It is a shame to hear that the world is believing that the energetic career of Britains best loved Rockers is coming to an end. So I feel it is my duty to fuel the diminishing fan base one more time by bringing you the very pinnacle of this mans career, when we sneered with him, Rocked to him, got drunk to him and probably some of us even lost our virtue to him.that last comment could be debatable.
What I have chosen here is one of many prized possessions that I have by this cyberPunk figure. What we werent taught by him as listeners, is not worth knowing. When other Rock bands of the Eighties decade were huddling together in fear of their long haired audience, in strode Idol, all menacing and fingers up to the world. We were stunned beyond belief at his appearance of leather, chains and bare chest. An surprisingly attractive man, his charm worked miracles and wetted many a knicker throughout teenage girls. We already have Sebastian Coe, Lancaster bombers and c hips that make us proud to be British. Then, we had Billy Idol, and our worlds changed and made us prouder
Throwing all intentions at an unsuspecting public leading the Punk band Generation X in the late seventies, he was already a unique talent developing. Bright bleached blond spiky hair has always been his trade mark along with his Elvis styled vocals and snarling top lip. We quivered at the knees and were entranced by his whole being leaping, stomping and generally trusting his groin into a live audience. We could not help but take notice. Nothing like since, since Elvis Presley had been seen, nor, would it be ever seen again. Like the second coming to the world of Rock and roll. He was to be the last, of a significant line of Rockers who changed the world, or at least, this impressionable teenager from South London.
Whiplash Smile, was the second of four platinum albums. This strangely Beatle-obsessed kid by the boring name of William Broad, changed his name after remembering a teacher had taunted him with the words, Billy, youre Idol! in class, a while before. After having the one and only great success with the band with the EP hit, Dancing With Myself, he left in 1981, to embark on solo projects. It was his time with Generation X that spurned the solitary artist within him. He had learn to play the audience with his enticing lyrics and suggestive behaviour.
His own adapted Punk/pop/Rock style came to the fore in his second album release, Rebel Yell, and as most would argue, probably the best of all his platinum albums. This one Reviewed here, is the very second best. It captures the rawness and the spirit of the first, although perhaps losing the very sparkle of Rebel Yell, that made it such a world class album. (The debut album, Billy Idol, released in 1982, failed to enter the album charts.)
An impressively covered album with moody photography and sensual poses by the man himself, it appears with the legend, Return To Splendour, in a natty design on the back cover. A definite idea of the Musical content within.
Incorporating three top thirty singles, this album, as the previous two, gave us a taste of his own compositions. Using his faithful line up from the start of his solo recording career; Steve Stevens (whom he later fell out with) on guitars, Phil Feit on bass and Steve Missal on drums, although, a small set up, they still made enough noise to contribute equally to Idols deafening vocals. Writing with Steve Stevens from the word go, he soon mastered the quality of the perfect hit record. At the time of this albums release, we had yet to encounter the best years of Idols recording life. The opening track to this definitive album was an unknown track, and still is, entitled World's Forgotten Boy. Probably, when on listening to this track now, and particularly with its title, it hits home the long forgotten career of this remarkable artist. Almost, b ringing a lump to your throat, the intro of this track will soon put a stop to all those remorseful thoughts of not buying his records when it mattered. His echoed , haunting vocals are somewhat tearful and sullen. This rebel, bad boy approach in which we loved him, pours into our ears like entrancing pain. This fast paced track is full of trashing guitars and clashing cymbals. We also get to hear the essence of cyberPunk themes here that he was to embrace so tightly towards the end of his recording career with the concept album, CyberPunk of which took a hammering from the press as being the downfall of an aging, out of date Rock star. Using electronic anthems, this track is about as head hanging as this album gets. For any angry young thing wanting to be reached out to by someone on the same miserable level, this track is sure to hit the right nerve.
The tone is brought down to a super sullen level in the bluesy Got To Be A Lover. Bringing in to focus the soul ful, yet gospel effect of the female backing vocals, this track appears on most Rock compilation albums found today. This Presley inspired track grinds at the heart and pulls at the strings of desperation. Hints of piano flickering notes give it the gospel theme. Have Mercy, this is Idol at his religious best. Organs take the gospel theme down to a even lower key of sultry lyrics. It cascades up and down the octaves reaching through our souls and ripping them apart. A true, hands to the heavens style track. One of its kind. Released in September 1986, it reached number 22.
The next track is entitled Soul Standing By, and the listener is back on track on a thumping, Punk theme. Idol delights us in his drain filled, moody vocals. Coupled with intermittent guitar riffs, it track is held tightly together with closely knitted shimmering drum effects. Along the lines again of the cyberPunk theme, it races through the lyrics, riding high, and speed it the name of th is dangerous game. After such a rage wringing track, we need a little calming down so he gives us the haunting, slightly childlike Sweet Sixteen, telling the tale of a grown man obsessed with a young girl who doesnt want him. Idol is a an all time painful, depressed low within this track. It plays on our minds in its distorted theme. Gentle and twisting using slide guitars and a mellowed country angle, it could be heard as something rather disturbing. Melodic and dreamy, this track will seen the hardest of Rockers to sleep. A track, that at the time of its release as a single, Rockers either loved or hated. It was Idol, in fact, reaching out to a mainstream audience. It had worked of course, but Gen X fans practically threw up to it. The public bought this record and it went to number 17 in May 1987.
In Man For All Seasons, we are surprisingly disappointed. It is leaning on the theme of the opening track but the initial track is threatening to move out of the way. It doesnt do much for the album as it probably could have been missed out altogether. The sparkle isnt here for this track. The break appeals for a brief moment as it plays around with a guitar riff on a gentler note. The trashing cymbals and electronic effect should have worked well, yet Idol sounds although he is struggling to give this track some life. It has not real melody to it. We wonder is it because we have been spoilt with such unique talents so far in this album, that we hear a then, mediocre track, and automatically cast it aside.
