*Heart Stops Beating- Nick Piunti Beyond The Static
*So American- The Mutants So American
*Rockstar- The Fags Light 'Em Up
*You and Me- The Brunettes You and Me
*So So Alone- The Reruns So So Alone
*Ain't Gonna Take It- The Look Look Again
Starchild- Death By Unga Bunga Raw Muscular Power
I Can’t Get Over You- The Dogmatics Nowheresville
She Says- Gyasi Here Comes The Good Part
>Light of Love- The Pleasure Seekers Light of Love
>One Love- Sky Don't Hold Back
>Shakin' Street- MC5 Back In The U.S.A.
*I Like My Dad- The Plugs I Like My Dad
*Don't Come Crying To Me- Cinecyde I Left My Heart in Detroit City
*X-15- The Ivories X-15
*Jesus Chrysler- Luke Warm Featuring Jesus Chrysler And Other Original Recordings From 1980-81
*Richest Man- Brendan Benson Dear Life
^Power Pop Peak: #36 Billboard Hot 100 8/28/82
*SacroSet[s]: Detroit Power Pop
>Power Pop Prototype: 1968, 1970, 1970
My wife Jaime was born in East Lansing, MI and in June 1968, when she was 9, moved to Plymouth, MI in Wayne County- about 45 minutes west of Detroit. Their timing could've been better...
Less than a year after the July 1967 12th Street Riot there was another riot in Detroit following the assassination of Dr. Martin Luther King in April 1968. Fearmongering around forced desegration busing in the early 70's and the surging crime rate leading to "Murder City" headlines only made things worse. For my wife and many other white suburban Detroit kids, parents portrayed the city as a terrifying hellscape to be avoided at all costs. On her family's rare trips to Detroit for a Tigers game, to see a show at the Fisher Theater, or visit the Detroit Institute of Arts it would be in and out, making sure the gas tank was full beforehand and no stopping for shopping or a meal after. Even on my first visit to Plymouth in the early 90's I remember my future mother in law warning "don't go past 8 Mile," which my wife had heard thousands of times during her teen years. As a map guy, I immediately had to see what she was talking about and discovered that 8 Mile is LONG east/west road that starts at Lake St. Clair:
To go "past 8 Mile" from Plymouth you'd be driving north, away from Detroit. I pointed this out to my wife and she patiently explained that "past 8 Mile" is not just a geographic boundary, something we'd all learn from a movie 10 years later. Google AI explains it this way (my first use of AI in a blog post!):
"Don't go past 8 Mile" refers to the significant
cultural, racial, and geographical boundary of Eight Mile Road in Detroit,
Michigan, separating the Black city from its predominantly white suburbs,
famously depicted in Eminem's movie 8 Mile, where characters constantly
navigate this line as a social challenge, urging others to "go back"
across it. The phrase embodies themes of class, race, and finding your place,
especially in hip-hop culture, like in Eminem's breakout hit "Lose
Yourself" from the film, about seizing the moment despite these barriers.
I grew up on Boston's South Shore and going "in town" with my family or on school trips was a regular occurrence. The Museum of Science, Fenway Park, MFA, Symphony Hall, Quincy Market, the Aquarium, Boston Common/Public Garden, seeing Santa at Jordan Marsh- Boston was a wonderland growing up and I moved there the first chance I got. Needless to say, this was not the case for Jaime when the playground chatter is about whether or not the National Guard is going to blow up bridges to stop rioters from getting "past 8 mile."
Curious since 1976 when I first heard Kiss' epic "Detroit Rock City," hearing other songs over the years mythologizing Detroit further piqued my interest. In the early 80's, discovering The MC5's Kick Out The Jams, recorded live in 1969 at Detroit's Grande Ballroom, blew my mind (more on that band here). Jaime's older brother Kurt saw the MC5 at the Grande- not his cup of tea, he said it was "awful- a loud, cacophonous, mess" though he did appreciate their energy.
Before
every trip back to Plymouth in the 90's and 2000's I'd tell myself
"this time I'm going to check out Detroit" yet seeing how anxious it
made my mother-in-law I couldn't go through with it. We'd go to Ann
Arbor instead- a very cool college town west of Plymouth, though no one has yet written "Ann Arbor Rock City." (Bonus points for being Tom Brady's alma mater- I'd say "Go Blue!" here but my father-in-law was a Spartan and I don't want to disturb his eternal slumber.)
