Tag: 1981
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John Lennon, Rock ‘n’ Roll, 1981 on MFP/Parlophone
Originally released in the US and UK on Apple Records in 1975, these recordings were made at A&M studios (LA) in late 1973 and the Power Plant in New York in late 1974, during Lennon’s so called “lost weekend” where he was separated from Yoko Ono and doing a fair amount of drinking and drugs.…
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The B-52’s, Party Mix!, 1981 on Warner Bros.
This EP came out after both the debut self-titled and Wild Planet, and features three songs from each, remixed (as a “Party Remix” by Daniel Coulombe, Steven Stanley, and Paul Wexler and mixed into one long track per-side (cross-faded). Who can resist an album called Party Mix! from the ultimate party band? My copy—via Big…
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Leo Kottke, Guitar Music, 1981 on Chrysalis
Eleventh (?) LP from Kottke, a solo outing instrumental style. Recorded at Sound 80 in the Seward neighborhood of Minneapolis. Includes a cover of Ry Cooder’s Available Space” as well as “Tumbling Tumbleweeds” and eight originals. My copy—via Salem Flea Marketplace—is a Santa Maria pressing on blue Chrysalis labels.
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Sir Douglas Quintet, Live From Austin TX, 2006 on New West
Doug Sahm’s Sir Douglas Quintet recorded in 1981 but released in 2006 (on CD/DVD) / 2018 (vinyl) – live on Austin City Limits. (In 1981 that means the old Studio 6A at UT Austin, not the new Moody Theater). This was part of a reunion tour after the quintet split up in the early 70s…
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Abbey Lincoln, Golden Lady, 1981 on Inner City
Originally issued by Blue Marge in France under the name Painted Lady (Abbey Lincoln in Paris), the first US issue was on Inner City Records under the name Golden Lady. Aminata Moseka, the name she adopted in the mid seventies, also appears in a parenthetical on the cover, along with Archie Shepp who accompanies her.…
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The Cure, Faith, 1981 on Fiction
The Cure’s third full length, between Seventeen Seconds and Pornography, released in 1981 on Fiction records in the UK, and later in the US on Elektra in 1988. I had this on some form of import – likely a friend made an illegal cassette copy for me – in the mid 80s, but was happy…
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Echo And The Bunnymen, Heaven Up Here, 1981 on Sire/Korova
Second album from Echo & the Bunnymen, produced by Hugh Jones (and the band) and recorded in Wales. It was put out by Korova in the UK and Sire in the US. While Crocodiles didn’t chart in the US this one did. The photo on the cover – taken on the shore in Wales –…
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Modern English, Mesh & Lace, 1981 on 4AD
Debut album from Modern English on the 4AD label. This wasn’t released in the US formally until the 2012 CD reissue and then 2016 on vinyl. The debut is a bit darker and more derivative of Joy Division than some of the later work but still a really strong collection of songs. I always loved…
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Bauhaus, Mask, 1981 on Beggars Banquet
Second studio album from Bauhaus and their first on Beggars Banquet (In The Flat Field was on 4AD), with a cover drawn by Daniel Ash, across a gatefold and on the labels. The first five Bauhaus records are are perfect – as is the singles collection 1979-1983 and most of the bands that followed in…
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Foreigner, Foreigner 4, 1981 on Atlantic
Fourth (as the name suggests) full length studio album from Foreigner, who brought together three Brits and three Americans (making half the band at least foreigners wherever they played). Unavoidable on rock radio in the early 80s – “Juke Box Hero,” “Urgent,” and “Waiting For A Girl Like You.” My copy—via Dyno Records in Newburyport…
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The Romantics, Strictly Personal, 1981 on Nemporer
Third album from The Romantics, who originally came out of Detroit MI. Look at the new wave style here – matching pink leather suits and bolo ties. Did not reach the same heights as their self-titled debut and “What I Like About You” but continues in that same sound. Nemperor was a label founded by…
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Wall of Voodoo, Dark Continent, 1981 on I.R.S. Records
This was the debut album for Wall of Voodoo, before the big hit “Mexican Radio” which was on their follow-up Call of the West. In addition to the immensely talented Stan Ridgway (credited here as “Stanard Ridgway”) the band here includes Bruce Moreland, Joe Nanini, Marc Moreland, and Chas Gray. A live version of “Back…
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The Selecter, Celebrate the Bullet, 1981 on Chrysalis
The Selecter were a Coventry band on 2 Tone; Celebrate the Bullet was their second album, following Too Much Pressure. Neol Davies, Pauline Black, and Arthur Hendrickson did most of the songwriting here, with production by Roger Lomas. My copy—via Lucky Records in Reykjavik—is a 1981 Santa Maria pressing.
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Fleshtones, Roman Gods, 1981 on IRS Records
Debut album from Queens New York’s own The Fleshtones (credited as just Fleshtones here). This included the song – “Shadow-line (to J. Conrad)” – that was included in Urgh, a Music War!. Artwork by Carl Grasso. Produced by Richard Mazda and recorded (mostly) in New York at Skyline Studios. I.R.S. was one of my favorite…
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Squeeze, East Side Story, 1981 on A&M
Squeeze’s fourth studio LP, between 1980’s Argybargy and 1982’s Sweets from a Stranger. This was the first album after Jools Holland departed, replaced by Paul Carrack, who provided lead vocals on “Tempted.” Produced by Elvis Costello and Roger Bechirian, except for “In Quintessence” which was produced by Dave Edmunds. My copy, via Academy Records in…
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The Replacements; Sorry Ma, Forgot to Take Out the Trash; 1981 on Twin/Tone
This was the debut album of Minneapolis’ own The Replacements, in all its ragged glory. Somehow – likely because of how I acquired them – I’d always thought that Stink! (the EP) came out before Sorry, Ma – but it was the other way ’round. I don’t usually by CDs these days, but this reissue…
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The Time, The Time (Self-Titled), 1981 on Warner Bros.
This was the debut LP from Morris Day and co, though they started playing together in the early seventies under different names. The band here still includes Jimmy Jam and Terry Lewis, who went on to become a well-known producing duo, and guitarist Jesse Johnson who made some solo releases. While most folks know The…
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Rush, Exit . . . Stage Left, 1981 on Mercury
Like many, I found Rush as teen (or maybe pre-teen?) and was immediately hooked by the aggressive musicality and complexity and the allusive nature of Peart’s lyrics. Even the album title here is a reference to Snagglepuss (as well as a reference back to All The World’s a Stage?). Still holds up as an amazing…