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Screen13 · 04-12-2013, 11:53 PM

MADNESS - MAD NOT MAD (1985)

...or how I knew that my High School Music Party was over.

C/O (Still own, Saw-Lower Right Hand Side)

Zarjazz, Sept. 1985
US Release, Geffen

Genre: Waves That Fell Hard

GOOD FIND with caution

To those interested: Stream first

Madness were among the very first bands I got into as the small town Music Geek, knowing that their brand of fun music and strong British hits were hardly going to cross over to the US. Hearing a lot of their songs on the Sunday Night Alternative Music blocks almost every Rock Station had before "Our House" gave them their Stateside 15 Minutes, there was a feeling of catching some of the best music of the era. Their first two albums were released in The US, although 7 and The Rise and Fall were not, and 1983's Madness was a US compilation that was a short catching up for those who were not lucky enough to have a store that carried imports nearby, even introducing my Ska loving friend to their music.

Of course, when the world of big production music that MTV championed dominated the playlists, the world of so-called "New Wave" music was going to take a tumble, and with Madness who had their own style, it was going to be a slow fall with a group of listeners who at least kept their name floating on in The US who knew that they deserved far better than the occasional airplay. Even an appearance on American Bandstand to promote the re-structured US version of Keep Moving (The one that had the classy 1983 UK singles that stood alone) with "The Sun and the Rain" could not really boost their profile in a country that pretty much shoved their music to the side.

I kind of felt what it was like to have been one of those massive fans of British Music in The States when everything was turning Day-Glo back in 1967, and I was owning Small Faces records when everyone else was owning Surrealistic Pillow (not to demean The Jefferson Airplane's fine 1967 release, just an example). Sadly, not even my Ska living friend was sold on the newer Madness, although we still have arguments over the wonderful Pop of The Beat's Special Beat Service as well - a fact that should have told me something for their next round and it's reception. Reading about the departure of Mike Barson in a US New Wave dominant magazine also made me worried as he was a main part of their sound.

Then as I was moving onto the UK weeklies, there was the mentions of their Zarjazz label, the interesting Starvation side project (one of the two Charity records from the era I can still state I like, the other being The Council Collective's "Soul Deep" for the striking miners in The UK), the Fink Brothers release, and then the rave review of Madness' "Yesterday's Men" that appealed to my eyes. Thankfully, a Canadian New Wave show featured Madness long after the fact when "Waiting for the Ghost Train" was released to announce their original pre-reunion end, introducing me to a couple of other songs that made me ease my worries a little although not firmly connecting with Sounds' 4 star review. I got the message, it was not going to be the same, and my friend did not like what he heard, something that hinted to me that this was not going to be even a small hit in The US after it's disappointing reception elsewhere despite some rave reviews.

It was not surprising that I would actually find the album in a cut out bin at Camelot Music in 1986 shortly after these events. I'm still proud that I was among the very few in my area (the Midwest, actually) who gave the album a fair hearing and caught onto all of the signs of trouble. Despite the fact that they still had a way with a tune, the music tried to fit in with the 80's Music, something that was a serious mismatch in spots, and the lyrics were all too obvious.

Starting off with "I'll Compete", you can tell the tension within the ranks as the Music business was growing into a very slick machine with MTV in The US already forcing things to go gonzo, but possibly knowing that after many years in the spotlight, it was going to be a tough ride.

From the witty moments like "Uncle Sam" to songs that tried to match a brooding feeling to their upbeat style like "Time", Mad Not Mad was clearly something that was not easy to hear, and it's title track State of the Mad Address said everything perfectly although it was not what many wanted to hear.Their version of Scritti Politti's "The Sweetest Girl" was not really having any fun at all despite the relaxing sound trying to put a smile on things while the closer, "Coldest Day" capped things perfectly leaving those still listening if we were going to ever hear them again. Of course we would with their Madstock return, although there was one UK-released attempt in 1987 at a slicker return with a few of it's members remaining that fell into the remainder bins as The Madness which fell on very few ears which also reminded us that if there was ever going to be a return, it would have to be Nutty and unique or nothing at all.

Madness at least had what it took to release a post-Imperial album that had some class and the timing to announce to those still in the Early 80's club that it was Closing Time. That I got it as a cut-out was the perfect hint to move on with this album as the ultimate reminder.