It wasn't until 2021, years after my in-laws passed, that Jaime and I got back to Detroit and it was an awesome trip. Cool bars, restaurants, record stores, the biggest farmer's market I've ever seen, a hopping downtown with tons of people out on the streets, Belle Isle Park- we were finally "past 8 mile" and loving every minute of it! The Motown Museum was unfortunately closed due to flooding but there was still plenty to see. We even got out to the Grande Ballroom- closed for decades but still standing:
While I picked up The Look's first two albums on our Detroit trip, I didn't come upon the record that inspired tonight's show until earlier this year at the great Record Safari in Silver Lake during a trip to Long Beach to meet my new Grandson. Toby Redd's A to Z may be my favorite discovery of the past five years. A to Z, by a Detroit band in 1982, feels more like a British band in 1979. These are accomplished musicians inspired by the "keep it simple" ethos of late 70's Punk, New Wave, and Power Pop. Sadly it didn't last- on the next album, 1986's In The Light where they were joined by future Red Hot Chili Pepper Chad Smith on drums, they succumbed to a trendy 80's MTV sound that is not my thing. A to Z though, man it is awesome!
Speaking of my new Grandson, the first gift we gave him is a book we purchased on our 2021 Detroit trip at Jack White's Third Man Records in Cass Corridor. Boy has that place changed since the Detroit Police rousted the MC5 all the way to Ann Arbor back in the day. Like so many places we visited in Detroit, Cass Corridor was hopping- galleries, restaurants, shops of all kinds, music clubs. My in-laws would've hardly recognized it!
Jack White and illustrator Elinor Blake
Click the link below to stream/download this week's show:
Let's give a big hand to tonight's dedicatee... Tatjana!
Tatjana- The Nubiles Mindblender
He's My Best Friend- Jellyfish Spilt Milk
Nothing Would Change- The Linda Lindas No Obligation
Hey, Guitar- Pernice Brothers Who Will You Believe
How Can I Love Her More?- The Lemon Twigs A Dream Is All We Know
The End Of The Day- Fastbacks For WHAT Reason!
^Turning Japanese- The Vapors New Clear Days
^Blister In The Sun- Violent Femmes Violent Femmes
^I Touch Myself- Divinyls I Touch Myself
^Jerk It Out- Caesars Jerk It Out
I'm Really Old- Death By Unga Bunga Raw Muscular Power
Visiting Hours- The Speedways Visiting Hours
Lightning- Gyasi Here Comes The Good Part
*Orgasm Addict- Buzzcocks Singles Going Steady
*Pump It Up- Elvis Costello This Year's Model
*Touching Me Touching You- Squeeze Cool For Cats
*Praying Hands- Devo Q: Are We Not Men? A: We Are Devo!
*The Holiday Song- Pixies Come On Pilgrim
*Get A Grip- Semisonic Get A Grip
*Wet- Dazey And The Scouts Maggot
>Pictures Of Lily- The Who Pictures of Lily
>Bracelets Of Fingers- The Pretty Things S.F. Sorrow
Me And My Vibrator- Suzie Seacell Circus Royale
Vibrator- Electric Six Señor Smoke
Masturbation Generation- Boys Next Door Lethal Weapons
Every Day I Die- Tubeway Army Tubeway Army
^Power Pop Peak[s]:
Turning #36 Billboard Hot 100 11/29/80,
"Blister" No BB but every day in my Emerson dorm Fall 1983
"Touch" #4 Billboard Hot 100 5/18/01
"Yerk" #70 Billboard Hot 100 4/10/05
*SacroSet[s]: "Going Solo" or "Dinner For 1"
>Power Pop Prototypes: 1967, 1968
So my OCD tendencies are reeking havoc on my song selections for ALL KINDSA GIRLS. I'll come up with an idea like "you know 'Pictures of Lily' is a cool song and while a lot of people know it, they probably don't know what it's about." From there I thought of "Turning Japanese," "Blister In The Sun" the Buzzcocks song- and we were off. Is it show-offy to find 30 songs that fit this or any other specific theme? Yes. Is it compulsive? 100%! I'll say to myself, "I have to find EVERY song that fits because I'll never come back to this theme again- this is it!" The irony of course, pointed out by my wife, is that there's no better metaphor for the theme itself than my exhaustively researching songs on it.
