Keith Valcourt's Music Appreciation Society

U2: The Early Years

3/20/2014

U2 remain the biggest band in the world. No small feat for a young group of lad from Ireland who broke wide in the 1980s. Quick name another band from the 1980s that has remained as important and prolific as U2 while maintaining a huge fanbase. You can't. They are international superstars on par with The Beatles and The Rolling Stones. And while millions of fans await their latest CD I prefer the early years before "Joshua Tree" turned them from college rock stars who had an alternative following into the world's favorite band. Let's look back and appreciate their early work.

I discovered U2 the way many from my generation did--on MTV. What you say, "MTV that plays "The Real Teen Mom Is Pregnant & 16 On The Jersey Shore Cat Fishing?" " That MTV? Yes and no. See MTV which stands for Music Television used to play music. And nothing but music. That is where I saw U2's "Gloria" video for the first time. Just 4 awkward looking Irish guys rocking their asses off. The group of Bono Vox, Dave "The Edge" Evans, Adam Clayton and Larry Mullen Jr looked like I wanted to look. Clumsy cool. Young and angry. Okay, I didn't want to look like Adam--He had a weird afro. But the other guys looked cool.

I rushed to the record store only to find that "October" the band's second LP , which features "Gloria" was not out yet. But the guy at The Music Box in Newport, R.I. told em I could buy their first CD "Boy" which had been out for just under a year. I bought it without a second thought. Later at home as the record (yes vinyl) spun and the urgency blasted from my cheap 1970s Emerson Stereo I was blown away. First there was "I Will Follow" a call to arms I had heard a local cover band do (and thought it was an original.) Then "Out Of Control" and "Stories For Boys" both of which I related to. The second to the last track "The Electric Co" was my favorite with it's staccato guitar and pulsing bass. With all respect to The Clash who had broken up, this was my new favorite band.

When "October" finally came out I was instantly pleased. Not only did it feature "Gloria", the song that initially introduced me to U2, but it also unleashed the power of politicailly based rebellion in song on the powerful tracks "I Fall Down","I Threw A Brick" and "With A Shout." These songs screamed to be heard. They demanded your attention and commanded you to sing along. Bono and Edge became one named wonders as their talents fully grew.

Vocally Bono went from boy to man with Edge perfected his signature guitar tone. Although "October"failed to produce any hits (that would some soon enough) it would be a defining moment for the band both preventing the dreaded Sophomore Slump and prepping an ever growing fan base for the global domination that was waiting right around the corner with the band's next release--"War."

"War" is the most aptly named album. It is a call to arms. Everything about the band's third release says "We're here to Fight!" Look at the cover alone. That once lost looking lad from the "Boy" album cover went from looking passive to angry as hell. The fire in his eyes. The split lip. The songs were anthems. "Sunday Bloody Sunday," "New Year's Day" and "Two Hearts Beat As One" were designed to be song by arenas full of adoring fans. Soon they would be as U2 grew from our favorite college rock secret to an FM radio staple.

My two favorite tracks on the disc remain "Seconds" with Larry Mullen jr's machine gun fire drumming driving the band to the brink and the instant sing along classic "40." For years that followed that song would be U2's live show ender, sung by thousands of fans and we marched into the street. After one show in Boston I remember groups of fans singing it all the way out of the venue, into the street, into the subway and off into the night. "War" was thinking mans rock. If you need a refresher in why you love the band "War" is an amazing starting point.

For those of us who had yet to see the band live in concert (in person) this EP (Extra Play for all you kids) and the accompanying VHS "Live At Red Rocks" was electrifying. It drove my lust for a live U2 show through the ceiling. Not only did this release feature skilled takes on some of their most sonic sounding early songs, it also unleashed live versions of odd non LP tracks like "Trash, Trampoline & The Party Girl." a b-side from "October."

I can't tell you how many times I sang the chorus to that song out loud at the at the top of my lungs. Of course years later, I must admit, I had no idea why the boy was called Trampoline and as far as "Party Girl" goes? I still have no idea what she wants. This Cd remains a testament to what a live album should be.

