Speaking of album openers (even though we weren't), the single drumbeat that kicks (ha) off the title track to the album that includes the hugely synthy and thrilling "Alive and Kicking" is ... I don't know what it is. It just works for me today.
It's also how the Minds' biggest--not greatest--Stateside hit starts. And they didn't even write it, though it was written with them in mind (ha).
[Ed. Note: listen to the demo embedded in the Spin article and tell me they weren't actually aiming for the Psych Furs and Richard Butler and not the Minds]
I was precisely in the target demographic, so, yeah, it worked. Consider me obsessed, and I probably viewed it not long after the 2/15/85 opening, and hit up The Record Bar straight after.
I also don't know if I'd agree with the subtitle "Poor Man's U2" for the band. Yes, they made epic, sweeping use-a-thesaurus-here songs, but these sprang, in my estimation, from straight from the heart ("I'd be with you/I dreaaaaam about you...I stay with you...tonight"), less filtered through the head. And embroidered with the keys and piano of Michael MacNeil, which don't cross between actual human hands plunking keys and chirps emitting from the turning of knobs. SM are synthy, but not Depeche Mode, for god's sake.
I'm glad The Breakfast Club pushed the Minds onto our shores, our record players, tape decks and for god's sake, into our minds.
The notes don't seem three decades old, though. Not at all.