For the first year or so that radio had captured my interest, I was hesitant to roll the bones and scan the dial for fear of ending up in some hostile, unfamiliar musical terrain that might warp my psyche.
So, the orange hand indicating frequency on the cheap stereo in my bedroom was perpetually set to 101.9 – Q102. The station – based on the talk ’round the water fountain – tested well with my junior high peers.
As, at the outset, I had no expectations that music would be much more than something to fill the air around me, it made sense to align myself with a station that allowed me to contribute to hallway chatter.
So, it was Q102 which was a Top 40 station but with a dose of songs from acts like The Who, Led Zeppelin, and others that would – a decade or so later – become the backbone of classic rock stations.
(at the time, neither Baba O’Reilly nor Black Dog were even ten years old and Keith Moon and John Bonham were still recently deceased)
There was a small cadre of classmates who were fiercely loyal to WEBN.
These kids had older siblings in high school and there was something more dangerous about ‘EBN in my mind. It was the station for long-haired hooligans who smoked cigarettes as the station blared from their Trans-Ams.
I likely suspected that listening to the station would turn me into a juvie.
But, by the time I reached high school, I was surfing the dial with total abandon and even dialing up WEBN.
No portal to Hell opened.
WEBN played some acts with which I was familiar from Q102. They played Journey and they played Billy Squier, but much of it was unfamiliar terrain and an introduction to acts about whom I knew little – Black Sabbath, The Kinks, Cream, Jimi Hendrix…
It didn’t all resonate with me, but it became obvious that music was not going to turn me into a juvie.
And, the most appealing thing about this new listening destination to me was Frog’s Midnight Album during which each weeknight the station would air a new album, one side at a time.
Frog’s Midnight Album was a chance to preview candidates that might earn consideration for my meager, hard-earned allowance. Of course, as blank tape was more affordable, the show also allowed me to build up a bit of a collection of albums.
By the autumn of 1983, Frog’s Midnight Album was appointment listening, even if it was long enough to hear who it was and a song or two. Here are four songs from albums that I seem to recall hearing on Frog’s Midnight Album that autumn…
The Rolling Stones – Undercover Of The Night
from Undercover (1983)
The Rolling Stones’ Undercover was one of the most anticipated albums of late ’83, arriving more than three years after their last studio album – an eternity at the time. And, as I recall, it proved to be critically rebuffed.
Personally, I dug Undercover Of The Night, the first single, and the sheer momentum of new music from The Stones helped propel the song into the Top Ten. It’s a trippy tune fraught with a menacing vibe that’s always been an essential part of much of the band’s finest work.
Yes – Our Song
from 90125 (1983)
Even though Yes had their heydey in the ’70s and were split by the time I really started paying attention, I was familiar with the band thanks to my buddy Streuss who was a big fan.
(I recall his ongoing search for a copy of their Tormato album)
Then 90125 brought the reunited band to a new audience aided by the production of Trevor Horn and MTV. I think most of us owned a copy at the time and, though I’m still a bit burned out on Owner Of A Lonely Heart, songs like Leave It, It Can Happen, and the shimmering Our Song still sounds pretty good nearly thirty years on.
Survivor – Caught In The Game
from Caught In The Game (1983)
Though it had been eighteen months or so since Survivor had unleashed Eye Of The Tiger, the song had been so mammoth that there was some hoopla when the band returned with the follow-up to its parent album.
And then I heard the title track. It was no Eye Of The Tiger.
Caught In The Game obviously had no chance to duplicate the monster success of Eye Of The Tiger and the song is rather generic. However, when it popped up on shuffle not long ago, it made me smile and prompted a second listen, so, there is something that I dig about it.
Genesis – Home By The Sea
from Genesis (1983)
Genesis had been moving in a more commercial direction for half a decade or so when their self-titled album arrived in 1983. The trio’s previous studio effort, Abacab, had spawned three Top 40 hits with No Reply At All, Man On The Corner, and the title track, while still retaining some of the group’s expected progressive tendencies.
Genesis was even more tailored for radio and produced the band’s biggest hit to date with That’s All. The haunting (and haunted) Home By The Sea harkened back more to Genesis’ progressive roots, appearing on the album in two parts – Home By The Sea and Second Home By The Sea – that ran better than eleven minutes combined.