In my defense, I excluded songs that directly reference the subject (with the exception of the one by Nick Cave's Boys Next Door-it rocks so hard I couldn't leave it out and gave myself a pass since it aired well after midnight PDT). Yet, I did play "I Touch Myself," so you could say this was arbitrary. Also nixed were songs I deemed inartful like "Doin' Laundry" by Nerf Herder and "Spank Thru" by Nirvana. Although no one would accuse "Jerk It Out" by Caesars as being "artful," so again, pretty arbitrary.
I also skipped songs that fit the theme but aren't very good like "National Health" by The Kinks, "Smut" by Skyhooks, and "Self Abuser" by The Fauves. At the end of the day, a radio show is only as good as the songs it features- you can't play so-so songs just because of their subject matter (looking at the list above perhaps you think I did not successfully dodge this bullet, hmm?) And -this is where my OCD kicks in- I still agonized over cutting these songs, not because they're great but because they fit the theme!
It all starts inn-ocently enough- a theme presents itself and I find four songs that fit for a SacroSet. Then, I try to find a hit for the Power Pop Peak and a 50's/60's record for the Power Pop Prototype. If I can find a song fitting the theme with a girl's name for the dedication (often hard to do), I am golden (thanks to The Nubiles for tonight's "Tatjana.") The problems start when I find 10 or more songs early on which is when I start obsessively searching until all 25-26 songs in the show fit the theme. On the plus side though, I would never have found "Get A Grip" (by Semisonic of "Closing Time" fame) or "Wet" by Dazey and the Scouts, a mid-2010's indie band from my hometown Boston, Mass. I'm also quite taken with "Vibrator" by Detroit garage denizens Electric Six.
Dazey and the Scouts
Reading this post further confirms my OCD tendencies. Perhaps you find it annoying? I hear that. If not or, even better, you can relate, then thank you for your time. Either way, enjoy tonight's show!
Click the link below to stream/download this week's show:
^Magic Power- The Paley Brothers The Paley Brothers
^Achin' to Be- The Replacements Don't Tell a Soul
52 Girls- The B-52's The B-52's
SacroSet[s]: #Favorite 2024 Shows
*Top 5 Records of 2024
^Roll Call: Those We Lost In 2024
Well,
2024 happened. We lived and we learned- there were some hard lessons
along the way yet I strive to stay positive. On the home front the news
is good. The theater company I help Jaime run, Sonoma Arts Live, had another successful season and my radio show ALL KINDSA GIRLS remains a Saturday night staple on KSVY.
Best of all, 2025 is starting with a wedding and by this time next year
we'll be grandparents! Like every year, my 2024 was full of great
movies, TV shows, records, books and live performances. So now, in a
tradition that dates back to 1999 (this is my 25th year!) I humbly
submit my 2024 Top 5 Lists:
Check out the ALL KINDSA GIRLS feeds on Twitter (I disavow the name change) or Bluesky
if you'd like to know what I'm watching, listening to and reading
during the year (we're also up on Facebook and Instagram). If your interested in past Top 5 lists, you can find them all the way back to 1999 at the Rick's Top 5 Lists blog. Please send your 2024 favorites as well. I'm always
looking for quality
viewing, listening and reading material- you may see your
picks on next year's lists.
Wishing you all the best in 2025!
