Great Rock/Metal Albums of 1989: House of Lords

House of Lords has now made it onto my list of American artists who didn’t crack Britain. Yes, they appeared on the “Protect the Innocent” compilation album but after that, zero. However, when I researched the band and the album, I discovered that they had a rich discography that carried on until 2022! So they must have been somewhat known in the US.

The other surprise came when I watched the video for the single, “I Wanna Be Loved,” which appeared on the compilation. The camera seemed to home in on the keyboards player quite a bit. Now that I know who it is, I’m not surprised. Gregg Giuffria. In the mid 80s, he had is own band, which was named after him and originally this was supposed to have been another Giuffria album, but producer Gene Simmons, yes that Gene Simmons, persuaded him to go another way.

The intro on the opening track, “Pleasure Palace,” sounds as if it could have been a classic progressive rock song from out of the 1970s, ala Yes or Emerson, Lake and Palmer. Gregg definitely has skills on the keys. However, the track develops into a more 80s synth rock song, something you might hear from Survivor but it’s not bad. The track from “Protect the Innocent” is more a rocking track so any thoughts of the album disintegrating into a pop album is quickly erased.

House of Lords really show their worth on “Edge of Your Life.” This is a nicely done melodic rock track with everyone firing on all cylinders. It’s the first track where Larry Cordola is let off the leash and he bangs out a great guitar solo. My personal opinion, this one should have been released as a single. “Looking For Strange” sounds like it might be a little all over the place but the chaos has plenty of hard rock swagger with some cool piano chops from Gregg and nice drum fills from Ken Mary.

Was it a thing in 1989 for bands to have their power ballad at the mid point of the album? It was like that with Femme Fatale and the same happens here. “Love Don’t Lie” is a really tender ballad without being too soppy. James Christian really pours his heart and soul out with the vocals and the rest of the band support with piano, a hard drum beat and a good guitar solo. Well done boys.

“Slip of the Tongue” is the first true hard rock song. They really take things up more than a few paces and rock it out. Just a great metal tune and one Rick Nielsen helped write the song. Still, it has me banging my head at a rapid pace. But it’s the cool intro on “Hearts of the World” and what happens after which convinces me that House of Lords can be considered a metal band. This one too has me headbanging away and while it’s not as fast as “Slip of the Tongue,” the power of metal is there to be heard. This one and its predecessor can both be considered hidden gems.

More 70s sounding progressive keyboards bring in “Under Blue Skies” but this time, it goes into a more heavy metal vibe. Enjoyable but I think the repetition at the end goes on a little too long. Both of the final two tracks could have been closers on the album. Both have that lets end the album in the right way and everybody sing along to the chorus vibe. I don’t see anything wrong with two songs which could be considered closers ending an album on an absolute positive.

Track Listing:

1. Pleasure Palace
2. I Wanna Be Loved
3. Edge of Your Life
4. Looking for Strange
5. Love Don’t Lie
6. Slip of the Tongue
7. Heart of the Worlds
8. Under Blue Skies
9. Call My Name
10. Jealous Heart

House of Lords

Gregg Giuffria- keyboards

James Christian- lead vocals

Larry Cordola- guitar

Chuck Wright- bass

Ken Mary- drums, percussion

Additional Musicians:

Jeff Scott Soto- backing vocals

Well, I’m convinced, I don’t know about the rest of you. I will explore House of Lords further albums.

Next post: Lenny Kravitz- Let Love Rule

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

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Happy New 2024!

2023 is over and 2024 is about to begin. This past year has been interesting in several ways. It started early when, after living in Europe for over 36 years, finally went to Paris and visited Jim Morrison’s grave. However, that wasn’t the only good thing to come out of the Paris trip. While I was there, I discovered France’s best kept musical secret, Indochine, a band that has been around since the 80s and are virtually unheard of outside France but pack stadiums in their country.