We are spoilt again by the introduction of Dont Need A Gun, whose fast paced theme seems to make up for the previous track. Lyrically, it tells a story that has probably effected us all. Not in the sense of wanting to own a gun, but being in a situation of desperation. Using and affectionately noting some of the most famous depressives, Johnny Ray, Gene Vincent, Elvis, he touches on personalities whose lives have be en peppered with tragedies. I get the feeling from this fast lane track of loneliness and the fact that you shouldnt need a crutch to get through life. At sort of all you need is love style to the tune of Paranoia by Black Sabbath. It is Idol being soulful and thought provoking. The rest of us head bangers will be wanting to jump into our cars and pretend to be Michael Schumacher. The album version of this track includes an extended instrumental break from that of the single release. Released in February 1987, it was wasted on the pop charts. An incredible piece of Punk/Rock fused together with electronic drum machines and keyboards, it was best left to deep thinkers and manics everywhere. I understood it. Which probably means I need therapy.
Perhaps Beyond Belief, should have appeared on a Lloyd Cole and The Commotions album instead. The album is now taking a dive into the introverted among us. We get the feeling that Idol was not a happy chappy when he wro te this album. All the best Rock albums do not deserve to have a statutory ballad thrown in to appeal to the middle of the road listener who doesnt really want to find listening to Music too much or a chore. Bonnie Tyler could have had this track. Tina Turner would have turned it into a Thunderdome hit, but here, it does not fit in with our charmed, Rock dude persona. It is, it has to be said, a track that is truly, beyond belief
Thankfully, the dirge doesnt last too long and Fatal Charm, comes to the rescue for a short moment. Idol really is now dangerous close to being fatally charmed in this album. This track is, fitting to this album, but far from a crowd hell raiser as some of his other tracks were. However, its this steady drum theme that comes to the fore as his lyrics seem to lose themselves in the noise. It is a track that will be approved by Idol fans. It is complete with all the right chuckles, yells, chirps and walrus wails that we love him for. R easonably memorable. So, what happened to All Summer Single? then? If this was an account of Idols life between May and September, then no wonder he was single. It is too Yazoo here for my Idol liking. There is too much emphasis on electronic keyboards and drums. We are dangerous near new romantic themes here. Perhaps if Visage had walked into the recording studio they would have demanded it back. We can distinctly hear his vocals fro once, and he is certainly giving the screams and wails of pain a rest in this track. Someone had the idea of throwing in a few raunchy guitar riff in the middle here to liven it up. It is soon brought to a halt by too many swirling synths. Never mind, we all need a little calming down, but when you buy an Idol album, you buy it simply because you want that buzz that is legal and in a class of its own. Besides, its cheaper.
The final track of this up and won album is entitled One Night, One Chance, and as we see it, it is his la st chance to come up with something spectacular for a finale. Okay, so what we actually get is a mixture of Bill, himself, one of the guitarist from Sisters of Mercy and the drummer from Run DMC. Its durgy, hopeless and nothing works. The guitarist sounds although he missed the audition for a supporting band with no acoustic knowledge at Camden. Billy sounds although he is actually singing the words to some other song and the drummer is at the back next to a guy with one head phone on, waiting for Emenem to appear. A very disappointing ending to a rather good album.
The one and only tragedy that he faced throughout his career, apart from motorcycle accidents, a rape allegation and excessive usage of drink, drugs and females, was the fact that his handful of undisputed classic Rock hits were so powerful that they continued to shadow any new, ambitious recordings from the rest of his solo career. It was, in fact, to the point of ending his career, due to his audien ce only wanting him to scream out White Wedding, and the like. A suffering that kills any decent, songwriter/performer off into extinction. Albums like CyberPunk, should have been given the applause that they deserved. Given to another band entirely, they would have been hits. Again, perhaps the reason why we find so many flat tracks of this album here, is simply just that. We know and adore his real Rock hits, but we have heard them so much, they will always cloud any other work.
For die hard fans, you would have caught Mr Idol at the Music festival at Guildford, Surrey this year. Since his poor Reviews from his gig at Brixton, London this Summer, it was good to see the snarling Rock God still refusing to take anything lying down.
The synth based futuristic CyberPunk album of 1993, arguably one of his best albums, was re released in September this year.
A Christmas album entitled Happy Holidays, complete with sleeve denoting Idol, clean cut in a Tux is due for U.K release on 4th December 2006.
The snarl is back and here to stay.
Whiplash Smile.
All songs produced by Keith Forsey
Written by Idol and Stevens
Chrysalis Records Ltd. 1986.
www.BillyIdol.com
Michelle Duffy 2006 (sam1942 on Ciao and dooyoo)
Michelle is a freelance writer in the South of England and owner of the websites, http://www.generationsounds.co.uk, http://nevermindthebloggers.bravehost.com and their successful sister, Never Mind The Bloggers at http://paperback-writer29.tripod.com She has been writing over the two years, for five major consumer websites across the world and is one of the only two Music category advisors for one website in the U.K. Her websites promote young, amateur and professional bands/artists/Musicians and their fan clubs whilst also Reviewing them for local and world wide promotion. She has also launched the blogs; 'The Ramblings Of An Old Rocker,' 'Bohemian Waffle,' The Rhythm Rock And Blues Machine, The Mopeds Musings, Generation Sound Suite and Rock Cocoon. She is currently working on two shops selling her Music styled artwork on cafepress.com.
Author:: Michelle Duffy
Keywords:: Billy,Idol,Rock,Punk,Music,Review,Whiplash,Smile,Eighties,GenerationX
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