18 minutes of utterly stupid shit in the best possible way. These kids were just idiots trying their best to piss off every parent and every adult they could possibly fine.
The riffs are fast, simplistic, ridiculous. They make homophobic jokes, jokes about Hitler's penis, their fatso dads, child killers, murdering girls and anything else they feel will just alienate every possible person. And they are clearly just kids aimlessly trying to be annoying, but they don't quite have the same whiney self-awareness that the Circle Jerks or NOFX had, so throughout the album I'm back and forth between laughing and wondering if they are serious.
Anyway, lyrics aside, this is pure pop punk/hardcore punk bliss by and large and I actually like it almost as much as any other punk record of the year. Its no "Group Sex" but if you love that masterpiece, this very well may be your next favorite album.
7.5/10, goes to #33 on my '82, just behind Miami and just ahead of Combat Rock.
Another of my absolute faves of California Punk. Total classic.
well, this is interesting. It comes in and reminds me of a quaint, charming, and warm version of Suicide or Throbbing Gristle. It never forces the issue, but the pop sensibilities and the shimmering beauty of songs like "The Guests" "Destination Moon" "Spectrum is Green" can't be heard and then denied.
Context is in short supply for this music, as I am by no means remotely smart or knowledgeable about minimal wave or synthwave or this brand of this brand of synth-driven post punk. But even without the context, this album hits that sweet spot of charming catchiness, no-fucks-given DIY vibing, warm electronics-laden, direct and unaffected vocal layering, excellence.
The skittery and utterly sexy simplicity of "New Statue" has me giddy at the moment. "Tenth Planet" is so sweet and romantic. "A Darkness In My Soul" is mesmerizing.
"Please Don't Fade Away" comes out of nowhere and sucker punches me right in the softy-bone. That sounded weird. But really that track is so sweet, melancholy, humane. I just can't even!
Going into this I was a bit groany, like "why oh why did you push play on this, Ryan?!? You know you won't dig most likely and you also know your strangely rigid code of ethics on album listening! why not listen to that heralded Fagan album? damn it". But within 2 minutes I was in on the album fully, wholly. And now I'm just engrossed and happier than a puppy as I listen.
I just don't get it. These artists feel like they are offhandedly and nonchalantly making a un ique, gorgeous album. I mean, I know that's how it sounds, maybe they meticulously planned out this album and that's why every detail works so nicely. But the vibe i get is this is just some young people getting together and almost by accident spitting out a classic.
The reason i don't get it is here I am with technology so unfathomably ahead of them and I spend hours plugging away on garage band trying make something which in my mind would sound brittle yet warm, offhand yet detailed, fun and lively like this. And i end up with a mess of garbage that end up erasing disgustedly. These chaps just have a special quality that i don't have. anyone, i don't wanna come off as a self deprecating sad sack. I am just in awe of this sort of DIY off the cuff brilliance.
This was a surprising new 82 fave for me. a solid 8.9-9.1/10, and I'm adding it to my chart at, lets seeee... whoa! WHOA! number 5. Just ahead of Nebraska and just behind 1999. and with this one there is lots of room for upward movement.
Shit. I LOVE this kind of stuff. It's great post-punk/darkwave. Great, great album. Highly influenced by 17 Seconds-era Cure I'm guessing.
👏
MercuryTurn your back on the pay-you-back last callProfile St. Louis
What do I say about this? Its not really my style as of this moment. What I mean is this sort of synth-heavy, romantic, pop, distinctly early-80s sound is doing next to nothing for me.
While I recognize the craft and the detail in the production, I tend to judge music by what it evokes in me conceptually and emotionally, and emotionally this is as of yet not moving me a millimeter. And conceptually, well, I suppose I will now look at the lyrics and read up a bit on the band and this album.
*Update as I research, "Somebody Up There Likes Me is playing, and I'm impressed. Its an understated little gem. Maybe this album is what could be called a grower? Idk...*
Okay, so this is the highest rated and loved Synthpop or New Wave album listed as such on RYM and per RYM, so I suppose that's an indicator that there is something here if I listen. I figured I was in the right frame of mind to listen to this style which is quite far from my interest range so to speak, so it was either this un or maybe "The Lexicon of Love" or a relisten to "Rio" (which I remember quite liking.) So far, I will admit I am getting into it more as I go. I am hearing a bit more of the perfect, shimmery production. I suppose the vocals still annoy me. They seem to be a distinctly 80s sounding, somehwat deadened cool, vocal style which I whenever I hear them in any vocalist unless the music is really engaging and stunning tend to annoy the fuck out of me.