This CD is the moment, for me that U2 hit the height of their powers and became the biggest band in the world. An unstoppable rock and roll force of importance and quality. I know their next CD "The Joshua Tree" is thought of as their magnum opus but for me "The Unforgettable Fire" is their greatest album and shinning hour. Every track is a revelation in sound.

From the epic wail of "Pride (In The Name Of Love)" to the Hypnotic "Bad" and the driving confusion of "Wire" each song is a new level of pain and joy. The sound is big arena rock with a whole lot of flag waving.

My favorite U2 song of all time--"A Sort Of Homecoming" opens the album. Setting the pace for the most well thought out U2 release. There isn't a bad track here. Bono preaches without sounding preachy. Something he has long since forgotten how to do. These songs make you feel as if music can change the world. They inspired me to learn about Martin Luther King. To care about the work of Amnesty International. To look at the world outside of my neighborhood and wonder how I could help right the wrongs and make things better. Can music change the world? Now that I'm older and more cynical I would say probably not. But "The Unforgettable Fire" made me feel like it could. And for me it was the last U2 album that was really mine. After mega success can knocking with "Joshua Tree" it seemed every knucklehead was a fan. Of course many of those thought that CD was their debut.

This album was the first time I also got to see U2 live in concert. Everything about that show was mystical and a memorable. From waiting in line overnight, sleeping outside the Swansea Mall in the snow to buy tickets (there was a time before the internet) to a camera magically falling on us from the higher levels as we sat in out 12th row floor seats. I would see the band a dozen plus times after this tour (including the Rose Bowl gig) but none of them could compare to my first time on "The Unforgettable Fire" tour.

"Wide Awake In America" was a nice little hold over release until U2's studio CD "Joshua Tree" came along. I only features 4 tracks: "Bad"(Live,) "A Sort Of Homecoming" (Live) and the new studio cuts "Three Sunrises" and "Love Comes Tumbling." Having live versions of those two "Unforgettable Fire" tracks after having seen them live was a nice gift. And "Three Sunrises" is one of those songs that would have been at home on either "Fire" of "Joshua Tree."

In recent years Universal Music has done a brilliant job reissuing all of these albums (Except "Wide Awake") as deluxe 2 disc editions including tons of bonus material. All of which are readily available in stores and online

As U2 prepares to unleash their latest album (said to be produced by Danger Mouse) on the waiting world it's nice to take a look back at the roots of how the band became the biggest musical act in the world. Go back to re-listen to "War," "Boy" and "The Unforgettable Fire" again and you will appreciate U2 all over again.

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The Silencers

3/11/2014

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Before there was Coldplay, there was The Silencers, a English band who combined the arena rock leanings of U2, Big Country and The Alarm with a softer soulful side. Singer Jimmie O'Neil's voice skillfully glides from a heartfelt yell to a flawless falsetto.

The bands debut CD "A Letter From St. Paul" is a document of pop joy and solid musicianship. It features the catchy cuts
"I See Red," "Bullets And Blue Eyes" and "Painted Moon." All three of which were just as good as the alt rock pop that was ruling the radio in the mid 1990s.

The Silencers toured in 1986 as the opening act for British pop gods Squeeze. I had a chance to see them live and was blown away by how great they were.
I even interviewed the young band backstage after their Boston show. They were four wide eyed lads hoping for a break here in America. A break that sadly would never come. They followed the tour with Squeeze by hitting the road in England with The Alarm then started work on the second CD.

The follow up "A Blues For Buddha" was full of maturity is poetry and prose but no "Hits" per say. There is beauty there is the songs "Scottish Rain" and "Razor Blades Of Love" that went mostly undiscovered. It was produced by U2 producer Flood, sparking of comparisons between The Silencer and the then breaking Irish band. Comparisons I'm sure were designed to propel The Silencers into the public eye.

