ‘Women in New Wave’ or even- and more accurately- ‘British Women in New Wave’ were it not for the inclusion of a few odd ducks such as Bette Midler and Joan Armatrading.

The biggies you’d expect to find are all here- Lene Lovich, Blondie, and Siouxsie to name a few. Where the book really shines though is the inclusion and equal treatment of all but unknown artists today such as Wendy Wu and the Photos, The Mo-Dettes, and Cherry Vanilla.The book assumes that you- a contemporary 1982 music lover- have at least a working knowledge of the artists covered; the write-ups are more of a ‘slice of life’ than an in-depth history.

Eleven different authors contribute, each with their own approach to their chosen subject. It is unclear if the article-format essays were written exclusively for this book (I assume they are), but the inclusion of writers such as Vivien Goldman hints at a deeper level of commitment to the subject since many are prominent reviewers of the day.

The book itself is gorgeous. Oversized and full-color, it contains many photographs of the artists I haven’t seen anywhere else. The layout is tight and stylish, dripping with top-notch 80’s class right down to the font choices- the slick presentation you’d expect from 80’s Omnibus Press offerings. There’s a rather comprehensive discography included as well; I’m sure hardcore completeness will snigger at the inevitable omissions, but it should keep the layman happy and busy attempting to track down its contents for quite a while.

Copies can still be found rather easily and cheaply today. Highly recommended.