When writing reviews for this website, we
mostly try to be unbiased and just listen to the music but at times that can be
hard to do. In this case it may be darn
near impossible. Huey Lewis and the News was the first band that I loved that
was not influenced by my parents or brothers.
They were the first band that I considered mine as no one else in the
family particularily cared. Lots of
others in North America cared as the band sold albums by the boatload
throughout the 80s. Universal in the
Netherlands has been releasing these three disc collections for a few
years. The first two discs focus on the
hits with the third being devoted to odds, sods and rarities.
The first disc here covers the band’s self titled debut released in 1980 through 1986’s Fore!. A whopping 8 tracks are taken from the band’s first two albums including their first top 10 hit, “Do You Believe In Love”. Six tracks are taken from the band’s smash hit album, Sports, that sold 7 million copies in the US alone. Rock music is celebrated on the “Heart of Rock n Roll”, a cover of “Heart and Soul” and “I Want a New Drug” where Lewis features his famous red suit in the video were all over pop rock radio in 1984 and form the core of this disc. “Power of Love” and “Back in Time” from the Back to the Future OST bridge to the tracks from Fore!. Somehow Bruce Hornsby co-write “Jacob’s Ladder” was a #1 single in 1987 while “Hip To Be Square” is one of their liveliest numbers. (9/10)
Disc two continues with tracks from Fore! Before moving to 1988’s Small World. Like a lot of bands the singles being released start to be on the slower side but “Perfect World” is one of the bands more memorable hits post Fore!. Social conscience starts to creep into the tracks on singles “Small World” and “Simple as That”. Blue collar tales of struggle take over lyrics about clubs and relationships from a few years earlier. The blue eyed soul of “(She’s) Some Kind of Wonderful” and “But It’s Alright” add a shot of adrenaline to the mix with the latter being a particular highlight. These tracks make a case for the band being the best bar band you’ll ever hear. Lewis’ raspy yet soulful voice is pleasing and the band effortlessly move from rock to soul and back again. (7.5/10)
Part of the band started out as Clover back in the early 70s and backed Elvis Costello for his first album, My Aim Is True, before moving back to San Francisco and forming Huey Lewis and the American Express with members of Soundhole. Songs from that era appear including oddball disco track “Excodisco”. Elsewhere a cover of The Beatles’ “Oh Darling” is here before remixes of several hits from the golden age. (7/10) Dropping a few early tracks from disc 1 and adding the better tracks from disc 2 would more than satisfy most fans. Those Huey fans wanting a deeper dive will be rewarded with several gems that appeared after the mid 80s heyday.
One of my favourite things about any new Vampire Weekend release, is the savage critique that Jim DeRogatis from Sound Opinions levels at it. While I generally don’t agree with much he says about the band, it is an amusing counterpoint to the near ecstatic reviews the band is used to. On Father of the Bride, this is no different. With producer and multi-instrumentalist Rostam Batmanglij no longer in the band but appearing here, it’s virtually an Ezra Koenig solo effort. And what an effort.
Once again, the band chose to work with Modern Vampires of the City in demand producer, Ariel Rechtshaid. Danielle Haim appears throughout the album
most notably on the country sounding first track, “Hold You Now” and on what
could be a lost Fleetwood Mac number from the 70s, “We Belong Together”. First
single, “Harmony Hall” is the standout track from the first half of the
album. Alluding to hate speech appearing
in universities, the mostly acoustic verses give way to nice piano bits in the
chorus where Koenig makes the, “I don’t want to live like this, but I don’t
want to die” lyric sound like an anthem.
Sharing the same name as a Charlie Puth track, “How Long”, has
a slinky bassline that powers the music with a killer chorus that could easily
be mistaken for the latest slick pop singer on hit radio. One of the hardest songs here, “Sympathy”,
with a vocal that sounds similar to Paul Simon, starts a run of music that is
one of the best of the year. “Stranger”
also shares certain Paul Simon vocal influences but this time in a more upbeat,
cheerful track. Coming in at just over
two minutes, “Sunflower” and its longer cousin “Flower Moon” both feature Steve
Lacy from the band The Internet. “Sunflower” is the strongest of several
shorter tracks that appear while the latter has a spoken vocal possibly
influenced by Lou Reed.
Coming at eighteen tracks, there are a few slower moments like “Big Blue” that doesn’t leave much of a mark over it’s two minutes and “My Mistake” suffers the same fate. This is minor quibbles on an album that has several runs of great songs. Coming into summer, this is definitely one to have on for long road trips and days at the beach. Regardless of what either Sound Opinion guy says, this is one of the best releases thus far of 2019.
Originating in Boston in the mid-70s, The Cars released
their self-titled debut in the early summer of 1978. Forever featured on compilations like Time Life
Collections, the band was at the foreground of the new wave scene. Adding synthesizers to classic, but
minimalist songwriting proved to be a winner. Though none of the three official
singles cracked the top 25, the album stayed on the charts for a mind boggling
139 weeks with most of the tracks being played endlessly on AOR radio stations.
In 2002, Elektra Records released The Cars compilation Complete Greatest Hits that pulled 6 of
the 9 songs from the debut. The three
aforementioned singles; “Good Times Roll”, “My Best Friend’s Girl”, and “Just
What I Needed”, are all classic American rock songs. 80s teenage movie goers will always remember “Moving
In Stereo” being used to great effect in Fast Times at Ridgemont High. Of the tracks not appearing on the greatest
hits collection, only “I’m In Touch with your World” suffers from a bit too
much artiness. “Don’t Cha Stop” is a fun
upbeat romp and “All Mixed Up” pushes the synthesizers to the foreground, adds
some atmosphere with Queen like group singing and a fine sax solo at the end.
The Cars debut features the songwriting of bandleader Ric
Ocasek who wrote all the tracks with help from keyboardist Greg Hawkes on “Moving
In Stereo”. Bassist Benjamin Orr takes
over lead vocals on several tracks including “Just What I Needed” and sounds
very similar to Ocasek’s so blends in seamlessly. Along with guitarist Elliot Easton and drummer
David Robinson, The Cars was one of
the best debut albums of the 1970s.