Indochine

While I didn’t go to any major concerts in 2023, I did get to see a couple of tribute bands. Thin Lizzy tribute band Limehouse Lizzy totally rocked Gloucester and AC/DC tribute band, Hells’ Bells never disappoint. In addition, I went to Edinburgh, Scotland in June and saw a number of cool bands at a great rock bar known as the Banshee Labyrinth. The management liked my post so much, they said to come back again.

Limehouse Lizzy

Hell’s Bells

The Banshee Labyrinth

I must also thank Mike Ladano, John Snow, Harrison Klopp and the others for allowing me to contribute to the Tee-Bone Man and Superdekes Adventures. It has been a great opportunity to really stretch out my imagination and let it go wild. Spoiler alert: I will begin working on my next contribution, Satan’s attempt to take over Rock Heaven. So, 2023 has been a pretty eventful year.

Things seem set to continue for 2024. First, some non-music related news. On January 31, my daughter Rowena is getting married and of course, I’ll bore you with all the wedding photos. In musical news, my big discovery from 2018, Lebanese heavy metal outfit, Slave to Sirens, will be putting out an album called “Echoes of Silence,” which I’m looking forward to. Furthermore, America’s best kept secret, Hannah Wicklund, has also been active so we might get an album from her. A lot to look forward to. In the meantime, here’s a track from Slave to Sirens.

With that, I wish you all a very happy and prosperous new year.

Next post: Deep Black Rainbow’s full performance

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

Once again, Bruce Dickinson has been overlooked for a knighthood. To right this wrong, click the link: https://www.change.org/p/special-honours-committees-for-knighthoods-a-knighthood-for-bruce-dickinson

Great Rock Songs of 1989

Fish

Normally, I blast Wikipedia for providing information I know to be incorrect, however, this time they might have saved my behind. After Fish left Marillion, I saw a video for his song, “State of Mind,” in late 1989. Naturally, I assumed that an album accompanied the song, which it did. Unfortunately, “Vigil in a Wilderness of Mirrors,” wasn’t released until early 1990. Therefore, I have decided to wait until the tour of that year to post about the album. In the meantime, since this song came out in 1989, I can post about it now.

At the time and sort of now, I felt the song sounded more like Marillion than the new Marillion. Like I said in the post, the Steve Hogarth era took the band in a slightly new direction. On this song, Fish does what he did in his former band and I forgot how good “State of Mind” was. It’s a good progressive rock song with some hard-hitting lyrics about the political state of Britain at the time. My only small criticism is at the guitar solo where Steve Rothery would have definitely come in handy. Still, it’s a great song, have a listen.

As far as I remember, there were no other significant one hit wonders nor were there any notable triumphs or tragedies in the rock world in 1989. Even the Donington Festival didn’t happen that year on account of the tragedy which occurred the previous year. Either 1989 was uneventful in these respects or I was too busy with fatherhood to notice.

Next post: Soundtrack to Shocker

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Great Rock Albums of 1989: Marillion- Seasons End

Even a few Duranies back in 1989 knew that “Seasons End” was the first album made without former lead singer, Fish, who left the band in 1988, citing health problems as well as a falling out with guitarist, Steve Rothery. Enter new singer Steve Hogarth. I apologize in advance if anyone was expecting me to jump into a Fish vs. Steve Hogarth debate, I won’t. For me, there is no debate. Both singers have totally different styles and if there is any credit to be given, it should be to the rest of Marillion who have been able to fit their sound around both and make it sound so good.

With that said, I will make one observation. The opening track, “The King of Sunset Town,” is all the proof one needs that Steve was the right choice to replace Fish. His vocals fit around the music perfectly and when the song began, it simply sounded like business as usual. Steve Rothery playing mesmerizing guitar solos and Mark Kelly continues to work his magic on the keyboards backed by the rhythm section of Pete Trewavas and Ian Mosely. Yes, there was nothing to fear.