Okay, and now the title track is playing and its pretty cool. I guess. The synth is ratcheting up its intensity and even the vocalists are getting into it! Good job, guys! Keep it up!
Okay, now this bassline on "Glittering Prize" is badass! And the synths are cool the way they work around the low end. Its really cool. And look the singers are still into it. Maybe it was just the first few tracks which came across as that bored, "I'm so cool" vibe on the vocals. I will come back around and give those first few tracks another listen and see if I was just pre-judging them because of my negative opinions going into this listen.
As I go, and I am listening closer I am actually starting to like the album. I'm impressed with the subtle shifts in sound and style while still being consistent and not being jarring in the least.
In closing I suppose I neither dislike this album like I thought i would as I started it. Nor have I come around on it as a classic in my eyes. Somewhere in between is where I reside. I understand its appeal to people who love synthpop and i imagine when it came out it sounded amazing and modern and downright fresh. And even I heard some melodies and songs which were cool through the thick layer of preconceived bias. It isn't as fun as Rio, so I still think that's the superior album of this type. But this album is a bit more of a layered and somber affair which no doubt rewards repeat listens. Repeat listens are not forthcoming in the near future for me. But I won't make snarky and mean comments about Simple Minds fans ever again. I am a changed man.
Grade is, hmm let me think and deliberate for some seconds here... okay, its a 6.5/10. And I will place it upon the 1982 chart at #39, just ahead of Venom's Black Metal (which is in need of a re-listen) and just behind Bad Religion's How Could Hell Be Any Worse? (ditto). _________________ -Ryan
Okay, so here it is, I have been putting off reviewing this, but I have been listening to it and its amazing and I'll give some general thoughts on it and then place it on my chart finally. (Not just 1982, or even 1980s chart.):
Okay, and before anything else just a bit of data on this. Bob Theil is a scottish songwriter and guitarist who recorded this album and initially made this album a private pressing. Its gained some notoriety in the decades since, but is still very sparingly available. I wish it was widely available and reappraised by the music fans of the world. Cuz there are aspects of this album which sound like Bert Jansch, Pink Floyd, Neutral Milk Hotel, Nick Drake, and the whole record is produced to a painful, scarred, regretful perfection. Bob basically made a masterpiece here and the world didn't notice. Bummer.
I'll do a track by track review as I listen. I am forced to hear this on YouTube via seperate vids for each song. As I can't find a stream or a whole album upload or a copy to buy. I emailed Mr. Theil and his manager to see if I can buy this. On Amazon you can get a vinyl of it for 100 bucks... but I'm confused because it was rereleased in 2012 I thought. Anyway, but I digress.
opening track here features an INTENSELY somber vocal, mournfully reading lines of flowing poetic ruminations. All the while there is bare percussive elements clattering on the left, and a bass line which seems to be existing outside of the main soundscape. The biting and at time crunchy electric guitar pops in and accentuates the mood. The harmonies work to underline the most desperate emotional moments of the song.
I love this track, its is swimming in the deep pool of meaning and longing and Bob Theil's vocals at times just sounds like the most lost human on earth. And his impassioned cries sound like Jeff Mangum at points. And the whole sonic picture at times recalls Pink Floyd.
And those are my scatterbrained thoughts on this epic. 6 minutes of stunning music.
On track 2, Bob settles into a more austere folk ballad. Just as dour as the opener, but with a guitar and an organ or keyboard creating this low end atmosphere to build from. The guitar playing is delicate and emotional, and the production makes the whole song sort of bleed together to create a deeply tragic picture of a memory long lost to time but not forgotten.
"I pictured firelight in your hair,
As the moments slipped away.
We sat holding memories till morning,
And watched the coming calls of dawn."
10/10 (I'm in the bag for this album and giving out tens like candy)
The mournfulness continues here, but with more bite. The rock in folk ROCK shows itself very clearly here. The vocal is still the standout aspect, Bob Theil just clearly felt very deeply what he was saying here. But the bass line fucking rocks, the drums pound, and the guitars play off each other throughout. The guitar solo at the end is painful and beautiful.
