Jan. 5, 1979 Gusto record column: Best of 1978

 

Every once in a while, an absolute killer of a year comes along in rock and pop music. Take 1957, which was a fireworks display of classic singles by Elvis, Chuck Berry and Buddy Holly with the Crickets, among others. Then there was 1967, a mind-blowing succession of amazing releases from Jimi Hendrix, the Doors, Jefferson Airplane and Cream, plus, of course, “Sgt. Pepper’s Lonely Hearts Club Band.” And now, digging around in the late ‘70s, I rediscovered this bright, shining year – maybe not one of the all-time greatest, but in the era of disco and arena rock, pretty darn impressive.

Jan. 5, 1979 Gusto record column

Rock: A year of reaching back to basics

Rock got harder in 1978 and the superstars of the '60s, most notably the Rolling Stones, continued to flex their aging talents. The most astute assessment of the situation came from Jerry Harrison of Talking Heads, who observed prior to the group's Nov. 8 show here that in one way or another all of rock is reacting to the precepts of simplicity and excitement that the New Wave rockers rode in on in 1977.

The reaction has led to a revival of the blues and rock of the late '50s and early '60s, with the line of demarcation falling somewhere around 1965. Maybe that's one reason why the remake of 1967's "Sgt. Pepper's Lonely Hearts Club Band" was 1978's most resounding flop.

The blues predominate in my 10-best list for 1978 and continue strong in the runners-up. This reflects personal preference, of course, but the fact remains that many of the most exciting and successful rock albums of 1978 reached back to the basics for their energy and drive.

What separates the 10 best from the rest is that they are clearcut artistic triumphs – bold gambles that succeeded. The second 10 are tours de force that ring strong with integrity although they stick to previously established styles. The last group are lesser sensations, variously flawed but full of extraordinary performances, ideas and songs that make them stand out above the hundreds of other albums that have come and gone during the past 12 months.

1 – Bruce Springsteen, "Darkness on the Edge of Town" (Columbia PC-35318). Bruce was the boss of 1978 and this – his first record in three years – was what he used to prove that he was as good as his hype, if not better. It was just what this listless era needed – a bleak, brooding bunch of anthems that could exorcize the badness from the badlands and summon up a destiny that could be held in one's hands.

2 – George Thorogood and the Destroyers, "George Thorogood and the Destroyers" (Rounder 3013) and "Move It On Over" (Rounder 3024). With these two releases, this tireless young white blues guitarist came out of the East Coast bar and college circuit and pushed his way into the big time. His success obliged his record company – tiny, folk-oriented Rounder Records – to release its first single. Thorogood’s first album establishes his link to the blues greats of yesteryear. The second one, which brings Thorogood’s own creations to the forefront, is even more powerful.

3 – Rolling Stones, “Some Girls” (Rolling Stones COC-39108 Atlantic). Once the world’s greatest rock band, they emerged from a five-year slump with a feisty, misogynistic masterpiece that added further fire to their legend. Across-the-board favorites like “Miss You” and odd incantations like “Shattered” proved they hadn’t forgotten the knack that got them to the top.

4 – Heart, “Dog and Butterfly” (Portrait FR-35555 Columbia). Sisters Ann and Nancy Wilson revitalize all the standard rockstar trappings with a feminine perspective. The heavy metal thunder of the Dog side of the record shows their Led Zeppelin influences. The Butterfly side, however, does Zeppelin one better by shifting gears dramatically for an entrancing interlude that’s reminiscent of Joni Mitchell.

        5 – Elvis Costello, “This Year’s Model” (Columbia JC-35331). A second bittersweet helping of cryptic lyrics and stripped-for-speed instrumentals rings with even sharper intensity than the first. Costello here proves himself the most enduring of the English aspirants rising from last year’s New Wave. Also the most popular.

        6 – Billy Joel, “52nd Street” (Columbia JC-35609). Joel could have rested on his gold and platinum laurels from “The Stranger,” but he didn’t. Instead, he delivered a slice of New York life, full of grit and anger, hopes and dreams, that’s come to rectify best-seller charts that were ruled by “Saturday Night Fever” and “Grease” for the rest of the year.