Click the link below to stream/download this week's show:
Jail Guitar Doors- The Clash Clash City Rockers 7"
Snatched Defeat- Wayne Kramer Citizen Wayne
Billy The Monster- The Deviants The Deviants
Get Some- Wayne Kramer Ramblin' Rose 7"
East Side Girl- Wayne Kramer The Harder They Come 7"
Hey Thanks- Gang War Crime of the Century
Gimme Some Head- GG Allin s/t 7"
Party Boy- Rousers s/t 7"
I Need Your Love- The Boyfriends Lost Treasures
Down In The Trenches- The Broadcasters 13 Ghosts
Bad Love- Mark Johnson Mark Johnson & The Wild Alligators
Negative Girls- Wayne Kramer Negative Girls 7"
Edge Of The Switchblade- Wayne Kramer The Hard Stuff
Back to Detroit- Wayne Kramer Dangerous Madness
Revolution in Apt. 29- Wayne Kramer Citizen Wayne
Better Than That- Dodge Main Dodge Main
Nuts About You- Mad For The Racket The Racketeers
Great Big Amp- Wayne Kramer Adult World
One Of The Guys- MC5 '66 Breakout
Break Time- MC5 '66 Breakout
Looking At You- MC5 Michigan Nuggets
No Easy Way Out- Wayne Kramer LLMF
The Internet has helped destroy the fabric of our society yet there's no denying it's also made it much easier to find information about things you're interested in. Growing up on Massachusetts' South Shore in the late 70's, rock magsCircus and Hit Parader had all I needed to know about Kiss and Aerosmith but after getting into punk rock I realized I was on my own when it came to news about Buzzcocks and The Clash. As he usually did, Cousin Rich found the solution with a subscription to Alan Betrock's New York Rocker. Within a few years we'd be able to pick us British papers Sounds and NME, then we found the best looking of the bunch, NYC glossy magazine Trouser Press. In 1980 we got our own paper when record store Newbury Comics started publishing Boston Rock. Fanzines starting showing up around this time too and I especially liked Boston freebie The Noise. I still have a copy or two of most of these but was too cheap to pay for a subscription- when there were so many new records to buy I couldn't see spending my hard earned paper route money on something as fleeting as the printed word, especially when Cousin Rich let me borrow his copies.
Along with college radio stations WERS and WMBR (both of which I'd work at years later) by the early 80's we had tons of places to learn about punk and new wave bands but in almost every case nothing predated The Ramones' debut in 1976. It's dorky as hell to admit now, though I passed on the "cool" rock press there was one magazine I did subscribe to: Stereo Review, for a whopping $4.99 a year. Why did a 13 year old need to read about signal to noise ratios, graphic equalizers, and quad sound debates? I didn't but the back half of the magazine was about music and they had a critic named Steve Simels who I really liked. He was smart, funny and had great taste in music, like Lester Bangs (who I wouldn't read until later) without the drug abuse. Simels wrote the first reviews I read about punk and new wave bands, giving their music context in the larger rock & roll continuum. It was probably in a review of a new punk band that he made the reference for which I am ever grateful. It was something along the lines of "The MC5's Kick Out The Jams is the greatest album ever made." Now it might have been "live album" or "debut album" he was talking about but the point was made- I HAD to hear this record.
'
I was a huge fan of NYC proto-punk band The Dictators so my curiosity was further peaked when their brilliant lead guitar player Ross The Boss (AKA Ross Friedman) cited Kick Out The Jams as his all-time favorite album in New York Rocker. (After Wayne Kramer got out of prison and moved to NYC, he and Ross even played a show together. By all reports it was a mess but I still would've given anything to be there.)
On our next record shopping trip to Harvard Square, Cousin Rich and I started looking for the elusive Kick Out The Jams but it had gone out of print in the US and we had yet to discover used record stores. I had almost forgotten about the record when on a visit to my grandparents in Ottawa, Ontario that summer I was shocked to find a copy at a record store in that open air shopping district downtown. The album cover is as visually cacophonous as the music inside. I didn't even see the band name at first but something about Rob Tyner in the upper left corner, the American flag and the photos of Wayne Kramer alongside the undeniably cool Fred "Sonic" Smith in the lower right corner grabbed my attention. My heart started racing when my eyes focused enough to read the band name at the top and when I turned the record sideways to read "Kick Out The Jams" on the spine I nearly had a heart attack. I'd found it!!! KOTJ never went out of print in Canada and I had found it!!!
Here's the thing though- we still had two more weeks in Canada and either my Granna didn't have a record player or (more likely) she did but it did not meet my Stereo Review-informed quality standards, especially for something as precious as the long-sought KOTJ. So, that meant two weeks of staring at the record cover and it's magnificent gate fold image
without being able to actually hear the music. This had never happened before- I was used to staring at album covers but it was WHILE I was listening to the music. (FYI- Canadians are nothing if not polite so not surprisingly this album was the version with censored John Sinclair liner notes and "Kick Out The Jams (click) Brothers & Sisters!" intro. I've since purchased the original version but this Canadian copy remains near and dear to my heart.)
In any case, by the time we got back to Massachusetts the record had already attained mythic stature in my imagination. Not wanting to spring for a hotel, my family would make the 9-10 hour trip home from Ottawa in one day. This meant I wasn't going to be able to listen to Kick Out The Jams until 11pm or so and I was going to have to do so on headphones as my parents and sister went right to bed. I remember dropping the needle and laying down on the floor, perhaps dosing off for a moment until the sound of a clapping crowd brought me back to hear Brother J.C. Crawford deliver the greatest introduction in rock & roll history:
Brother J.C.