Here’s the fly in the ointment but it’s only a tiny fly. On the second track, “Easter,” when the vocals kick in after a light melodic acoustic guitar intro, I can’t help thinking that maybe Fish’s vocals would have fit this piece better. However, this is the only part of the album where I think that. In fact, I can reverse things on the third track, the harder rocking “The Uninvited Guest,” which is my vote for favourite track. I can’t imagine Fish singing this track as well as Steve does. Observation over!

As for the rest of the album, Steve’s vocals fit the songs very well. The alluring title track is a great example. His singing fits like a glove and of course, the rest of the band are at their best as always. I was particularly impressed with Pete’s bassline and there’s a fantastic guitar solo from the other Steve. It’s my second favourite song on the album.

Here’s an odd but true story. My introduction to the new album came by way of Marillion’s appearance on “Top of the Pops.” Obviously, the new singer was the first thing to grab my attention but the second was the song they were playing. When I heard, “Hooks In You,” I thought that after Fish, Marillion were going a bit more hard rock. That is, with the possible exception of “The Uninvited Guest,” the hardest song on the album but for the rest of it, Marillion keep to their progressive style which served them so well throughout the 1980s. A great example “Holloway Girl.” In any case, it was clear that Marillion weren’t going anywhere.

Track Listing:

1. The King of Sunset Town
2. Easter
3. The Uninvited Guest
4. Seasons End
5. Holloway Girl
6. Berlin
7. After Me
8. Hooks in You
9. The Space

Marillion

Steve Hogarth- vocals

Steve Rothery- guitar

Mark Kelly- keyboards

Pete Trewavas- bass

Ian Mosley- drums

Additional Musicians:

Phil Todd- saxophone on Berlin

Jean Pierre Rasle- pipes on Easter

Sorry, no Steve Lukather

One point I failed to mention, “Seasons End” was the first album in three not to have been a concept album. But who cares? Even with the changes, it is still a phenomenal album.

Next post: Stevie Nicks- The Other Side of the Mirror

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Great Rock Albums of 1989: Rush- A Show of Hands

After reviewing a Canadian artist who didn’t get the accolades he so truly deserved, I thought it right to review one who totally did get those just accolades. Yes, I’m talking about Rush, who, back in the 1980s and beyond, were known around the world. I personally know a good number of Rush fans here in the UK.

In 1989, Rush treated the world to a live album in the form of “A Show of Hands” and I’ll say right off the bat that it’s another reason for me to lament never seeing them live. True, the album focuses on their 1980s material and what a lot of persons out there often refer to as they “synth period,” but this doesn’t stop it from being a great live album.

Looking at the track listing, I should have been slightly disappointed at the absence of “Tom Sawyer” or any of their songs on the first side of the “Moving Pictures” album and some of their more harder rock songs. It could be said that Rush took a gamble of not having any of their material before 1977 but they pull it off. On the subject of “Moving Pictures,” the song from that album which appears here is the hidden gem, “Witch Hunt.” Therefore, that makes me happy.

What I find very amusing about this album is how they opened their show with “The Three Stooges” theme. For those not familiar, this particular theme was when Joe was one of the stooges as my favourite (and most people’s) stooge, Curly, had passed away a few years earlier. It’s my strange mind at work again here. But for the rest of the album, you get a good catalogue of their 1980s output and it all sounds good. You get both hits like “Distant Early Warning” and “The Manhattan Project” and the only pre-80s song, “Closer to the Heart,” which is definitely a favourite of mine and many more. Furthermore, you get some deep cuts like the mentioned hidden gem, “Marathon” and “Turn the Page.” In addition, you get “The Rhythm Method,” which sounds to me like a complete drum solo from Neil. Again, this will be the closest I will come to seeing Rush live and Neil doing what he did best on the drums.

I don’t know what more I can say about this phenomenal live album. It totally surprised me as it sounded so good despite some of my favourite Rush songs not being included. I hold this album up as a counter against those who rail on their 1980s material. They should have heard this songs live because this album makes them all come alive.