Listen to that guitar lick! I love the way it starts and then descends quickly at double speed and the way it continues through out as Bob sings these beautiful folk melodies. This reminds me of a less upbeat Simon & Garfunkel songs. Overall, this is the shortest and most stripped down song yet. Its quite pretty and moody.
The title track here starts with a similar rapid acoustic guitar lick to the previous track, "Moments Lost". But here the pretty folky sounds give way to a kick drum and more rocking yet sad quasi-rocker. Actually, this songs morphs all throughout, moving from sad rocker, to a moment of distinctly Pink Floyd-esque screaming lead guitar before quickly digressing to the earlier folk rock trudge, with a more distinct and melodic bass line. Vocals are dreamy and drawn out and lost in thought. The second solo screams in and builds up this absolutely stunning climax. Man I love this fucking song!
The way Bob Theil shouts with such pain as the guitar solos all around him over the top of the rock solid rhythm. Fans of Pink Floyd will really dig this track just as fans of NMH may adore the opening track
a refreshing change of pace. This song is a minute long and features the only somewhat happy or comfortable sound thus far on the album. Sounds like what the lyrics describe, and it feels like a moment of sweet joy. Really perfectly placed on the record
I'm starting to think this album is all about a feeling of lost opportunities, of times gone by, chances never taken, memories and reminiscing. And where as the opening salvo and some other tracks on this album seem to really be bummed and powerless before the fact of change and disappointment, this song and "Westways' look at it differently. Its like Bob is here finding some peace in the memories and, while still regretful of what dreams never came to be, he is truly appreciative of the beauty in those memories. Its a moment of perspective short-lived, yet profound in the extreme.
The music is more lively, the acoustic guitar is just as beautiful and expressive as always, and the the whole sound is dominated by the guitars. Really another stunning track.
"I remember your face as we ran up the hill
and lay with the winds
and watched the tides flow away.
But its all lost now
for the city's call has taken you away.
And I always thought we'd meet again.
I always thought we'd meet again."
This track is a haunting 4 minute instrumental, featuring gorgeous acoustic guitar. Which brings me to another point of reference for this album, which is Bert Jansch. The guitar all over this album is stellar, but especially here. If you love that gorgeous british folk guitar virtuosity you hear in Jansch or Ralph McTell, you'll find a lot to like here as well.
Anyway, this is a beautifully coposed instrumental breather, featuring some atmospheric wind sounds as well for good measure.
oh man. This song makes me cry. Its so sad, so deeply sad and its all about that earlier thing I mentioned, memories and longing and all that. And when the vocals cry "Are we lost? Who are we now?" the voice does this Tommy Johnson-esque warping which just slaughters me.
This is maybe the most melancholy of all the tracks here which is saying something. It burrows deep int your soul and dredges up all sorts of memories and emotions. The guitar is fabulous with a perfect amount of echo/or reverb or whatever making it not clear but more like air driftying out all around your environment.
And the last minute or so is a really cool and dramatic instrumental change up with no vocals. I love it.
10/10
------------------------
Track 10, the closing track per RYM, "December 1918"
This album ends with a nearly 9 minute poetic journey, with an eerie electronic sound coming in and a generally strange atmosphere, with the usual straightforward yet beautiful acoustic guitar work of the previous songs. This song strikes me as the final epic which builds and shifts and leaves you nearly breatheless as the album ends and you're taking in all the old, previously dormant regrets that the record reminds you of. Now that makes it seem like this track and this album is totally bereft of hope. But its not, there is a life-affirming power and passion in Theil's voice which keeps you seeing the good with the bad. At least for me.
9.0/10
********************************
In closing I adore this album. I consider it one of the best singer/songwriter albums I've ever heard. Its deeply moving and passionate and rich and I think it deserves to be regarded widely as one of the great albums of its type of the 80s. Its truly a top to bottom classic. and, after listening 4 times the last 2 days, I think I am just going to say it... it's my new favorite album of 1982. Yep. Its a masterpiece which plays into every thing I most love in music.
Grade: 9.7/10. Goes straight to #1 of 1982, just ahead of Thriller and Harvest of Dreams. Turns out '82 was a solid year for folk and singer/songwriter albums. _________________ -Ryan
Okay, so here it is, I have been putting off reviewing this, but I have been listening to it and its amazing and I'll give some general thoughts on it and then place it on my chart finally. (Not just 1982, or even 1980s chart.):
Okay, and before anything else just a bit of data on this. Bob Theil is a scottish songwriter and guitarist who recorded this album and initially made this album a private pressing. Its gained some notoriety in the decades since, but is still very sparingly available. I wish it was widely available and reappraised by the music fans of the world. Cuz there are aspects of this album which sound like Bert Jansch, Pink Floyd, Neutral Milk Hotel, Nick Drake, and the whole record is produced to a painful, scarred, regretful perfection. Bob basically made a masterpiece here and the world didn't notice. Bummer.