"Brothers
and Sisters!
I wanna see a sea of hands out there,
let me see a sea of
hands!
I want everybody to kick up some noise,
I want to hear some
revolution out there Brothers,
I wanna hear a little revolution!
Brothers and Sisters, the time has come for each and every one of you to
decide whether you are gonna be the problem or whether you are gonna be
the solution! (That's right!)
You must choose Brothers, you must choose...
It takes five
seconds, five seconds of decision, five seconds to realize your purpose
here on the planet...
It takes five seconds to realize that it’s time to
move, it’s time to get down with it!
Brothers, it’s time to testify and I
want to know,
ARE YOU READY TO TESTIFY?
ARE YOU READY?
I GIVE YOU A TESTIMONIAL … THE MC5 !!!
The band launches into their scorching rendition of soul singer Ted Taylor's "Ramblin' Rose" with Wayne Kramer's falsetto vocal leading the way. Then, in one of the greatest 1-2 punches ever, the band launches into title track "Kick Out The Jams," with it's own iconic intro. As I write this nearly 45 years later, it's as if I had this experience only yesterday. There are whole years in my 40's that are less vivid to me. That is the true power of rock & roll.
Wayne Kramer's post-MC5 story is immortalized in The Clash's "Jail Guitar Doors:"
Let me tell you 'bout Wayne
and his deals in cocaine
A little more every day
Hold for a friend 'till the band do well
Then the DEA locked him away
It's a sad story but it's not unique. Neither is Wayne's time in Gang War- after his release from prison he moved to New York
Wayne & Johnny
and fell in with former New York Doll Johnny Thunders (AKA "Junkie the Laughing Clown"). A band of heroin addicts, what could go wrong? (Based on Wayne's song "Snatched Defeat," the answer is "Everything,") His itinerant years in New York, Key West, and Nashville picking up live and session work, producing bands and mostly working as a carpenter also don't separate Wayne from hundreds of other talented "coulda binna contenduh" rock & roll gypsies. During this time he put out music under his name or in groups like Death Tongue (props to Berkeley Breathed's comic Bloom County for the band name) but none of it could hold a candle to the MC5 (yes, drummers can be a pain but the alternative -(gulp) a drum machine- is so much worse).
The unique and surprising part of the Wayne Kramer story is what came next. After moving to Los Angeles in the early-90's, Wayne got sober and began a musical third act that is truly inspiring. He was signed to Epitaph records (which was surfing the 90's punk rock tsunami with bands like The Offspring) and the music on his first album The Hard Stuff is so far beyond anything he'd recorded since the MC5 it seemed like another person entirely, which I guess it was. Wayne's Epitaph albums and the music he released on his own Muscle Tone label is some of my all-time favorite music.
I saw Wayne live 4 or 5 times during these years, the last a memorable show at The Troubadour in LA, and he was incredible. A few years later I had the pleasure of meeting Wayne when he played with friend and former MC5 manager John Sinclair & his Blues Scholars in Sebastopol. We talked for about 20 minutes and Wayne was more than gracious (I'm still kicking myself for asking about his connection with GG Allin but I couldn't help myself). That night I also met Wayne's manager Margaret Saadi who told me she was working on untangling the shambles that was the end of the MC5. Little did I know that this would have massive implications over the next 20 years in Wayne's personal and professional life.
Wayne & Margaret
Wayne and Margaret were married in 2003. In 2004 the living members of the MC5 (Wayne, bass player Michael Davis and drummer Dennis "Machine Gun" Thompson) reunited for the DKT-MC5 tour along with luminaries like Lemmy, Dave Vanian, Marshall Crenshaw, Mark Arm and others. I saw their stop in San Francisco and it was awesome (who knew Crenshaw could shred... the less said about Evan Dando the better).
Wayne & Billy
I was sorry to see Wayne's time as a solo artist end with 2002's brilliant Adult World but he had moved on to other things, hooking up with filmmaker Adam McKay to make music for films like Talladega Nights and TV shows including Eastbound & Down. In a conversation with British songwriter Billy Bragg a few years later, Wayne heard about Bragg's UK organization Jail Guitar Doors, which brought music programs and instruments to men and women in prison. Bragg had forgotten the first
verse of The Clash's song is about Wayne himself- out of that conversation, Wayne and Margaret formed Jail Guitar Doors USA which is still going strong today. While I would've liked to have more solo records from him, there's no denying Wayne found a higher calling with Jail Guitar Doors.
