The Babys - On the Edge

On the Edge would be the last studio album by The Babys and their second to be released in 1980. John Waite would go on to a hit and miss solo career, and Jonathan Cain would join Journey. This was the album I liked best when I was a kid. I hadn't heard Union Jacks, so to me this was as good as the band got.

The album opens with "Turn and Walk Away" that must have been a bigger hit in Canada as I'm sure I heard it on the radio. However, in the US it stalled outside the top 40. Too bad it didn't click, it's a hell of a song. This was the band's fifth record, and the band seemed to finally know what it wanted to be. The songs were cohesive and they were good. Sure, they were rooted in '70s rock, but the band seemed to be looking to the future.

The album was produced by Keith Olsen who was pretty busy during the '70s and '80s. There aren't many albums with his name on the jacket that I haven't enjoyed.

I wish I knew what the deal is with bands writing about sixteen and seventeen year old girls. When I was seventeen, the song "Sweet 17" wasn't creepy at all. I didn't think it was weird that a bunch of grown ass men were singing about underage girls. However, as I turned 18, 19, 20 ... 25 ... 30 ... 50 and now over 60 the songs just feel like the soundtrack you'd hear on a private plane as you journeyed to a private island for a weekend getaway.

I found myself enjoying this one, and it's been a fun trip down memory lane. The Babys are one of those bands who flew just under the radar, but who have managed to achieve a level of cult status. I suspect many people found the band through John Waite and Jonathan Cain, and honestly that's not a bad thing.

Tony Brock and Wally Stocker resurrected The Babys in 2013 which just goes to show you can't keep a good band down.

Comments

Styx - Paradise Theater

Styx was hands down one of my favourite bands as a kid. They were a strange band, even back then. They were a hard rock band, almost progressive at times, who had a penchant for sucky ballads. I know there's a tendency for people to zero in on "Babe" as the song that killed the band's credibility. The roots go way back to almost the beginning when Styx released "Lady" on their second album. It showed a side to the band that needed to be kept in check, and for the most part the band kept things on a pretty tight leash. The band had been setting a gruelling pace, releasing an album a year (two in 1972) and by the time they released Paradise Theater (if I end up writing theatre later it's because that's how we spell it here) in 1981 they'd dropped ten albums in less than a decade. I snapped this up as soon as I saw it, and it became a fixture on my turntable. Like the band had announced on "Borrowed Time" from 1979's Cornerstone , ...

Billy Rankin - Growin' Up Too Fast

Growin' Up Too Fast was never widely released on CD (if at all), and it was one of the albums I really wanted to get back after a basement flood wiped out my vinyl collection in the '90s (when no one really gave a shit about records, and my insurance gave me a couple hundred bucks for an appraised $10,000 collection). Way back in 1984, my (dearly departed and greatly missed) buddy Dave let me borrow his cassette copy, which included a bonus track of "Get It On (Bang A Gong)." When I eventually bought the album, I didn't know it was a bonus track, or even what a bonus track was. If that sentence was hard to read, just go back and skim it. I'm sure you'll get the gist. I'd find out later Billy was an off-and-on-again member of Nazareth and wrote some absolutely killer songs for them. At the time, though, all I knew was this guy laid it out cold with the opening cut, "Baby Come Back," then proceeded to lay down one killer tune after another bef...

Garfield - Strange Streets

I'd seen this before in the bin, but kept flipping through the stacks. I'd see it a few more times, each time stopping to look at it a little more. There was something kind of cool about the cover where the stylized Celtic knot had the dotted yellow line - it was a strange street for sure. I pulled the record out of the jacket and I was struck by the centre image. There was the familiar Mercury label, the same one I'd seen a thousand times on BTO's Head On album. Well, I'd bought things based on odd associations before - like when I had to buy anything that Solid Rock Records released (this was generally a good thing) - so who knows, maybe this was a hidden gem. There weren't any real scratches or rash, just a lot of dirt and dust. It seemed to clean up okay, but we'll see how it goes. The album opens with the title track, and this wasn't straight-ahead pop or rock. It was leaning toward the progressive, but with a pop bent. Oddly enough, the vocals rem...

Old Enough to Forget

Search This Blog