For the band's third CD 1990's "Dance To The Holy Man" The Silencers added 2 additional members to create a bigger beefed up sound. The disc has some bright moments, the best of which are "Robinson Crusoe In New York" and "Bulletproof Heart," but the wave of grunge rock hit and washed away any hope the band had to succeed beyond cult status. I never heard their 4th CD "Seconds Of Pleasure" that only saw the light of day in England.

The Silencers kept at it until 2004 when they released their final studio CD "Come." In 2007 original guitarist Cha Burns died of lung cancer at age 50. Though The Silencers never had the success of Simple Minds or U2, they did leave behind on testament to their genius, the debut CD "A Letter From St. Paul." It's now out of print but if you stumble on it in a used CD bin or your own collection it will be worth your while to give it another listen. It's an under rated classic that deserves your appreciation.

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Nik Kershaw

3/7/2014

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Second only to Prince, Nik Kershaw is my favorite pop singer/songwriter. His CDs (8 studio releases so far) are full of witty, tightly crafted songs packed with sardonic wit and a depth of subjects not usually heard in pop music. Technically he can be classified as a "One Hit Wonder" for his ultra infectious single "Wouldn't It be Good." But that distinction is perhaps the largest understatement in the history of recorded music. Collectively over his 4 decade career.

Nik Kershaw has written dozens of should have been huge hits. I discovered him in my youth--AKA the 1980s. His first two releases "Human Racing" and "The Riddle" were in constant rotation on my boom box tape player. That's right--Cassettes! But amazingly his later work, CDS from the last decade holds as equally important place in my music collection.

"Human Racing" is a magical debut full of tightly, well constructed 1980s synth pop and a rich lyrical depth not seen in pop music at the time. It not only features the hit "Wouldn't It Be Good," but danceable gems "I Won't Let the Sun Go Down on Me," "Dancing Girls" and "Gone To Pieces." Plus the ode to a film legend "Bogart." The mournful ballad "Human Racing" brings back sense memories of nights at New England beaches. Kershaw's first CD is not perfect but shows genuine moments of all the brilliance that was yet to come.

When Nik Kershaw hit the stage (and tripped) at Live Aid the world took notice. That combined with heavy video play for "Wouldn't It Be Good" and the title track of his second CD "The Riddle" really raised his profile. His second CD titled "The Riddle" soon followed and remains his best known work. Mainly due to the fact that the original U.S. version of the album had "Wouldn't It Be Good" tacked on it as well to capitalize of the radio and video play. The sound of the disc expanded on the keyboard driven synth pop style of his debut while adding a healthy dose of crunchy guitars for pure perfection.

The tracks are as catchy as they are smart. As inspired as they are though provoking. A pretty tall order for three and a half minute pop songs. "The Riddle," "Wide Boy," "Easy" and "Don Quixote" (Kershaw loves to write about historical figures) are perfect examples of 1980s songs that really rocked. This disc is a great intro to anyone new to Nik's music. "The Riddle" should have been the album that turned Nik Kershaw into an international superstar along the lines of Howard Jones. Sadly, that never happened. He seemed to disappear from the music scene completely, at least in America.

To the best of my knowledge his third CD "Radio Musicola" didn't even get a stateside release. It is was it wasn't widely promoted. I discovered the album existed while on a trip to London in the early 1990s. Probably 1990 or 1991. While digging through the bargain cassette tape bin (again with the tapes) of a British Department store I found "Radio Musicola." One listen and I was hooked. I played the tape over and over again during the a six hour train ride from England to Scotland.

The huge shame is that "Radio Musicola" should have been a big crossover success. It is packed with bright and bouncy tunes. The singles "Nobody Knows," "What The Papers Say" and "Running Scared" are amazing songs. The title track, which samples several U.S. DJs, dares you not to sing along. And the ballads are "Violet To Blue" and "L.A.B.A.T.Y.D." are beautiful. The CD features top notch musicians including Rupert Greenwald from The Fixx, Drummer Simon Phillips and Paul McCartney cohort Wix on keys.