Track Listing:

1. Intro (A Show of Hands)
2. Big Money
3. Subdivisions
4. Marathon
5. Turn the Page
6. Manhattan Project
7. Mission
8. Distant Early Warning
9. Mystic Rhythms
10. Witch Hunt
11. Rhythm Method
12. Force Ten
13. Time Stand Still
14. Red Sector A
15. Closer to the Heart

Rush

Geddy Lee- bass, synthesizers, lead vocals

Alex Liefson- guitars, backing vocals

Neil Peart- drums, percussion

In 1989, Rush was the band many people here in the UK associated with Canada. Bryan Adams wouldn’t make his mark for a few more years. However, in Rush’s case, with albums like this live one, I can certainly see why.

Next post: Belinda Carlisle- Runaway Horses

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Great Rock Albums of 1989: Kim Mitchell- Rockland

One conclusion I have come to since writing this blog is that Canadian artists don’t get the respect they so richly deserve. Take Kim Mitchell. True, he had some airplay in the US with hits such as “Go For Soda” and “Patio Lanterns” and I guess that the track, “Rocklandwonderland,” got some airplay there to as it was the ninth most played song in its native country. Unfortunately, I was living in the UK and the song never made it across the Atlantic. Therefore, I missed out on another great song and album back then.

Take the already mentioned track. “Rocklandwonderland” opens the album and I absolutely love the bassline laid down by Matthew Gerrard as well as Kim’s little guitar hooks. To me, it sounds a little like Mr. Mister with a great little guitar, which is in no way a criticism by the way. It’s just a good song which might have done well in the UK if anyone bothered to market it over here.

The first half of “Rockland,” jumps back in forth between rock song and ballad. The ballad, “Lost Lovers Found” succeeds the opener and this too could have been a single. It has a catchy vibe a good ballad should have and Kim does play a good guitar solo on it. Then we get some rocking with “Rock and Roll Duty” which was the second most played song in Canada in said year. I mean this song really cooks and if I had heard it back then, I would have said, “Wake up America and Britain.” This is a pure rocker and Kim once again really wails on his guitar, especially at the end.

“Rockland” goes back to ballad territory with “Tangle of Love.” This is typical 80s ballad stuff but its done very well. I like Kim’s little spoken piece at the beginning of the song. If I had access to this back then and I wasn’t already married of course, I might have used this one in an attempt to obtain paradise by the dashboard light. The song sets a very romantic mood with Kim’s little guitar hooks and solo and although it’s not listed in the credits, I’m sure I hear a little sax solo. Then, in keeping with the first half of the album, things go a bit harder with “Moodstreet.” We get another cool bassline from Matthew and more little guitar hooks from Kim similar to the opener. If listening on vinyl or cassette, then this one was a great way to end the first half of the album.

We don’t get a ballad on “The Crossroads.” I won’t call it a rocker, more 80s pop rock. I get the impression that Kim might have been going for commercial playability with the album and this one sounds like it would have been fit for American radio. More credit should go to Matthew for his bassline on this and a number of other songs on “Rockland.” However, we do get more of a ballad with “Expedition Sailor.” Rik Emmett of Triumph lends his hand on the acoustic guitar. It’s not a romantic ballad, much more a story telling one. I think it tells the story of a sailor who is out searching for a much better world. A nice little guitar solo from Kim adds to the mood.

It’s track eight where I find the hidden gem on the album in “Oh Mercy Louise.” Here, Kim lets his hair down and just goes and rocks out. I like what Kim does on the song and the little augmentation from the keyboards and yes again, Matthew’s bassline but it’s Kim on the guitar which really shines here. Penultimate track, “This Dream” carries on the rock and though I don’t hold it in as high esteem as its predecessor, it’s still a great rocking track with more great guitar work from you know who. Kim closes his album with the hard rock sounding “The Great Embrace.” It is a great rocking way to take the album home as Kim goes all out on it.

