4 keepers
keeper avg .400
Though a bit less successful than its predecessor "Sports," "Fore" produced an impressive five top-10 tracks, starting with the Bruce Hornsby-penned album opener "Jacob's Ladder"****, which hit number one (second time around in 1987); after starting as very casual R&B, it dramatically changes mood before the anthemic chorus, rousing though not lyrically a work of genius (step by step, one by one, higher and higher, gee Bruce is that how climbing works?). The immoderately chipper "Happy To Be Stuck With You"**** also hit number one, and includes especially crisp guitar work from guitarist Chris Hayes. With Lewis, frequent collaborator guitarist Hayes is adept at making their compositions interesting by working in sometimes jarring key changes that end up making perfect sense. Lewis is ever-positive on the energetic rockabilly-flavored "Whole Lotta Lovin'"****, goofily professing his love "I read the letter you sent Woke up this morning under a tent" (oh, Huey) while throwing in a little doubt that "you remember who I am."
"Doing It All for My Baby" is the kind of blaring R&B that made the late 80's unbearable, and side 1 closes with number 3 hit and one of their most rockin', "Hip to Be Square."**** To quote Patrick Bateman:
"I think their undisputed masterpiece is "Hip To Be Square". A song so catchy, most people probably don't listen to the lyrics. But they should, because it's not just about the pleasures of conformity and the importance of trends. It's also a personal statement about the band itself. Hey, Paul!" American Psycho humor, hoo hoo!
"I think their undisputed masterpiece is "Hip To Be Square". A song so catchy, most people probably don't listen to the lyrics. But they should, because it's not just about the pleasures of conformity and the importance of trends. It's also a personal statement about the band itself. Hey, Paul!" American Psycho humor, hoo hoo!
No really, whether it's taken literally, or ironically as Huey Lewis has stated it was intended, the song is an entertaining microcosm of the 80's, driven by a driving chromatic guitar riff and drummer Bill Gibson's (one of the song's collaborators) rapid-fire kick.
After the (bad boy) posturing but catchy "I Know What I Like" side 2 has diminishing returns, increasingly slowing to the album-closing domestic downer "Simple As That." When an unimpressive barbershop quartet ("Naturally") is one of the album side's bright spots I can safely commence to skip that side.
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