I actually don’t feel guilty at all for liking The Bay City Rollers.

Sure, even as a kid I knew The Bay City Rollers Show was silly and proved a poor venue to showcase some of their obviously great songs.

But after Duncan Faure joined the band, replacing Leslie McKeown in 1978, the addition injected an artistic enthusiasm back into the band. With new songwriting and vocals, the band rebranded as “The Rollers” and released Elevator in 1979, a collection that stands tall with any other new wave or power pop offerings that year (and 1979 has an embarrassment of riches!)

I’ve read reviews online from people insisting that a name change was just putting lipstick on a…well, you know. That reminds me of when Donny Osmond shed his teeny-bopper image with 1988’s Donny Osmond. DJs played “Soldier of Love” without announcing the artist, letting callers weigh in. Without the baggage of parts of his cringe-worthy past (fittingly, the Donny and Marie show was a Sid and Marty Krofft production), Donny scored a genuine adult pop hit.

Controversial take: The Rollers’ newfound chemistry with Duncan Faure recalls the magic Badfinger had before Pete Ham’s death. Had Pete still been with us, this is the kind of album Badfinger might have made in 1979. And “Hello and Welcome Home” would have sounded great on Airwaves.

Elevator may not have been a commercial hit, but it deserves to be remembered as a standout in the late 70s power pop and new wave. No reason to feel guilty for enjoying great music—even if it comes from unexpected places.

The post Not a Review: “Elevator” by The Rollers (1979) appeared first on Pop Rocks Radio.

The album’s first single, “I’ve Been Around,” kicks things off with a bang, setting the stage for the rest of the album by perfectly showcasing Ward’s knack for blending nostalgic vibes with a fresh twist (and admittedly, the line “I don’t know you from a can of paint” just makes me smile). From there, the album takes you on a delightful journey through genres like Merseybeat and Jangle Pop, each track offering its unique and infectious groove.

If you’re searching for an album that’ll keep you from start to finish, “Let ‘Er Rip” is a must-listen. These songs are tailor-made for cruising in a convertible on a warm summer night—capturing the very essence of what Power Pop is all about.

“Let ‘Er Rip” is available on Bandcamp.

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Jungle, his third official solo album released in 1984, boasts contributions from legends like Tom Petty, Mike Campbell, Susan Cowsill, and the direction of Twilley’s long-time producer, Noah Shark.  This album, a trove of pop gems, updated his sound for the MTV generation and proved Twilley’s most successful work, landing two singles on the charts.  Fans have been clamoring for a CD release for years, and for the album’s 40th anniversary, the ever-awesome Iconoclassic Records granted our wishes, with Maria Triana handling remastering duties.

Kicking Off with a Bang: The Standout First Tracks of Jungle

Of all the pop rock albums of the 80s, few carried the 1-2-3 punch delivered by the opening salvo of tracks on Jungle. “Little Bit of Love” and “Girls” kick off an album of what is some of Twilley’s best work (and that is saying something).  With remastering, the hook of “Girls” leaps out of the speakers, its lurking rockabilly core, the Saturday night rock n’ roll on which he cut his teeth in the 70s, intact.

“Why You Wanna Break My Heart”, the third song and one of my all-time favorites, is a masterclass on how to pack a lasting gut punch into a stunning pop melody in under four minutes.  The sonic improvements bring Susan Cowsill’s harmonies to the forefront making them positively shimmer.

Now, with Bonus Tracks!

Any one of these songs could have been a hit (including the hilarious “Max Dog”).  The high point of the collection, however, may be the six bonus tracks.  “Forget About It Baby”, versions of which have appeared on other albums, finally takes its place among its contemporaries.  The other five bonus tracks peel away the layers of 80s production given the originals, revealing the timelessness of Twilley’s work.  Stripped to the essentials, tracks like “You Can Change It,” “Don’t You Love Her,” “To Get to You,” and “Long Lonely Nights” blossom into straight-up, glorious rock songs.  Yet, it’s the reimagined title track that stands out for me.  The original cut’s flirtation with funky new wave and its catchy electronic riff is transformed – without these elements – into an irresistibly compelling swampy groove.

Jungle (with its video) was my generation’s introduction to Dwight Twilley, and for me, more like a gateway that led me to one treasure after another as I pored over his catalog.  Though his work prior had already established his reputation as a master of pop songcraft, the 40th Anniversary reissue breathes new life into Jungle, placing it easily in his canon, reaffirming Twilley’s status as an underappreciated hero of my generation, as well, ready to be rediscovered.  Thank God for Porky’s.  Highly recommended.

Jungle (40th Anniversary Edition) is available to order from Iconoclassic Records.

From Iconoclassic’s website:

For the much requested first CD release of Jungle, longtime Twilley art director Zox has uncovered never-before-seen photos from the original shoot and power pop authority Ken Sharp contributes new 2500-word liner notes based on his interviews with the late Dwight Twilley, Susan Cowsill, Zox (who did the original photography), and musicians who played on the album – all included within a 12-page booklet. Remastered by Maria Triana from the original masters.

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