MX-80 Sound

Vinyl Records and Rare LPs:

MX-80 Sound - Out Of The Tunnel Out Of The Tunnel
Pop Used - LP MX 8002 Ralph
Rare 1980 Original. “Shrunk Down To A Four-Person One-Drummer Lineup, MX-80 Continued To Bring The Noise — And Very Well At That — With Out Of The Tunnel. The Casual Please-Nobody-But-Themselves Approach From Earlier Releases Continued With Little Change On The Nine-Song Effort, Further Securing The Band's Identity On Its Own, Resisting Pretty Much Any Label That Could Be Thrown At It. Poppy But Not Power Pop, Aggro-Metal Without Indulging In The Wank Fantasies Prone To That Style, Deadpan And Humorous Without Being A Put-On, MX-80 Just Plain Shone Here, With Only The Slightly Murky Mix Preventing Out Of The Tunnel From Achieving Perfection. Anderson's Spiraling, Twisting, And Turning Guitar Riffs Are Equally Matched By The Stop-And-Shift-On-A-Dime Sophiea/Mahoney Rhythm Combo, Transforming Songs Like "It's Not My Fault" And The Suddenly Heroic "Someday You'll Be King" Into Compact, Thrashing Monsters. "Follow That Car" Just Seems To Get More Tense And Wired As It Goes, Encapsulating The Nervousness Of New Wave Better Than Most Groups Who Claimed The Name As A Tag, While Anderson's Dip Into Technically Oriented Soloing On "I Walk Among Them" Is Both Fun And Gripping. Stim, As Before, Is The Perfect Wild Card, As Apt To Wail Or Zone On Sax As To Suddenly Talk/Sing Across The Beat, Odd Cultural References And Rambles Turned Into Miniature Stories. (Sometimes, He Can Play It Straight — His Soothing Chant Vocals On "Frankie I'm Sorry" Offset The Increasingly Wild Music.) His Sax Turn On "Fender Bender," Helping Nail Down The Core Looped Melody With The Storming Chug Of Sophiea And Mahoney While Anderson Completely Rocks Out, Is One Highlight Of Many.” – Ned Raggett, All Music Guide... more details
MX-80 Sound - Crowd Control Crowd Control
Pop Used - LP MX-8102 Ralph
1981 Original With The Original Ralph Inner Sleeve. “MX-80 Continued Their Winning Streak With Crowd Control, An Album Which Found The Quartet Simplifying Some Of The Arrangements Without Losing The Sense Of Crackling Intensity And Playful-While-Being-Serious Performing Of Earlier Efforts. Stim At Points Sounds A Bit More Wistfully Lost In The Mix, Though He's Still An Intriguingly Off-The-Beaten-Path Vocalist, Reciting And Pronouncing As Much As Singing And Exchanging Truths And Eternal Verities For Odd, Sly Observations. The Wry Take On A Wannabe Hollywood (And Other Things) Tastemaker Via "City Of Fools" Is Stim At His Prime, Somehow Sounding Sleazy Without Changing His General Approach. His Sax Playing Is Still A Good Part Of What's Happening; The Brawling Title Track, About The Closest This Era Of The Band Ever Got To Straight-Up Good Time Rock & Roll, Relies Just As Much On His Horn Blowing As The Other Instrumentalists. Similarly, The Other Three Members Again Demonstrate The Perfectly In-Tune Playing And Inventiveness That Earned Them Their Reputation. Anderson Has An Ear For Both Clipped, Focused Riffs And Thrilling Solos That Go Quickly Enough To Never Wear Out Their Welcome, As In "Night Rider" And "Pharoah's Sneakers." More Than Once, He Sounds Like He's Found A Way To Connect With The Post-Punk World (Check Out The Watery Guitar Additions On "Why Are We Here") Without Seeming To Chase Any Particular Early-'80s Trend. Perhaps The Most Surprising Turn Is A Newfound Sense Of Entrancing And Even Uplifting Songs -- There's About No Other Way To Describe The Downright Beautiful "Obsessive Devotion," With Its Calmer Pace And Really Beautiful Feedback, Stim's Vocals Conveying Both Unsureness And Acceptance Of The Titular State Of Mind. Then There's The Kissing Cousin Of "Sweet Jane," "More Than Good," Its Descending Chords In The Chorus Just Sweetly Sad Enough, And The Concluding, Minimal Rock Noir (Down The Lonely Sax) Of "Promise Of Love." Ned Raggett, AMG.... more details

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