Thankfully, Wayne wasn't done with rock & roll. He was a regular in music documentaries like A Band Called Death, Rumble: The Indians Who Rocked the World, and Creem: America's Only Rock & Roll Magazine. As his contributions were some of my favorite parts of Legs McNeil and Gillian McCain's Please Kill Me: The Uncensored Oral History of Punk, it was clear Wayne had a book in him and The Hard Stuff: Dope, Crime, the MC5, and My Life of Impossibilities was published in 2018.
That year Wayne announced the MC50 tour which I missed but my wife and I were right there for the Heavy Lifting tour when it came to Bimbo's 365 in San Francisco on May 13, 2022. I had some trepidation going in- Wayne was over 70 and it had been roughly 20 years since I'd last seen him play. My fears were quashed at the outset: Wayne was on fire and the band (singer Brad Brooks, guitarist Stevie Salas, bassist Vicki Randle, and drummer Winston Watson) smoked right along beside him. They played a ton of favorites I had never heard live
before- it was especially great to hear the poppier stuff I loved from Back In The USA. If at age 74 I have half the spirit, fire and enthusiasm Wayne Kramer shared with us that night I will consider myself a lucky man. Don't just take my word for it, see for yourself:
The frosting on the cake was Wayne's announcement that this sh*t hot band was in the studio with legendary Kiss producer Bob Ezrin working on a new album We Are All MC5. Then, radio silence. Then, this:
Needless to say it was a gut punch. In less than 20 months the man who gave that impassioned speech and over the top performance of "Looking At You" at Bimbo's 365 was gone. I still can't believe it.
Sinclair
Since Wayne passed in February we lost John Sinclair on April 2 and Dennis Thompson on May 9. The original MC5 are all gone... just in time to be inducted into the Rock & Roll Hall of fame in October (so typical of that ham-fisted organization). The band had been on the ballot 6 times but never got enough votes so this year the Hall did and end run and inducted them in the non-voting "Musical Excellence Award" category along with (wait for it...) Dionne Warwick and Jimmy Buffet. So. F**king. Lame.
Thompson
Enough of that negativity. Needless to say, I'm very glad I went to that Heavy Lifting Tour show and I'm optimistic about We Are All MC5 should it ever be released. Putting this post together has given me an even greater appreciation of Wayne Kramer and his ongoing musical legacy.
Thank you Brother Wayne Kramer...
Click the link below to stream/download this week's show:
ALL KINDSA GIRLS is a radio show that features power pop and high energy rock and roll mostly from 1975 to 1985, with some songs from the 60’s, 90’s and now that share those sensibilities. Big Star, The Nerves, The Replacements, Sloan, The Hold Steady! Guitar-based and catchy as hell, yet none of their songs are on the radio. Rick Love changes all that on Saturday nights at 9pm (Pacific) on 91.3 Sun FM and streaming at ksvy,org
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trip, I didn't come upon the record that inspired tonight's show until earlier this year at the great Record Safari in Silver Lake during a trip to Long Beach to meet my new Grandson. Toby Redd's A to Z may be my favorite discovery of the past five years. A to Z, by a Detroit band in 1982, feels more like a British band in 1979. These are accomplished musicians inspired by the "keep it simple" ethos of late 70's Punk, New Wave, and Power Pop. Sadly it didn't last- on the next album, 1986's In The Light where they were joined by future Red Hot Chili Pepper Chad Smith on drums, they succumbed to a trendy 80's MTV sound that is not my thing. A to Z though, man it is awesome!
trip, I didn't come upon the record that inspired tonight's show until earlier this year at the great Record Safari in Silver Lake during a trip to Long Beach to meet my new Grandson. Toby Redd's A to Z may be my favorite discovery of the past five years. A to Z, by a Detroit band in 1982, feels more like a British band in 1979. These are accomplished musicians inspired by the "keep it simple" ethos of late 70's Punk, New Wave, and Power Pop. Sadly it didn't last- on the next album, 1986's In The Light where they were joined by future Red Hot Chili Pepper Chad Smith on drums, they succumbed to a trendy 80's MTV sound that is not my thing. A to Z though, man it is awesome!
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