Category Archives: 1980s music

#163 – It’s Still Rock and Roll to Me


#163 – It’s Still Rock and Roll to Me by Billy Joel

 – When this song came out in 1980 boomers were still controlling the music scene, but something strange was starting to happen. Our rebellious nature had been focused on the older generation, but now we were feeling the push of a generation coming up behind us. They were tagged as Generation X and many of us considered them too young to be of any real notice as we continued to groove through our late twenties. It was noticeable when the punks and new wave bands of the late 1970s (with members born in the boomer generation) started calling our favs like The Rolling Stones, Led Zeppelin, The Eagles and The Who “dinosaurs.”

I’ll go ahead and lay the blame on the newer and younger record-buying age group for pushing the latest vinyl 45 rpm singles to the top of the music charts during the late 1970s. My age demographic had been album-oriented since the late 1960s and the current singles really didn’t interest us.

If a new group didn’t have an album worth buying, we didn’t notice.

But teenagers were buying the singles, making them hits and influencing the latest styles. Since sales equals profit for record companies hoping to stay in the black (vs. going into the red and out of business) they focused on their new audience. And like boomers during our era, the latest look was influenced by new artists, which meant both the music and fashion trends were shifting away from us.

We had to adjust or join the pack of dinosaurs that risked going out of style and being labeled old.

Here’s what I mean:

In the late 1970s you could still be psyched about the latest album from your favorite band that had formed in the 1960s. Fashion-wise you could still maintain some type of cool looking like one of The Eagles from Hotel California, a disco freak from Studio 54, a punk rocker or Keith Richards. As a side note, the Keith Richards look always allowed for admittance into the other groups.

By the time we hit 1980 there was a major shift in music and fashion sense.

I was already three years into my New York City residency when I realized this new trend was taking over. Hippies were past tense, the Woodstock era no more than a memory, disco was dying, and punk was… well, for punks.

The music consisted of more electronics than guitars and the beat came from drum machines. To be fashionable and anti-prehistoric, the guys had ditched bellbottoms for skinny legs and shirts with skinny ties topped with loose jackets. Hair on girls would continue to get higher throughout the decade while the guys went shorter.

But again, the fault didn’t lie with my demographic of baby boomers. The younger crowd was coming into spending money and the music and fashion industries were catering to their newest and profitable big market.

It’s Still Rock and Roll to Me was a protest song about this.

A hit during the summer of 1980, Billy Joel defended our taste in music while still succumbing to a fashion statement in the song’s video that wouldn’t make him seem like a dinosaur. His shorter hair and skinny tie made that perfectly clear.

The song rocked enough to make adulthood challenged boomers still feel relevant while also signaling the end of our musical dominance. The 1980s would’ve only gotten worse for us if we hadn’t been saved by the advent of Classic Rock Radio. At least our hits would still be on the airwaves while it would be decades before our fashion sense became retro.


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It’s Still Rock and Roll to Me hit this Dream Song list on September 18th. I own a copy and it’s not an unfamiliar addition to my weekly playlists. But it hadn’t been recently. For that skinniest of reason, it goes into the subliminal category.

As a musician I was still playing what I felt was rock and roll at the time, even though it was a far cry from the rock and roll I lived for as a teenager. Over the previous decade bands like Zeppelin, Pink Floyd, The Who and yeah… even KISS had given it more volume, power and flash.

If you wanted to be in a rock band in 1980 you had to adjust.

I strummed here a few times!

After a couple years strumming an acoustic guitar and going nowhere fast in Greenwich Village folk clubs, I bought a bass and decided it was time to turn up the volume. Along with my pals Tim on guitar and Bobby on drums we formed a hard rock, high volume trio that we called Rox. I found out years later another band had used the same name and released an album, so in the end I guess they own it. But I also maintain we were first.

It’s just that no one outside of our NYC neighborhood ever heard of us.

As a band we spent more time rehearsing and recording than we did playing live shows. I thought it was mistake then and still do. Playing live really was the only way to be seen and hopefully discovered, but the others disagreed. Their logic was to record an album worth of original songs and sell it to a record company.

Rather than debate the merits of that decision let’s just say it didn’t work out.