I'll do a track by track review as I listen. I am forced to hear this on YouTube via seperate vids for each song. As I can't find a stream or a whole album upload or a copy to buy. I emailed Mr. Theil and his manager to see if I can buy this. On Amazon you can get a vinyl of it for 100 bucks... but I'm confused because it was rereleased in 2012 I thought. Anyway, but I digress.
opening track here features an INTENSELY somber vocal, mournfully reading lines of flowing poetic ruminations. All the while there is bare percussive elements clattering on the left, and a bass line which seems to be existing outside of the main soundscape. The biting and at time crunchy electric guitar pops in and accentuates the mood. The harmonies work to underline the most desperate emotional moments of the song.
I love this track, its is swimming in the deep pool of meaning and longing and Bob Theil's vocals at times just sounds like the most lost human on earth. And his impassioned cries sound like Jeff Mangum at points. And the whole sonic picture at times recalls Pink Floyd.
And those are my scatterbrained thoughts on this epic. 6 minutes of stunning music.
On track 2, Bob settles into a more austere folk ballad. Just as dour as the opener, but with a guitar and an organ or keyboard creating this low end atmosphere to build from. The guitar playing is delicate and emotional, and the production makes the whole song sort of bleed together to create a deeply tragic picture of a memory long lost to time but not forgotten.
"I pictured firelight in your hair,
As the moments slipped away.
We sat holding memories till morning,
And watched the coming calls of dawn."
10/10 (I'm in the bag for this album and giving out tens like candy)
The mournfulness continues here, but with more bite. The rock in folk ROCK shows itself very clearly here. The vocal is still the standout aspect, Bob Theil just clearly felt very deeply what he was saying here. But the bass line fucking rocks, the drums pound, and the guitars play off each other throughout. The guitar solo at the end is painful and beautiful.
Listen to that guitar lick! I love the way it starts and then descends quickly at double speed and the way it continues through out as Bob sings these beautiful folk melodies. This reminds me of a less upbeat Simon & Garfunkel songs. Overall, this is the shortest and most stripped down song yet. Its quite pretty and moody.
The title track here starts with a similar rapid acoustic guitar lick to the previous track, "Moments Lost". But here the pretty folky sounds give way to a kick drum and more rocking yet sad quasi-rocker. Actually, this songs morphs all throughout, moving from sad rocker, to a moment of distinctly Pink Floyd-esque screaming lead guitar before quickly digressing to the earlier folk rock trudge, with a more distinct and melodic bass line. Vocals are dreamy and drawn out and lost in thought. The second solo screams in and builds up this absolutely stunning climax. Man I love this fucking song!
The way Bob Theil shouts with such pain as the guitar solos all around him over the top of the rock solid rhythm. Fans of Pink Floyd will really dig this track just as fans of NMH may adore the opening track
a refreshing change of pace. This song is a minute long and features the only somewhat happy or comfortable sound thus far on the album. Sounds like what the lyrics describe, and it feels like a moment of sweet joy. Really perfectly placed on the record
I'm starting to think this album is all about a feeling of lost opportunities, of times gone by, chances never taken, memories and reminiscing. And where as the opening salvo and some other tracks on this album seem to really be bummed and powerless before the fact of change and disappointment, this song and "Westways' look at it differently. Its like Bob is here finding some peace in the memories and, while still regretful of what dreams never came to be, he is truly appreciative of the beauty in those memories. Its a moment of perspective short-lived, yet profound in the extreme.
The music is more lively, the acoustic guitar is just as beautiful and expressive as always, and the the whole sound is dominated by the guitars. Really another stunning track.
"I remember your face as we ran up the hill
and lay with the winds
and watched the tides flow away.
But its all lost now
for the city's call has taken you away.
And I always thought we'd meet again.
I always thought we'd meet again."