Track Listing:

1. Rocklandwonderland
2. Lost Lovers Found
3. Rock and Roll Duty
4. Tangle of Love
5. Moodstreet
6. The Crossroads
7. Expedition Sailor
8. Oh Mercy Louise
9. This Dream
10. The Great Embrace

Kim Mitchell- lead guitar, lead vocals

Greg Wells- keyboards, backing vocals

Matthew Gerrard- bass

Kim Bullard- keyboards

Lou Molino- drums

Peter Fredette, Floyd Bell- backing vocals

Rik Emmett- acoustic guitar (track 7)

Sheree Jeacocke- backing vocals (track 5)

While I don’t in any way regret my life situation back in 1989 nor living in the UK, it is a shame that a damn fine album such as “Rockland” passed me by. Trust me, in a post set sometime in the distant future, Kim and other Canadian artists will get the recognition they deserve.

Next post: Rush- A Show of Hands

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

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Great Rock Albums of 1989: Tom Petty- Full Moon Fever

“Full Moon Fever” is the first Tom Petty album sans the Heartbreakers although most of them contributed on this album, especially lead guitarist Mike Campbell. Right now, I’m cursing my memory for somehow not remembering this album. I can’t even blame living in England because the album did very well here. I vaguely remember some of the singles but I can’t remember which ones charted where. With all that said, it’s not worth beating myself up over it because I can say how good the album is.

No less that five singles, three of them hits were spawned from the album. I now remember “Free Fallin'” thanks to an episode of “Family Guy.” Unfortunately, I can’t sneak it in here because while the song is mentioned, it’s not played. Oh well, I have to just enjoy the song as it is. It is the first of the five singles which make up the first six songs. “I Won’t Back Down” is more in tune of what Tom did with the Heartbreakers so it’s a really enjoyable song. However, I prefer the single “Face in the Crowd” with it’s foreboding acoustic guitar sound and Tom’s vocals punctuates the song very well. Then again, Tom goes slightly melodic hard rock on “Runnin’ Down a Dream.” It seems that when I listen to the album, the tracks seem to get better as the album progresses. It’s the first song where we get a significant guitar solo from Mike Campbell.

Since there are so many good tracks which were successful singles on the album, I must go right to the hidden gem. “”Love is Long Road” was a B-side for “Free Fallin'” in the UK but for me, it’s definitely the hidden gem. On this one, Tom and Mike let their hair down a bit and rock this song out. There are some power chords and Mike is let off the leash to knock out his best guitar solo. But for the technicality minded, if one doesn’t want to count a B-side as the hidden gem, which leaves out “Fell A Whole Lot Better,” a really good straight forward rock tune, then let me turn your attention to the closer, “Zombie Zoo.” Maybe it’s because we are getting so close to Halloween but I really like this song. It’s a fun rock song.

Not only do some of the Heartbreakers play on the album but also three of the Travelling Wilburys, George Harrison, Roy Orbison and Jeff Lynne who also produced the album. With all of those contributing, it’s little wonder the album was so good and successful.

Track Listing:

1. Free Fallin’
2. I Won’t Back Down
3. Love is a Long Road
4. Face In the Crowd
5. Runnin’ Down a Dream
6. Feel A Whole Lot Better
7. Yer So Bad
8. Depending On You
9. The Apartment Song
10. All Right For Now
11. A Mind With a Heart of Its Own
12. Zombie Zoo

Tom Petty

Tom Petty- lead and backing vocals, guitar, keyboards, tambourine, handclaps

Mike Campbell- lead guitar, bass, Dobro, mandolin, keyboards

Jeff Lynne- rhythm guitar, backing vocals, bass, keyboards, piano, synthesizer

Phil Jones- drums, percussion

George Harrison- guitar, backing vocals on “I Won’t Back Down”

Jim Keltner- drums, maracas, tambourine, (track 3)

Benmont Trench- keyboards, piano (track 9)

Howie Epstein- backing vocals (tracks 2 and 3)

Roy Orbison- backing vocals (track 12)

Kelsey Campbell- scream (track 12)

Alan Wiedel- handclaps (track 6)

I’ve always liked Tom Petty and the Heartbreakers and I really like this solo album from Tom. Nuff said.