        7 – Carly Simon, “Boys in the Trees” (Elektra 6E-128). An introverted female singer-songwriter of the early ‘70s shows up with an extraverted gem of an album. Producer Arif Mardin, the man who introduced the Bee Gees to disco, put a contemporary beat behind the hit, “You Belong to Me,” but the buoyant spirit and unexpected sense of humor are surprises Simon cooked up on her own.

        8 – Funkadelic, “One Nation Under a Groove” (Warner Bros. BSK-3209). After defining the frontiers of funk throughout the ‘70s, George Clinton and his gang create and command their own zany, irreverent kingdom here in a breezy suite of songs that infect the feet as well as the mind.

        9 – Kate Bush, “The Kick Inside” (EMI America SW-17003 Capitol). Still an unknown here, this petite, young songwriter with the high, high voice was discovered by Pink Floyd’s Dave Gilmour. Her “Wuthering Heights” shot to Number One in her native England and this album has hovered near the top of the charts in Europe and Australia. Can America be far behind?

        10 – Blues Brothers, “Briefcase Full of Blues” (Atlantic SD-19217). Resoundingly authentic tongue-in-cheek replicas of rhythm and blues hits and oddities from the ‘50s and ‘60s by “Saturday Night Live” comedians Dan Ackroyd and John Belushi, backed by an all-star band. If 1979 sees a sudden nostalgia for the early ‘60s, blame it on these guys.

        11 – Dave Edmunds, “Tracks on Wax 4” (Swan Song).

        12 – Cheap Trick, “Heaven Tonight” (Epic).

        13 – Van Morrison, “Wavelength” (Warner Bros.).

        14 – Greg Kihn Band, “Next of Kihn” (Beserkley).

        15 – Queen, “Jazz” (Elektra).

        16 – Bob Seger and the Silver Bullet Band, “Stranger in Town” (Capitol).

        17 – Kate and Anna McGarrigle, “Pronto Monto” (Warner Bros.).

        18 – Cindy Bullens, “Desire Wire” (United Artists).

        19 – Southside Johnny and the Asbury Jukes, “Hearts of Stone” (Columbia).

        20 – Bat McGrath, “The Spy” (Amherst).

        21 – Bryan Ferry, “The Bride Stripped Bare” (Atlantic).

        22 – Joan Armatrading, “To the Limit” (A&M).

        23 – Walter Egan, “Not Shy” (Columbia).

        24 – Moon Martin, “Shots from a Cold Nightmare” (Capitol).

        25 – Patti Smith Group, “Easter” (Arista).

        26 – Dire Straits, “Dire Straits” (Warner Bros.).

        27 – Nick Lowe, “Pure Pop for Now People” (Columbia).

        28 – Lol Crème and Kevin Godley, “L” (Polydor).

        29 – The Cars, “The Cars” (Elektra).

        30 (tie) – Devo, “Q: Are We Not Men? A: We Are Devo!” (Warner Bros.).

        30 (tie) – Ian Dury, “New Boots and Panties” (Stiff).

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IN THE PHOTO: Bruce Springsteen album cover.  

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FOOTNOTE: Only a few total left-fielders here. 

Lol Crème and Kevin Godley were refugees from the quirky British group 10cc, which I fancied at the time. 

Cindy Bullens, now Cidny Bullens since coming out as a transgender man in 2012, was a backup vocalist for Elton John and sang on the soundtrack for the movie version of “Grease.” This solo debut, acclaimed by some as “one of the great lost rock albums of the ‘70s,” was produced by Tony Bongiovi, cousin of Jon Bon Jovi and founder of the Power Station studio in New York City. Stifled by lack of promotion from the record label, its single, “Survivor,” peaked at No. 56 on the Billboard charts.

As for Moon Martin, a rockabilly songwriter from Oklahoma who wound up in L.A., he hung with Glen Frey of the Eagles and Linda Ronstadt before he got his major label record deal. He was best known for "Bad Case of Loving You (Doctor Doctor)," which was a hit for English singer Robert Palmer, and Mink DeVille's "Cadillac Walk."