04-12-2013, 11:53 PM	#4 (permalink)
Screen13 Music Addict Join Date: Jan 2010 Posts: 1,388	MADNESS - MAD NOT MAD (1985) ...or how I knew that my High School Music Party was over. C/O (Still own, Saw-Lower Right Hand Side) Zarjazz, Sept. 1985 US Release, Geffen Genre: Waves That Fell Hard GOOD FIND with caution To those interested: Stream first Madness were among the very first bands I got into as the small town Music Geek, knowing that their brand of fun music and strong British hits were hardly going to cross over to the US. Hearing a lot of their songs on the Sunday Night Alternative Music blocks almost every Rock Station had before "Our House" gave them their Stateside 15 Minutes, there was a feeling of catching some of the best music of the era. Their first two albums were released in The US, although 7 and The Rise and Fall were not, and 1983's Madness was a US compilation that was a short catching up for those who were not lucky enough to have a store that carried imports nearby, even introducing my Ska loving friend to their music. Of course, when the world of big production music that MTV championed dominated the playlists, the world of so-called "New Wave" music was going to take a tumble, and with Madness who had their own style, it was going to be a slow fall with a group of listeners who at least kept their name floating on in The US who knew that they deserved far better than the occasional airplay. Even an appearance on American Bandstand to promote the re-structured US version of Keep Moving (The one that had the classy 1983 UK singles that stood alone) with "The Sun and the Rain" could not really boost their profile in a country that pretty much shoved their music to the side. I kind of felt what it was like to have been one of those massive fans of British Music in The States when everything was turning Day-Glo back in 1967, and I was owning Small Faces records when everyone else was owning Surrealistic Pillow (not to demean The Jefferson Airplane's fine 1967 release, just an example). Sadly, not even my Ska living friend was sold on the newer Madness, although we still have arguments over the wonderful Pop of The Beat's Special Beat Service as well - a fact that should have told me something for their next round and it's reception. Reading about the departure of Mike Barson in a US New Wave dominant magazine also made me worried as he was a main part of their sound. Then as I was moving onto the UK weeklies, there was the mentions of their Zarjazz label, the interesting Starvation side project (one of the two Charity records from the era I can still state I like, the other being The Council Collective's "Soul Deep" for the striking miners in The UK), the Fink Brothers release, and then the rave review of Madness' "Yesterday's Men" that appealed to my eyes. Thankfully, a Canadian New Wave show featured Madness long after the fact when "Waiting for the Ghost Train" was released to announce their original pre-reunion end, introducing me to a couple of other songs that made me ease my worries a little although not firmly connecting with Sounds' 4 star review. I got the message, it was not going to be the same, and my friend did not like what he heard, something that hinted to me that this was not going to be even a small hit in The US after it's disappointing reception elsewhere despite some rave reviews. It was not surprising that I would actually find the album in a cut out bin at Camelot Music in 1986 shortly after these events. I'm still proud that I was among the very few in my area (the Midwest, actually) who gave the album a fair hearing and caught onto all of the signs of trouble. Despite the fact that they still had a way with a tune, the music tried to fit in with the 80's Music, something that was a serious mismatch in spots, and the lyrics were all too obvious. Starting off with "I'll Compete", you can tell the tension within the ranks as the Music business was growing into a very slick machine with MTV in The US already forcing things to go gonzo, but possibly knowing that after many years in the spotlight, it was going to be a tough ride. From the witty moments like "Uncle Sam" to songs that tried to match a brooding feeling to their upbeat style like "Time", Mad Not Mad was clearly something that was not easy to hear, and it's title track State of the Mad Address said everything perfectly although it was not what many wanted to hear.Their version of Scritti Politti's "The Sweetest Girl" was not really having any fun at all despite the relaxing sound trying to put a smile on things while the closer, "Coldest Day" capped things perfectly leaving those still listening if we were going to ever hear them again. Of course we would with their Madstock return, although there was one UK-released attempt in 1987 at a slicker return with a few of it's members remaining that fell into the remainder bins as The Madness which fell on very few ears which also reminded us that if there was ever going to be a return, it would have to be Nutty and unique or nothing at all. Madness at least had what it took to release a post-Imperial album that had some class and the timing to announce to those still in the Early 80's club that it was Closing Time. That I got it as a cut-out was the perfect hint to move on with this album as the ultimate reminder.