But thanks to a good friend who worked as a producer of radio jingles and had been a fan of my earlier music in the Village clubs, we scored quality time in a state-of-the-art recording studio in Midtown Manhattan. She basically “piggybacked” us onto scheduled jingle recording sessions. If she had booked four hours for a jingle and it only took three to complete, we inherited the remaining hour. The result is that I own about three-quarters of a finished LP by Rox that no one outside the three of us and a few family and friends have ever heard. And to be honest, it’s pretty good.

Someday I should do something with it. But in the meantime…


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The few live shows we did were more concerts than club gigs. When the mood struck us, we’d rent a large loft near Gramercy Park, rely on friends to help build a stage (and I have no idea who donated the lumber for these “raves”), use a photographer friend’s lights, and borrow a sound system from another band. We’d schedule an opening act, print up flyers and end up packing the place.

These were hot, sweaty, energetic and LOUD performances. The crowd reaction was always great and called for encores until we ran out of songs. But instead of keeping the momentum going, my two band mates were content to spend weeks in rehearsal studios and hours recording our “breakout” album.

Again, it didn’t happen.

Fighting for Rock ‘n’ Roll

It’s Still Rock and Roll to Me was on the charts and video airwaves while all this was going on with Rox. And it reminds me of one live performance that was far from a concert since it was an audition for some type of talent show that was supposed to help us be seen by record people.

It was a Saturday morning (not the best time for rock and rollers) during the summer of 1980 when we carted our equipment via a NYC taxi to a studio in The Village. We set up in a room to play in front of a panel of about six people who would decide if we’d be part of this industry showcase.

Billy Joel’s video comes to mind because we played rock and roll but bowed to the current fashion trend. I remember wearing tight pants, white Capezio dance shoes, shirt with skinny tie and a white cloth jacket with the sleeves pushed up. I’m not sure what the other guys wore, but guessing it wasn’t too far removed from my look. The only real difference from Mr. Joel was our long hair.

The 80’s hadn’t changed us that much – at least not yet.

We were a loud and heavy band, but for some reason Tim and I had written the first – and only – slower, ballad type song we would ever do. It was called Forever and I played a very melodic bass line while Tim floated a flanged guitar effect sound over the top. Bobby kept a simple time on the drums, and I sang lead. By the end of the song it built into a heavier sound that I thought then – and still do – was very cool and more classic rock than ’80s hip.

When we finished the song, we were very pleased with how it went. However, one of the judges came over and asked if we could “turn down the volume” for our second song.

Say what?!

Turn it up to eleven!!

That definitely wasn’t what we were about as a band. We also realized, based on the judges looks (80’s hip) and attitudes (turn it down?) that this showcase wouldn’t be right for us anyway. The three of us came to a quick decision, scratched the idea of doing a more pop song we had planned and turned the volume on our amplifiers up to eleven.

We played one of the hardest rocking songs we’d ever written and recorded called Love On Wheels. I maintain we sounded like Guns ‘n’ Roses at least six years before any of us had even heard of Guns ‘n’ Roses. We also extended the ending lead guitar jam into what we called a Wall Of Sound and pretty much shook the building down to its foundation.

I remember a few of the judges walked out during our performance. I have a feeling their 80’s hipster ears were bleeding to the sound of Rox.

After finishing, we didn’t even wait for the “don’t call us, we’ll call you” decision. Laughing and giving each other high-fives, we dragged our equipment out onto the street, hailed a taxi and made it to our local neighborhood hangout for lunch and beers. A crowd of our friends turned the afternoon into a party and we never thought again about auditioning for a showcase.

We ended up doing one more huge loft gig that year before we split up – staying friends – for other career paths. In my case, my microphone and small practice amplifier were the only equipment needed to start a popular comedy club in our same neighborhood hangout that ended up taking me places and providing experiences I would’ve never dreamed of while protesting the “new sound” by being a rock ‘n’ roller in 1980.

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And speaking of protesting and defending rock ‘n’ roll in 1980, here’s Billy Joel doing just that:


To purchase The Essential Billy Joel with It’s Still Rock and Roll to Me visit



Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on

Copyright 2019 – North Shore Publishing


#174 – Brass In Pocket


#174 – Brass In Pocket by The Pretenders

 – I find celebrity sightings to be more credible in major cities than I do in… well, say my backyard. I could tell you I partied with The Rolling Stones last night, but it only means I sipped a light beer while listening to Honky Tonk Women. I doubt anyone would believe Mick or Keith – or even Mick Taylor – would have wandered by and accepted my invitation for a cocktail.