This track is a haunting 4 minute instrumental, featuring gorgeous acoustic guitar. Which brings me to another point of reference for this album, which is Bert Jansch. The guitar all over this album is stellar, but especially here. If you love that gorgeous british folk guitar virtuosity you hear in Jansch or Ralph McTell, you'll find a lot to like here as well.
Anyway, this is a beautifully coposed instrumental breather, featuring some atmospheric wind sounds as well for good measure.
oh man. This song makes me cry. Its so sad, so deeply sad and its all about that earlier thing I mentioned, memories and longing and all that. And when the vocals cry "Are we lost? Who are we now?" the voice does this Tommy Johnson-esque warping which just slaughters me.
This is maybe the most melancholy of all the tracks here which is saying something. It burrows deep int your soul and dredges up all sorts of memories and emotions. The guitar is fabulous with a perfect amount of echo/or reverb or whatever making it not clear but more like air driftying out all around your environment.
And the last minute or so is a really cool and dramatic instrumental change up with no vocals. I love it.
10/10
------------------------
Track 10, the closing track per RYM, "December 1918"
This album ends with a nearly 9 minute poetic journey, with an eerie electronic sound coming in and a generally strange atmosphere, with the usual straightforward yet beautiful acoustic guitar work of the previous songs. This song strikes me as the final epic which builds and shifts and leaves you nearly breatheless as the album ends and you're taking in all the old, previously dormant regrets that the record reminds you of. Now that makes it seem like this track and this album is totally bereft of hope. But its not, there is a life-affirming power and passion in Theil's voice which keeps you seeing the good with the bad. At least for me.
9.0/10
********************************
In closing I adore this album. I consider it one of the best singer/songwriter albums I've ever heard. Its deeply moving and passionate and rich and I think it deserves to be regarded widely as one of the great albums of its type of the 80s. Its truly a top to bottom classic. and, after listening 4 times the last 2 days, I think I am just going to say it... it's my new favorite album of 1982. Yep. Its a masterpiece which plays into every thing I most love in music.
Grade: 9.7/10. Goes straight to #1 of 1982, just ahead of Thriller and Harvest of Dreams. Turns out '82 was a solid year for folk and singer/songwriter albums.
Mercury: I like this album very much as well: what a pity you can only find it on Youtube. Not number of 1982 but a good addition to my top chart for that year.
Especially the title track is fantastic.
Thx for the tip.
What do I say about this? Its not really my style as of this moment. What I mean is this sort of synth-heavy, romantic, pop, distinctly early-80s sound is doing next to nothing for me.
While I recognize the craft and the detail in the production, I tend to judge music by what it evokes in me conceptually and emotionally, and emotionally this is as of yet not moving me a millimeter. And conceptually, well, I suppose I will now look at the lyrics and read up a bit on the band and this album.
*Update as I research, "Somebody Up There Likes Me is playing, and I'm impressed. Its an understated little gem. Maybe this album is what could be called a grower? Idk...*
Okay, so this is the highest rated and loved Synthpop or New Wave album listed as such on RYM and per RYM, so I suppose that's an indicator that there is something here if I listen. I figured I was in the right frame of mind to listen to this style which is quite far from my interest range so to speak, so it was either this un or maybe "The Lexicon of Love" or a relisten to "Rio" (which I remember quite liking.) So far, I will admit I am getting into it more as I go. I am hearing a bit more of the perfect, shimmery production. I suppose the vocals still annoy me. They seem to be a distinctly 80s sounding, somehwat deadened cool, vocal style which I whenever I hear them in any vocalist unless the music is really engaging and stunning tend to annoy the fuck out of me.
Okay, and now the title track is playing and its pretty cool. I guess. The synth is ratcheting up its intensity and even the vocalists are getting into it! Good job, guys! Keep it up!
Okay, now this bassline on "Glittering Prize" is badass! And the synths are cool the way they work around the low end. Its really cool. And look the singers are still into it. Maybe it was just the first few tracks which came across as that bored, "I'm so cool" vibe on the vocals. I will come back around and give those first few tracks another listen and see if I was just pre-judging them because of my negative opinions going into this listen.
As I go, and I am listening closer I am actually starting to like the album. I'm impressed with the subtle shifts in sound and style while still being consistent and not being jarring in the least.
