Protoplasts 1983

Chosen People is Dave Davies' third solo album, and by this release he seemed to have gotten it right. Gone is the big stadium rock sound and present is Davies' wonderful voice and melodic songs. Although this is not the album fans of "Death of a Clown" were hoping for, it is a much stronger album than 1981's Glamour and 1980's AFL1-3603. Davies still rocks out, but there are more ballads present. Also, the lyrics seem to have much more thought in them and present interesting stories and thoughts. Perhaps it is due to the use of a band and a co-producer on this album (the other two releases were primarily just Davies, although drummer Robert Henrit did drum on Glamour).

Chris Rea remained one of the best-kept secrets in the music industry, releasing five albums between 1979 and 1983, none of them reaching even the Top 50 in the charts. All were very well received by both the critics and the public who knew the secret. His secret was a brand of late-night rock that had an element of class, not dissimilar at this stage of his career to the early-'80s Dire Straits albums, but totally out of step, and proudly so, with the music of the time – new romantic, power and synth pop. He opened the album Water Sign with the song "Nothing's Happening by the Sea," which was so far laid back it was almost horizontal, with a harmonica instrumental break, and the album closed with a nod to synth pop on the track "Out of the Darkness."

Sanborn's '83 release brought a new meaning to late night or midnight music listening ! By no means is this elevator muzak, either ! In fact, Sanborn was on the cutting edge in using drum machines and synthesizer arrangements without stifling his sax playing or throwing the whole project out of whack. Sanborn's playing is very upfront and sharp ! While the recording may sound dated, it is only in a very good positive way to demonstrate what is lacking in some of today's so-called pop-jazz or r & b instrumentalists.

Swiss rockers Krokus had already been around the bend a number of times by the time they scored their first (and only) American platinum success with 1983's Headhunter. Shameless bandwagon hoppers that they were (their origins lay in cheesy, late-'70s progressive rock), the band at least deserve credit for mixing their musical stew just right on this occasion. The results include the frenetic title track, a highly competent power ballad in "Screaming in the Night," and their biggest hit – a reworking of Bachman Turner Overdrive's "Stayed Awake All Night."