I could easy say that "Radio Musicola" is my favorite Nik CD if not for the fact that its follow up, 1989's "The Works" is yet another giant leap forward. Again, this CD never saw the light of day in the USA. I had to hunt down a Japanese import copy from a dealer in Texas before the internet or iTunes existed. "The Works" is, in a word, Amazing! It is full of well blended and well (not over) produced pop.

The epic "One World" should have been the theme to an Olympic closing ceremony with thousands of multiracial kids filling a stadium with Kershaw's catchy chorus. Nik revisited his love of history on two tracks "Wounded Knee" and the lovely "Elizabeth's Eyes" which tells the tale of a letter writing exchange between a prisoner on death row and Queen Elizabeth. "Lady On The Phone" seems like the perfect AC (Adult Contemporary) single and even features backing vocals courtesy of the smooth croon of Michael McDonald. The track "Don't Ask Me" is the most clever assemblage of word play and hooky instrumentation you've never heard.

After "The Works" failed to break Nik Kershaw wide he simple vanished behind the scenes in the music business. Content to work as a sessions musician, songwriter (Elton John calls him the most brilliant ever) and producer of U.K. pop acts including Chesney Hawkes. Ten years passed with no new recorded tunes from the diminutive genius. Only the occasional "Best Of" disc would hit the bins to remind us of what we were missing.

Then again randomly in 1999 I stumbled upon a new CD from Kershaw titled "15 Minutes." This time in a Tower Records in Santa Monica, CA (Lord I miss Tower.) The disc was released by Rhino Records, a label I had worked with during my days at Capitol. If I, the worlds biggest Nik Kershaw fan didn't know about the Cd I imagine no one else did as well. sadly at the time I was not in touch with my friends who still worked at Rhino and missed my chance to see him perform acoustically in their tiny Burbank conference room. I missed the chance for a photo op and chat with my hero. I have very few regrets in life. This is one. Maybe it was for the best?

The disc itself is a welcome return with him updating his sound to a modern document full soaring vocals and heartfelt (and heart breaking) songs. "Somebody Loves You," "Billy" and "Fiction" are stand out tracks. As is the title cut "15 Minutes," which pokes full at fame and Kershaw's "One Hit Wonder" status.

Two years later he would release the impressive "To Be Frank" to little Fanfare. The CD's lead single "Wounded" was his most adventurous track to date. It blended Latin beats with flamenco style guitar for a high energy dance party. While "How Sad," "Jane Doe," "Get Up" and "Die Laughing" were perfect examples of his renewed interest in crafting the finest songs ever recorded. But like many of his efforts in the past, he failed to capture the mass audience he had long deserved.

Another best of called "Then & Now" followed and would be of no real note if not for the fact that it included his collaboration with EDM DJ Les Rhythm Digital "Sometimes" and Elton John "Old Friends" plus four brand new tracks. Two of which are the best he has ever written. "Dangerous Eyes" the cautionary tale of office romance gone wrong and Kershaw's response the 911 tragedy "Times Like These." If you are looking for a great sampler platter of Nik Kershaw's career this compilation is the way to go. Even though it is import only it's worth the price.

After that release Kershaw took a turn that is very popular among many artists who have tired of the major label machine--he went indie. Releasing his next CD himself through his website. While not perfect, "You've Got To Laugh" features some solid moments including "Old House," "Can't Get Arrested" and his not so loving tribute to George W. Bush "Loud, Confident & Wrong." Kershaw sounds relaxed and free on this album, with his voice in fine form.

His next self released project was a disc fans had been requesting for years. "No Frills" is just Kershaw solo acoustic playing stripped down hits and favorite tracks. Hearing tracks like "The Riddle," "Wouldn't It Be Good" and "Somebody Loves You" sans any production and laid bare showcase exactly what makes them so great. Pure songwriting perfection. The highlight for me is his take on "Oxygen" a track he wrote for Petula Clark. It was also recorded by Richard Page of Mr. Mister fame.

2013's offering "Eight" is a mellow understated affair full of sadness and hope. "The Skies The Limit" may be his most mature work to date. I have toi admit I have spent the least amount of time listening to this CD of all the discs he has released. Damn kids!