In closing I suppose I neither dislike this album like I thought i would as I started it. Nor have I come around on it as a classic in my eyes. Somewhere in between is where I reside. I understand its appeal to people who love synthpop and i imagine when it came out it sounded amazing and modern and downright fresh. And even I heard some melodies and songs which were cool through the thick layer of preconceived bias. It isn't as fun as Rio, so I still think that's the superior album of this type. But this album is a bit more of a layered and somber affair which no doubt rewards repeat listens. Repeat listens are not forthcoming in the near future for me. But I won't make snarky and mean comments about Simple Minds fans ever again. I am a changed man.
Grade is, hmm let me think and deliberate for some seconds here... okay, its a 6.5/10. And I will place it upon the 1982 chart at #39, just ahead of Venom's Black Metal (which is in need of a re-listen) and just behind Bad Religion's How Could Hell Be Any Worse? (ditto).
Yeah, I agree with just about everything you said yet it's one of my all-time favorite albums anyway. Basically on the strength of the four or five songs that I love. The rest I could do without, but.now I'm just used to them. I never liked anything that simple minds did after this album though. I probably overrate it, but what the hell. Heh heh. Most of the albums of this style and of this era didn't have any good songs on them, so maybe the fact that it has several that I love makes it seem better than it really is. Idk.
Yeah, I agree with just about everything you said yet it's one of my all-time favorite albums anyway. Basically on the strength of the four or five songs that I love. The rest I could do without, but.now I'm just used to them. I never liked anything that simple minds did after this album though. I probably overrate it, but what the hell. Heh heh. Most of the albums of this style and of this era didn't have any good songs on them, so maybe the fact that it has several that I love makes it seem better than it really is. Idk.
Took about three listens to get this one to click, but it's a very good (not great) New Wave album. I'd give it a B Minus, ranking it BELOW Reach The Beach but definitely ABOVE Rebel Yell.
Repo Ranks the New Wave Classics
Essential
1. Duran Duran - Rio
Great/Good
2. The Fixx - Reach The Beach
3. Simple Minds - New Gold Dream
Ok
4. Divinyls -Desperate
5. Billy Idol - Rebel Yell
Yeah, I agree with just about everything you said yet it's one of my all-time favorite albums anyway. Basically on the strength of the four or five songs that I love. The rest I could do without, but.now I'm just used to them. I never liked anything that simple minds did after this album though. I probably overrate it, but what the hell. Heh heh. Most of the albums of this style and of this era didn't have any good songs on them, so maybe the fact that it has several that I love makes it seem better than it really is. Idk.
Took about three listens to get this one to click, but it's a very good (not great) New Wave album. I'd give it a B Minus, ranking it BELOW Reach The Beach but definitely ABOVE Rebel Yell.
Repo Ranks the New Wave Classics
Essential
1. Duran Duran - Rio
Great/Good
2. The Fixx - Reach The Beach
3. Simple Minds - New Gold Dream
Ok
4. Divinyls -Desperate
5. Billy Idol - Rebel Yell
If I ranked them, what I would do different than yours is switch around simple minds and Duran Duran. But I bet in time you will too. Heh heh. 😁
MercuryTurn your back on the pay-you-back last callProfile St. Louis
This album is one which has subtly, quietly become one of those albums I'm most fascinated by. I return to it often and come away in a dreamy, happy, inspired mood. Then I come back a month or 2 later, and I come away again all the more impressed.
It's strange, featuring jazzy arrangements, and melodies that sound stunning. Annette manages to tow the line between overly abstract strangeness and the melodic and familiar. Everything here sound familiar yet slightly unique and different. Her voice is incredible, whether doing the airy, adorable voice or the spoken word delivery.
The production is piano-heavy and stunning and complex but in an un-showy way.
And then added to the jazz and singer-songwriter strains which run deep throughout, there are unusual touches with strange sound effects added and really interesting changes in tempo and time. The album never quite lulls you, it keeps you on your toes and paying close attention to the delicate details.
This is STILL the only A. Peacock album I've heard. But I am itching to learn more. She will continue to be someone I return to more and more and this is certainly onme of my fave albums of 1982 and I'm glad I can finally contextualize it a bit more accurately into my general thoughts on the year.
Its a 9/10 easily with potential to go into my higher tier of 9.5/10 classics. and I'm gonna add this high on my 1982 chart. I mean I should have had it top 10 before but I just forgot to update my chart but right now it goes to... #4, just ahead of The Dreaming, and just behind Harvest of Dreams
EDIT: nah I'll put it at 5 just behind The dreaming and ahead of 1999 _________________ -Ryan
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