9 Songs, 30 Minutes

EDITORS’ NOTES

Greg Kihn's fourth album was the one on which he fully assumed the identity for which he'd become best known. Perhaps not coincidentally, it was also the first credited to The Greg Kihn Band instead of simply Kihn himself. While Kihn's previous albums alternated between easygoing folk-rock and Kihn's blend of power pop with old-school rock 'n' roll, this record tipped the balance definitively to the latter. Kihn continues the Bruce Springsteen fixation that found him covering "For You" on Greg Kihn Again; he opens Naked Eye with a soaring take on the Boss' "Rendezvous," and he salutes his Beserkley Records labelmate Jonathan Richman with a properly rocking version of the latter's classic highway anthem "Roadrunner." But Kihn's own tunes bear even greater impact—the title track creates an intoxicating minor-key mood that presages Kihn hits like "The Breakup Song" and "Jeopardy," while "Beside Myself" and "Another Lonely Saturday Night" are pure power pop, sans the new wave edges that many of Kihn's contemporaries added to that format.

EDITORS’ NOTES

Greg Kihn's fourth album was the one on which he fully assumed the identity for which he'd become best known. Perhaps not coincidentally, it was also the first credited to The Greg Kihn Band instead of simply Kihn himself. While Kihn's previous albums alternated between easygoing folk-rock and Kihn's blend of power pop with old-school rock 'n' roll, this record tipped the balance definitively to the latter. Kihn continues the Bruce Springsteen fixation that found him covering "For You" on Greg Kihn Again; he opens Naked Eye with a soaring take on the Boss' "Rendezvous," and he salutes his Beserkley Records labelmate Jonathan Richman with a properly rocking version of the latter's classic highway anthem "Roadrunner." But Kihn's own tunes bear even greater impact—the title track creates an intoxicating minor-key mood that presages Kihn hits like "The Breakup Song" and "Jeopardy," while "Beside Myself" and "Another Lonely Saturday Night" are pure power pop, sans the new wave edges that many of Kihn's contemporaries added to that format.

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