This was really the only time the Plasmatics got it right, at least on a studio record. Naturally, the rest of the world had long dismissed them as a bunch of washed-up scuzz-bucket punk rockers, who cut barely cut a coherent song. On this record, within their typical shock/shlock context, they wryly twist together metal with punk while crazy front woman Wendy O. Williams power trips the night away, proving the naysayers wrong. I say power trip because she really pushes the limit vocally - that's the only way her performance can be described on this album. And she does actually sing here and there. Obviously, not for everyone, but undeniable it's their most realized work.

Wang Chung gave 80's New Wave a big leering sneer, but before they really hit commercial pay dirt (via millions of jump cuts on MTV), they put out this rather flaccid record. The one hit was "Dance Hall Days" - you might remember it, and you might not, but does it matter all that much? Not really.

For guitar-based pop music, it was hard to get more complex than XTC's early run of records. They were all over the place on this rather confounding Black Sea record. Really, too all over the place, even for my eclectic tastes, but when they hit, their impact was unfailingly true ("Generals and Majors").

The 3rd China Crisis record went full steam Steely Dan ahead. By that, I mean they got Walter Becker of Steely Dan to play and produce the record, which really kind of does sound a bit like if the Dan went 80's synth pop. The album cover even resembles Gaucho with the weird whatever art that is. Don’t ask me to explain it. The manic/mellow velvety aural smooth contents within adhere to the finest Dan tradition, and that's all that matters. Deceptively good record.

This shambling hunk of punk funk was more gritty than glittery. The lead off track "Hungry, So Angry" was a minor hit, and easily the standout by miles and miles. If faux-spooky repetitive bass lines is your idea of songwriting, you'll love this record.