Lately, Kershaw, who had long been opposed to anything nostalgia related, has been performing live at several 80's themed festival (including "Rewind") in the U.K. Even playing his debut CD "Human Racing" live in it's entirety on the heels of the CD getting a 2 disc deluxe reissue. Seems he is finally okay with his past. Or he needs the cash. His upcoming 2014 fall tour features him playing career spanning acoustic sets. I can only hope that he will bring his stripped sown performance to America. Nik Kershaw is a pop genius. That explains why this is to date my longest Music Appreciation Society. Get the "Then & Now" best of CD as an intro. "The Riddle" and "Human Racing" are also available on import from amazon.co.uk. For his later works visit www.nikkershaw.net

Brighton, U.K. 2018 Finally Met Nik!

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'Til Tuesday

3/2/2014

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"In the dark I'd like to read his mind. But I'm frightened of the things I might find.." The opening line of the title track from 'Til Tuesday's debut CD "Voices Carry" is instantly recognizable to any 80s music fan. But to those of us who go beyond the basic 80s compilation or "Flashback Lunch" the music of 'Til Tuesday is so much more than their only hit.

The Boston band was comprised of Guitarist Robert Holmes, Joey Pesce on bass & keys, drummer Michael Hausman and the haunted voice of Aimee Mann.

Their debut doesn't have a bad track on it, it is as lush in places ("Sleep," "You Know The Rest") as it is funky in others ("Love In A Vacuum" & "I Could Get Used To This.") Though recorded in the eighties the disc does not sounded dated, It really holds up as an example of an ALBUM, a cohesive, well rounded piece of music where the songs belong together. The skitish princess of pain, Aimee Mann hides inside her fear until she can't anymore and eventually comes out swinging on tunes of betrayal and triumph. I know the words to very well crafted song on "Voices Carry" and so should you.

The band's second CD "Welcome Home" suffered from a case of bad timing. I remember seeing their homecoming gig at the Boston Commons. The show was supposed to be timed with the disc release but for some reason their label had delayed it till months later. They played through many new tunes that night, apologizing for so much new material that the audience didn't know.

A few months later when the CD finally saw the light of day it looked like the ticket to the big time for 'Til Tuesday. The lead single, "What About Love" was juts a catchy and driving as "Voices Carry" and the country tinged "Coming Up Close" traded in slick production for acoustic guitar strumming which showed a growth in the band's music.

No one knew at the time but the sound of that song was a sign of things to come later during Mann's solo career. Another of my favorite tracks from the disc is "Will She Just Fall Down." It is full of understated beauty.

For the group's aptly titled third CD, "Everything's Different Now" the band became a duo of just Aimee Mann and Drummer Michael Hausman. Guitarist Robert Holmes is credited on the CD but not in the album art or part of the tour that followed. The CD features songs co-written by Mann's then boyfriend Jules Shear and Elvis Costello. The Costello track "The Other End Of The Telescope" is the disc's high point. But not only were things different inside 'Til Tuesday but also the music business. The 1980s were quickly coming to an end and hopeful pop songs were being replaced by grunge. And sadness. Something Mann would learn to exploit well.

After the album stiffed, the band called it quits with Hausman moving to the position of manager of Aimee Mann's solo career. A gig he still has in 2014. Mann of course has released a string of critically acclaimed solo CDS and even garnered an Academy Award niomination for her work on the "Magnolia" soundtrack. She is releasing a new solo CD on tax day this year that is sure to be packed with pathos, pain and brilliance.

While Mann's first two CD "Whatever" and "I'm With Stuppid" are amoung my favorites, it his her early music with 'Til Tuesday that I find myself going back to again and again. "Voices Carry" is in my top 10 of all time CDS. Alongside Prince and The Beatles. I suggest you go back and re-discover 'Til Tuesday. Go beyond their one hit and spend time with these three Cds. Or at least the first two. You'll be happy you did. Well, maybe not happy. But like Aimee Mann, you'll be happy to be sad or at least Melancholy.

