Since September 2010, this blog has recorded the journey of this middle-aged man as I attempt to listen to all the music in my CD collection. CDs revisited in their entirety from start to finish - no skipping tracks, no shuffle. CDs only - no vinyl, no tapes, no downloads. And just as CD technology (and the album format itself) becomes obsolete. I'm no music critic, just a music junkie with too much time on my hands.

Sunday, October 21, 2018

Tom Bailey - Science Fiction (2018)

Earlier this year, I saw former Thompson Twins front man Tom Bailey as the opening act for Culture Club and the next week received this CD, Bailey's first solo album, in the mail. I had pre-ordered one of the many options over at PledgeMusic, a limited edition that was signed by Bailey and included a bonus disc of remixes, titled Science Fantasy (FWIW, mine is numbered "0211" if you're keeping track).

Even though it (understandably) sounds like a Thompson Twins album, this is strictly a Bailey solo effort - he wrote, produced, played all instruments, and sang all lead vocals. No complaints here as Bailey can write hooks, is still in good voice, and this albums plays as if it could have been released in the mid-'80s. Simply put, if you liked Into The Gap and/or Here's To Future Days, you should buy yourself a copy.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: I like all ten tracks - no skipping. Today, my top picks include Science Fiction, What Kind Of World (the "single"), If You Need Someone, heck, even the pseudo-sea chantey Ship Of Fools.

I can't muster much enthusiasm for the 38 minute remix disc (Science Fantasy), however. The best of the 8 remixes is easily If You Need Someone (Tom's Radio Mix). My least favorites are the "International Observer Dub" Mixes of Shooting Star and Science Fiction.

Personal Memory Associated with this CD: see above. And while the album is quite good, Bailey only included What Kind Of World in his setlist when I saw him. To his credit, he stuck to playing Thompson Twins greatest hits and we were happy, including the two ladies in front of me who drunkenly danced and sang Hold Me Now at the top of their lungs. (Normally, that kind of thing would bother me, but these women seemed so genuinely elated that I couldn't hold their behavior against them. They probably don't remember it, anyway.)

Previously revisited for the blog:
Greatest Hits (1996)
Here's To Future Days (1985)

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