I never paid too much attention to the Hooters during my musical awakening. Yes, I was aware of them and their singles, but it wasn't "Johnny B" from One Way Home, that caught my eye. Anyway, in listening to Nervous Night, this rollicking treasure from the 80's, I see now what I've missed, apart from the work they did on Cyndi Lauper's debut.
"And We Danced" is fun blaze of hard rock guitars and keyboard synths, with some traces of 50's-60's rock, not just the rhythm but the use of "be-bop" and "a hard day's night" clearly owes a nod to Gene Vincent and the Beatles. The danceable chorus, highlighted by the keyboards, is simply fun: "And we danced, like a wave on the ocean, romanced/We were liars in love and we danced/Swept away for a moment by chance/And we danced and danced and danced." And danced and danced and... oh yeah, this is the stuff!
"Day By Day" begins with droning keyboards, mandolin, before repeating the danceable rock of the other single. There is a great guitar solo after the bridge.
"All You Zombies" is a measured, slowed-down number about Moses and Noah, and for ordinary people, the "all you zombies" in the title, to watch out for the pieces of the Commandments/rain that'll fall on them.
OK, back to boogeying time with "Don't Take My Car Out Tonight", which sports three guitar riffs followed by a five harmonica toots (1 2345) repeated in the verses. Keyboards take over in the chorus.
The country-folkishly tinged title track is about a couple on the run and the woman seems a tad more crazy and footloose than the man. "But you're just laughing while the sirens wail/all around the world in the Globe hotel/If Isabella has her way it's gonna be a nervous day as well."
The rock-calypso of "Hanging On A Heartbeat" is an emotional tug-of-war, mainly a play-hard-to-get woman and the downright honest guy and the second verse has a good analogy: "I lay my cards on the table/But you've got aces hidden up your sleeve/I'm ready willing, and able/But I'm a joker when it's time to leave." The ultimate decision comes down to "We'll say goodnight or we can let it be."
Patty Smyth of Scandal lends her tough but sweet voice in the fourth single, "Where Do The Children Go", a song that seems to be about kids being drawn by drugs--"And who's that deadly piper that leads them away?" The mandolin adds a nice sweet touch to this ballad.
"South Ferry Road" is a nostalgic rocker about a secret hideaway for two honeys. They then cover the Grass Roots' "She Comes In Colors. I haven't heard the original, but as I mentioned regarding "Day By Day", the 60's influence is noticeable here.
"Blood From A Stone" is an "And We Danced"-type rocker, hard guitar riffs, keyboards, and mandolins. The keyboard solo, does a tune normally done by a banjo, is followed by a guitar solo. An extra verse that isn't printed makes this a social protest song: "they say strength and fortitude/keeps a man from getting screwed yeah, but the future raises so many doubts. when you put it in and can't get it out/a black hole in a bottomless pit/I'm getting tired all of this BS."
The vocalists remind me of Mike Reno of Loverboy, as does the engaging hard-rocking sound, except Loverboy's material is more hard-rocking, without too much keyboards and mandolin. And you can't go wrong with Rick Chertoff, who produced Cyndi Lauper's She's So Unusual, working his magic as well. Key 80's material, people.