Aimee Mann: NYC. Loan Star Road House.

Buddy Judge (The Buddy System & later 'Til Tuesday) and Michael Hausman backstage at Great Woods, Mansfield, Mass.

Aimee Mann-Backstage on first solo tour opening for The Kinks.

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Jeff Buckley

2/26/2014

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To be honest, I saw Jeff Buckley live, more than once, before his brilliant CD "Grace" was ever released. And I was not impressed. He was just a shirtless and scrawny weirdo with a high falsetto voice and an acoustic guitar. People talked about his famous dad (who I had only heard of in passing) and how he was going to be huge. But to me? Meh.

I even saw him one at the legendary downtown NYC spot Sine'. But again he underwhelmed me and I was at the spot to hang out with my pal Matt who was doing sound. Did I just not get it?

Or maybe Buckley was still developing his brilliant whisper to a wail style. The songs mad no impression on me. We may have even spoke. But no photo op (why waste film, yes it was film then) or lifelong bond. But a year later when his debut CD "Grace" came out it changed my musical world. "Grace" is packed with majestic songs sung with pure passion. Buckley's scream is so packed with emotion you can't help but be moved by it. The songs "Lover You Should Have Come Over" and "Last Goodbye" still make me shudder with joy. The CD has been played so many times I have had to replace it twice. I remember one early morning drive from Los Angeles to Las Vegas with my brother where we blared the CD 3 times in a row while driving at 85 miles per hour through the desert landscape.

"Grace" is the perfect blend of joy and sadness. Exhilaration and desperation. Part Thom Yorke. Part Leonard Cohen (Including a cover of "Hallelujah.") and part Pixies. "Grace" is a most own. If the tracks "Mojo Pin," "Dream Brother" and "So Real" don't move you, check your pulse. You may be in a coma.

While recording demos for his follow up to "Grace" in Memphis Buckley decided to take a night swim in Wolf River. Sadly, that decision would cost him his life. He drowned on May 29th, 1997. His body was found the next day. Robbing the world of more possible greatness from the young talent.

While several CDs of unreleased material have surfaced since his untimely death, none measure up to "Grace" and its enduring perfection. A 2 CD deluxe edition is available and included some cool covers and bonus DVD.

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The Power Station

2/26/2014

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Volume #2 of the music appreciation society looks at The Power Station, less of a band than a superstar collective of major recording artists who came and went as they pleased. At some point they all left.

Comprised of vocalist Robert Palmer, Chic drummer Tony Thompson and Duran Duran's Andy Taylor on lead guitar and John Taylor on bass, the foursome could easily be called the ultimate 80's super group or at the least ultimate 80s side project.

The Power Station was formed in the New York City recording studio on the same name after a chance encounter between the Taylors, who were on a break from Duran Duran, and Palmer who was working on new solo material. In a rolling Stone interview from the early 80s Andy Taylor said that he wand John, who had been life long fans of Chic recruited Thompson and Bernard Edwards (who produced the disc) to help them "Record the ultimate T-Rex cover." They did that and more.

The debut CD was a huge hit thanks to legions of hungry "Duranies" hungry for new material and massive MTV exposure for the stylish videos to the albums tracks "Some Like It Hot" and the T-Rex cover "Get It On (Bang A Gong)." This CD was the soundtrack to my youth. Specifically junior year in High School. I wore the tape down by playing it again and again in my boom box. Today it remains a go to disc for late night drives and road trips. It is without a doubt in my all time top ten CDs. Ever.

The Power Station allowed the individual band members to do things they had not been able to do in their other bands. Andy Taylor, who had been drastically underused in Duran Duran got to unleash his inner guitar god as shred through the tracks "Communication" and "Murderess." Taylor even got to handle some vocals, sharing the mic with Palmer for the band's solid take on the Isley Brother's "Harvest For The World." Drummer Thompson got to get his rock on. We know the man was funky from his time in Chic but this CD let him really kick out the big beats and John Taylor get to flex his funk muscles and create some memorable bass lines. Robert Palmer, who had delivered so many great moments in the 1970s, is at the top of his game vocally on this record. His deep baritone crooning through the ballads "Still In Your Heart" and "Lonely Tonight" help to make The Power Station his Magnum Opus.

