(welcome To Series)

Strip away all the hype, controversy, and attendant craziness surrounding Frankie – most of which never reached American shores, though the equally bombastic "Relax" and "Two Tribes" both charted well – and Welcome to the Pleasuredome holds up as an outrageously over-the-top, bizarre, but fun release. Less well known but worthwhile cuts include by-definition-camp "Krisco Kisses" and "The Only Star in Heaven," while U.K. smash "The Power of Love" is a gloriously insincere but still great hyper-ballad with strings from Anne Dudley. In truth, the album's more a testament to Trevor Horn's production skills than anything else. To help out, he roped in a slew of Ian Dury's backing musicians to provide the music, along with a guest appearance from his fellow Yes veteran Steve Howe on acoustic guitar that probably had prog rock fanatics collapsing in apoplexy. The end result was catchy, consciously modern – almost to a fault – arena-level synth rock of the early '80s that holds up just fine today, as much an endlessly listenable product of its times as the Chinn/Chapman string of glam rock hits from the early '70s.

Strip away all the hype, controversy, and attendant craziness surrounding Frankie – most of which never reached American shores, though the equally bombastic "Relax" and "Two Tribes" both charted well – and Welcome to the Pleasuredome holds up as an outrageously over-the-top, bizarre, but fun release. Less well known but worthwhile cuts include by-definition-camp "Krisco Kisses" and "The Only Star in Heaven," while U.K. smash "The Power of Love" is a gloriously insincere but still great hyper-ballad with strings from Anne Dudley. In truth, the album's more a testament to Trevor Horn's production skills than anything else.