But even in world entertainment capitals like New York, Los Angeles or London, you have to be wary of imposters or wannabe’s. The only time one of those sightings ever worked in my benefit was a morning in Hollywood when my boss arrived at the office before me. Normally I had it timed to get there just before he did and make it look like I had been hard at work. When I walked in late and he was looking for me, I excitedly told him about “maybe” having seen Elvis driving a car, so I followed him just to be sure. After all it had only been about fifteen years since he “faked his own death” and “disappeared.”

I know he didn’t buy my story – though I sold it with all the comedic-actor talent I possessed. But at least he never asked me again for an excuse when I was late.

The real deal Chrissie Hynde

The Pretenders lineup that released Brass In Pocket as a single in late 1979 and on their first album in early 1980 was the real deal. The band was rock ‘n’ roll enough to stand out from the late 70’s punks and the early 80’s New Waver’s. Lead singer-guitarist-songwriter Chrissie Hynde was the focal point of the group and the rock star everyone could recognize from their videos, played in high rotation on the newly debuted MTV.

So for rock music fans, it wouldn’t have been too difficult to recognize Hynde hanging out in a major entertainment capital like New York City. Or was it…?

During the spring of 1981, I was managing and bartending at a Cheers type of establishment in Gramercy Park. Celebrity sightings weren’t an every day thing, but we’d had our share including Robin Williams, Van Morrison, Peter O’Toole and the members of Journey. The band had such a good time they came back the next night and gifted “the gang” with concert t-shirts.

Yeah, they were the real deal.

Some of our younger “rocker” regulars started talking about Chrissie Hynde hanging out in our neighborhood. Okay, it’s possible…


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Then one night they brought her to the bar. The locals tried to act semi-cool, but she had no problem talking about The Pretenders, their songs, recording and touring. She looked, talked, dressed and acted like how you’d expect Chrissie Hynde to act and everyone seemed to buy her act hook, line and sinker.

It was cool to have one of the biggest rock stars of 1981 hanging out with us. Or was it…?

Is she or isn’t she?

The more we saw her, which became almost nightly for the next couple weeks, something appeared off to me. And I wasn’t alone. I was playing in a rock band at the time and our drummer Bobby, who was a few years older and more cynical than the younger rock fans groveling for our new local rock star’s attention, felt the same way.

We didn’t think she was the real deal.

In fact, we knew chances were better Elvis would drive down Third Avenue and offer us a ride in his pink Cadillac than for this wannabe to be the real Chrissie Hynde.

So we actually came up with a plan…

We’d heard on our favorite NYC FM radio station that The Pretenders were getting ready for a European tour. The first show would be on Saturday, June 17th in Essen, Germany. Because of the time difference, it would be recorded live and broadcast the same evening in NYC on our favorite FM station.

Live from… where?

So that Saturday around… oh, I’ll guess it was 8 pm EST, I was working behind the bar and turned on the radio. Bobby came in, sat down and we both listened to The Pretenders (Rockpalast broadcast) playing in Germany.

That same night…

It really wasn’t that much of a surprise for us – but it had to be for our local pretend Pretender when she walked in the bar. We told her how good the band sounded live, but also wondered how she could perform in Germany that night and still hang out with us in New York? If I remember correctly, cynical Bobby did most of the talking while I watched her slowly meltdown and mumble something about actually being a cousin of Hynde’s and some other excuses I don’t remember – or really want to.

That was the last any of us ever saw of her. I can only guess The Pretend Pretenders Tour moved on to her next destination and a new fan base.


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Though I never saw the real Pretenders perform Brass In Pocket, the song was touring through my waking mind on August 19th. It may have had something to do with just having read an article about Hynde, but since I hadn’t heard the song in awhile it goes down in the subliminal category.

Which is also where this pretend Pretender story has been hiding since 1981. Thanks to… whomever… for the reminder. It goes down as just another entertaining story from one of the entertainment capitals of the world.

Have a comment? Please use the form below – and keep rockin’!

Here’s a video of the real deal original lineup of The Pretenders performing Brass In Pocket in 1981.



To purchase The Best of The Pretenders with Brass In Pocket visit



Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on

Copyright 2018 – North Shore Publishing