After the album became a hit the band announced they were heading out of the road fro a massive world tour sans Robert Palmer. After much back and forth he decided to continue work on his solo material. Again, I mentioned this was a band of departures. The only live performance fans got to see with Palmer was their two song set on "Saturday Night Live." One of those songs "Some Like It Hot" can be seen on the bonus DVD that comes in the deluxe edition of The Power Stations debut. For the tour and Live Aid concerts glam god Michael Des Barre maned the lead vocals. The band and their new singer even appeared on "Miami Vice" where they debuted the one new track "Someday, Somehow, Someone Gonna Pay." (Also on deluxe CD)
The band eventually ceased to exist after Andy and John Taylor returned to their "Day Jobs" in Duran Duran.

Surprisingly The Power Station regrouped in 1995 to record the 1996 release "Living In Fear." But just two weeks into the recording of the CD, John Taylor left the band to deal with "Personal Issues." Bernard Edwards, who was once again on board to produce, then stepped in and handles bass duties.

Andy Taylor, Robert Palmer, Tony Thompson and Edwards pressed on, creating "Living In Fear." The end result is a bit muddy and odd. Although they used the same formula as they had on the debut, two cover songs and the rest rock tinged funk originals, the disc is a bit off. The rock is too heavy. The bass lines sludgy and the experimentation goes too far.

The covers, which include a soul-less take on Marvin Gaye's "Let's Get It On" and a slowed down to a crawl version of The Beatles "Tax Man" are just okay. The tracks "Dope" and "Living In Fear" have a vintage Black Sabbath sound, which doesn't really work. Andy Taylor takes over lead vocals on one track "Scared," which is a great song but doesn't sound like The Power Station we know and love. Sadly, the Cd is marred in tragedy because producer/bass player Bernard Edwards died of a massive heart attack while completing the album. The album was released in 1996 to little fanfare or attention.

In 2003 Robert Palmer died of a massive heart attack in France. Just a few month later drummer Tony Thompson passed away after a short battle with cancer. John Taylor, now clean and sober, returned to his post in Duran Duran. In 2004 Andy rejoined DD just long enough to record and tour behind the "Fab Five's" comeback CD "Astronaut." But while recording Duran's next CD "Red Carpet Massacre" it was Andy Taylor's time to step away, as he quit the band and never returned.

The Power Station's debut CD remains a solid testament to solid collaboration. By combining Duran Duran's axeman with their heroes--Bernard & Tony from Chic and tossing in one of the greatest white soul singers ever in Palmer was genius. The only shame is, apart from their SNL shot, we never got to see the live performance of Palmer, Thompson,Taylor and Taylor perform. Pick up the band's debut CD, which is readily available on Amazon.com.

With Robert Palmer

Backstage with John Taylor on Duran Duran's "Big Thing" Tour.

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Curiosity Killed The Cat

2/24/2014

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For volume #1 on Keith Valcourt's Music Appreciation Society I spotlight the 80's funk jazz combo Curiosity Killed The Cat. Formed in 1984 the funky foursome was comprised of Ben Volpeliere-Pierrot (vocals), Julian Godfrey Brookhouse (guitarist)
Nick Thorpe (bassist) & Migi Drummond (drums) quickly made a name for themselves on the London club scene and signed to Mercury Records.

Their debut CD "Keep Your Distance" was released in 1987 and is nothing short of pure pop perfection. It features a blend of 1980s pop with jazzy riffs and silky smooth vocals. If you are a fan of everyone from Steely Dan to The Blow Monkey, Sade, Level 42 and Swing Out Sister you need this CD in your collection.

