Communards [1987] Red

[01] Tomorrow
[02] T.M.T. - T.B.M.G
[03] Matter Of Opinion
[04] Victims
[05] For A Friend
[06] Never Can Say Goodbye
[07] Lovers And Friends
[08] Hold On Tight
[09] If I Could Tell You
[10] C Minor



amg: Opting to have Pet Shop Boys and New Order producer Stephen Hague lend his skills to half of their second record proved to be a smart move for Jimmy Somerville and Richard Coles. Red tops their respectable debut in nearly every aspect. Increasingly melodic, increasingly polished, and increasingly tight, the front-to-back strong album is a defining Euro-dance record of the latter half of the '80s. The re-working this record is based around is Gloria Gaynor's version of "Never Can Say Goodbye," which stands apart from any other recorded rendition thanks to Somerville's distinct vocals. Again, the poppy disco is broken up by the occasional piano workout, and Somerville continues to bounce around with differing lyrical subjects, including the gripping "For a Friend," written for an AIDS victim close to him and Coles. The two other singles from the record, "Tomorrow" and "There's More to Love Than Boy Meets Girl," are stronger than anything on the debut.
(amg 9/10)

Culture Club [1983] Colour By Numbers

[01] Karma Chameleon
[02] It's A Miracle
[03] Black Money
[04] Changing Every Day
[05] That's The Way (I'm Only Trying To Help You)
[06] Church Of The Poison Mind
[07] Miss Me Blind
[08] Mister Man
[09] Stormkeeper
[10] Victims



amg: Colour by Numbers was Culture Club's most successful album, and, undoubtedly, one of the most popular albums from the 1980s. Scoring no less than four U.S. hit singles (and five overseas), this set dominated the charts for a full year, both in the United States and in Europe. The songs were infectious, the videos were all over MTV, and the band was a media magnet. Boy George sounded as warm and soulful as ever, but one of the real stars on this set was backing vocalist Helen Terry, who really brought the house down on the album's unforgettable first single, "Church of the Poison Mind." This album also featured the band's biggest (and only number one) hit, the irresistibly catchy "Karma Chameleon," its more rock & roll Top Five follow-up "Miss Me Blind," and the fourth single (and big club hit), "It's a Miracle" (which also featured Helen Terry's unmistakable belting). Also here are "Victims," a big, dark, deep, and bombastic power ballad that was a huge hit overseas but never released in the U.S., and other soulful favorites such as "Black Money" and "That's the Way (I'm Only Trying to Help You)," where Boy George truly flexed his vocal muscles. In the 1980s music was, in many cases, flamboyant, fun, sexy, soulful, colorful, androgynous, and carefree, and this album captured that spirit perfectly. A must for any collector of 1980s music, and the artistic and commercial pinnacle of a band that still attracted new fans years later.
(amg 9/10)

Camel [1979] I Can See Your House From Here

[01] Wait
[02] Your Love Is Stranger Than Mine
[03] Eye Of The Storm
[04] Who We Are
[05] Survival
[06] Hymn To Her
[07] Neon Magic
[08] Remote Romance
[09] Ice



amg: Although not an honest representation of the band's character, this is undoubtedly their most popular work. The one-time addition of American Kit Watkins produces some fine keyboard lead work. Rupert Hine's resourceful production and appearances by Phil Collins and Mel Collins round out this strong import release. "Survival" and "Who We Are" feature some fine orchestrations, and guitarist Latimer delivers some exceptional lead work on the album's closer, "Ice."
(amg 9/10)

Camel [1978] Breathless

[01] Breathless
[02] Echoes
[03] Wing And A Prayer
[04] Down On The Farm
[05] Starlight Ride
[06] Summer Lightning
[07] You Make Me Smile
[08] The Sleeper
[09] Rainbow's End



amg: With Rain Dances, Camel began exploring shorter, more concise songs, but it wasn't until its follow-up, Breathless, that they truly made a stab at writing pop songs. Although they didn't completely abandon improvisational prog rock — there are several fine, jazzy interludes — most of the record is comprised of shorter songs designed for radio play. While the group didn't quite achieve that goal, Breathless is nevertheless a more accessible record than Camel's other albums, which tend to focus on instrumentals. Here, they try to be a straightforward prog rock band, and while the results are occasionally a little muddled, it is on the whole surprisingly successful.
(amg 9/10)