Next post: Kim Mitchell- Rockland

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Decision Regarding the Future

80smetalman’s Log: Supplemental

I have come to a decision on what to do here on 80smetalman once I’ve complete the tour of 1990. My following didn’t really get going until I was well into 1979, which was another great year for music. Therefore, most of you missed 1978 and the series before that which I called “Great Rock Albums of the 1970s.” Many great albums from the decade, pre-1978, were posted about. There was no real sense of order, an album from that time period came to my head and I would write about. I wasn’t constricted by years or bands or anything. Example: One post was “Never Mind the Bollocks” from the Sex Pistols, which, as you know, came out in 1977. The very next post was David Bowie’s “The Rise and Fall of Ziggy Stardust and Spiders From Mars,” which was released in 1972. Some may see the lack of order but it worked for me at the time. I’m sure Stone of Metalodyssey can vouch for this as he was my big follower back then. It’s also why I launched a campaign to save his blog in the beginning of the year.

So, that’s what I’m going to do post 1990. There will be no set years following on and I’ll just post about an album which comes to mind. In fact, I think the first post should be Metallica’s “Black Album.” I think this way is best for me because I can do so with less stress about it and on top of that, I can post about other related material like top ten lists and such.

I hope you’ll continue to come along for the ride. In fact, you can suggest albums from that time period for me to post about. In any case, I am really excited about doing it this way and I hope you’ll be too. On another note, on my Michael Bolton post, I mentioned a sub genre called ‘conformist rock,’ I’m surprised no one picked up on it. Maybe it wasn’t the big thing in the US as it was in the UK.

Next post will still be Stevie Ray Vaughan.

Thank you all for the support you’ve given me thus far, may it continue.

Great Rock Albums of 1989: Mike and the Mechanics- The Living Years

Mike and the Mechanics were a paradox for me. I didn’t hate them, in fact, I found their music easy to listen to. However, they were no where near being metal. Therefore, I didn’t pay much attention to them and was the reason why I didn’t post about their 1985 debut album. To be honest, if it wasn’t for the recommendation from Damien, I wouldn’t have posted about this album, “The Living Years.”

Listening to the album, I find that they walked the tightrope between synth pop and hard rock and do it very well. One example is the track, “Black and Blue.” If more synths were added to the song, then it would have been more in the vein of Duran Duran. However, if the guitar had been turned up more, it might have been a really good rocking song.

Not fitting to either of the categories above, back in the day, I labelled Mike and the Mechanics a top 40 band. They did have several hits and on this album, it’s the title track which was a worldwide hit for them, going number one in many countries. I have to admit, I do remember the song from back then and it is a pretty good song, even for this metalhead.

Some critics slated “The Living Years” for being too inconsistent. I don’t agree with that view. I think they tried to venture out and explore more and they have my admiration for doing so. While, there are no real rockers on the album, “Seeing is Believing” comes pretty close. Mike Rutherford does stretch out on the guitar more and if he had hammered out a solo, then it would have been the icing on the cake.

For me, the middle of the album which is the best part for me. The tracks, “Nobody Knows,” “Poor Boy Down,” and “Blame” all put their toes in the pool of progressive rock. “Nobody Knows” bounces nicely between ballad and up-tempo. “Poor Boy Down” starts off like Kenny Loggins’ “Danger Zone” but I have to applaud the keyboard work of Adrian Lee here. This is another one that if they added more guitar to it, it would have made a great rocker. I can say the same thing about “Blame” except that Mr. Rutherford rips a cool guitar solo on it and that makes it the best track on the album. His efforts on “Beautiful Day” are worth a note too.