At the time the band was unfairly compared to other British pop "Boy Bands" like Wet Wet Wet and Johnny Hates Jazz because of their stylist videos and model good looks. Critics dismissed them. Which is a shame because the guys could actually play their asses off. Singles for the disc ruled the British charts. "Down To Earth" hit number 3. "Misfit" was at number 7. And "Ordinary Day" went to number 11. The U.S. charts were much harder to crack. The only real interest the band captured here was after POP Art God Andy Warhol directed and appeared in their music video for "Misfit." My favorite tracks include the singles and the ultra breezy single "Free."

Curiosity Killed The Cat's second debut pulled off a feat not often delivered by a band on their sophomore release, surpassing the brilliant debut release with an even higher quality disc. "Getahead" came out in 1989 is packed with lush, groove heavy sounds of summer party. The vibe is as equal parts celebration as it is lament. Tracks "Do You Believe In" and "Cascade" dare you not to sing along after just one listen.

The ballad "In The First Place" still moves me to tears every time. The lead single "Name & Number" has been successfully sampled/covered by both De La Soul and Little Mix.

For the band's third and final CD "Back To Front" Curiosity Killed The Cat reduced their size (to a trio) and ditched "Killed The Cat" from their name. Becoming simply Curiosity. As was the case with Kajagoogoo, the name reduction didn't work. It confused the fans. Truth be told, I didn't even know this CD existed until the summer of 2013, some 20 years after it was released. I bought it as a $30.00 import from Japan.

The disc was never released in America or Canada and only saw limited light of day in the U.K. Soon afterwards the band went away.

Although the CD lacks the hits of their first two releases, it does feature a couple of great covers in the form of "Hang On In Their Baby" and "Killing Me Softly." The production is very 1990s, with the pre programed drums making most songs sound hollow. Think "Been Around The World" by Lisa Stansfield. The two best tracks on the CD "Work It Out" and "Gimme The Sunshine" would fit well on a Curiosity Killed The Cat best of mix CD, which I'll gladly make for you for a price. (Either $8.00 or 2 boxes of thin mints Girl Scout Cookies.)

In recent years Curiosity Killed The Cat (now reduced to just singer Ben Volpeliere-Pierrot) has played at several retro festivals but only in England and Scotland. Damn it! My dream is that someday Curiosity Killed The Cat will play an 80s fest here in America. Perhaps with The Blow Monkeys, Nik Kershaw and Level 42.

Next time you are at your local record store (yes, they still exist) or thrift store look for Curiosity Killed The Cat CDs "GetAhead" or "Keep Your Distance." Or get the deluxe edition of the debut CD online. Both deserve your music appreciation.

Keith Valcourt

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Keith Valcourt's Music Appreciation Society--INTRO

2/24/2014

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As a music reviewer (not critic) I am constantly in search of new tunes to write about. The next band, CD or reissue are my prey. And I am the hunter. Music is my addiction and I'm in constant need of the next fix. The latest trend. Undiscovered band or re-release from longtime favorites. I need them. I need to write about them.
Sadly, in the rush to review stuff (deadline are deadlines) I only spend a few days at best with each piece of music. A CD gets listened to 2 or 3 times, the review gets written and the disc gets shelved away in my vast collection of 10 thousand plus CDs.

Yes, I'm bragging. Many never to be heard or seen again, until I do my yearly clean out/reduction of my collection and wonder "What the heck is this CD?" Writing about music in a way takes the fun out of listening to it. I don't appreciate the latest CDs Arcade Fir and Lorde discs as much I appreciated CDs I listened to decades ago when music was for pure pleasure. That is why I decided to start this new music blog. For pleasure.

Welcome to Keith Valcourt's Music Appreciation Society. Rather than review new Cds here, I will delve back into my archives of 10,000 CDs (Again--Bragging) and revisit bands and CDs that I truly appreciate. Maybe they are some of your favorites. Or maybe you've never heard of them. Maybe you will even discover some great music. I just hope you appreciate them as much as I do.

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U2: The Early Years

The Silencers

Nik Kershaw

'Til Tuesday

Jeff Buckley

The Power Station

Curiosity Killed The Cat

Keith Valcourt's Music Appreciation Society--INTRO

Keith Valcourt

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