Track Listing:

1. Nobody’s Perfect
2. The Living Years
3. Seeing Is Believing
4. Nobody Knows
5. Poor Boy Down
6. Blame
7. Don’t
8. Black and Blue
9. Beautiful Day
10. Why Me

Mike Rutherford- guitar, bass

Paul Carrack- vocals, tracks 2, 4, 7, 10

Paul Young- vocals, tracks 1, 3, 5, 6, 8, 9

Adrian Lee- keyboards

Peter Van Hooke- drums

Additional Musicians:

Sal Gallina- keyboards

B. A. Robertson- keyboards

Alan Murphy- guitar

Martin Ditcham- percussion

Luis Jardim- percussion

Christopher Neill- backing vocals

Alan Carvell- backing vocals

Kings House School Choir- backing vocals track 2

Actually, back in late 1985 and early 86, I had my own version of Mike and the Mechanics. Working at a bus parking lot, I hung around with two mechanics so that’s what we called ourselves. In any case, “The Living Years” is a pretty good easy listening album.

Next post: Stevie Ray Vaughan- In Step

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France’s Best Kept Secret- Indochine

Indochine

When I made my historic trip to Paris back in January to visit Jim Morrison’s grave, I also included another discovery made during that weekend. When watching a show about albums on French TV, I came across a very interesting band I had never heard before, Indochine, pronounced Ondo-sheen. In the video, they were playing to a packed out arena with a lot of fans, mostly female, screaming their appreciation of the band. I came to the conclusion they were a huge sensation in their native country, which my good buddy, The Vintage Toy Adviser, has since confirmed. The video for “Station 13” will confirm it even more.

Indochine in the early days

Indochine formed in 1981 and by 1983 were considered the hottest new wave band in France. Throughout, the 1980s, they would release four successful studio albums and maintain a steady lineup. However, that would change in the 1990s with what seemed to be a revolving door of drummers and guitarists. Fortunately, the new millennium would bring renewed success and the band continues to ride on that wave. For their full history, click this link: https://en.wikipedia.org/wiki/Indochine_(band)#Discography

Here’s further evidence I could be mellowing with age. If I had heard of the band back in the mid 1980s, I most likely would not have been interested in them as they were not metal. Fortunately, these days I am more opened minded and I was very impressed with what I had heard on that TV show and that has led me to explore them further and become even more impressed with this band. Their brand of new wave is definitely unique, if I were to try to make a comparison to another band, the closest would be Simple Minds but I still prefer Indochine.

Now for the big question: Why aren’t Indochine bigger outside of France? True, they are known on Continental Europe and have played in Montreal and are even considered huge in Peru. Why haven’t they made a dent in the US or UK? I can hear some people shouting out that if they sang in English, then they would be huge. My response is, Why should that matter? Okay, I know their fellow countrymen, Gojira, sing in English and have conquered the heavy metal world. Well you know what? I would still love Gojira if they sang in French because their music is that good. No artist should have to sing in another language just to make it. It’s a given that music transcends language barriers. Furthermore, Indochine get my respect for not doing so, I get the feeling that if they tried to sing in English, it would sound out of place. But don’t take my word for it, have a listen and tell me what you think.

Indochine’s current lineup

Nicola Sirkis- vocals, guitar, synthesizerm harmonica

Marc Eliard- bass

Boris Jadel- lead guitar

oLi dE SaT (Olivier Gerard)- keyboards, rhythm guitar

Ludwig Dalberg- drums

Note: Dimitri Bodiansky played saxophone with the band 1981-89

So there it is, Indochine is France’s best kept secret. Hopefully after this post, they won’t be such a secret anymore.

Next post: 1989- The Final Year of the Golden Decade

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

To sign the petition for a knighthood for Bruce Dickinson, click the link: https://www.change.org/p/special-honours-committees-for-knighthoods-a-knighthood-for-bruce-dickinson