For many rock acts that made their mark in the ‘70s, 1985 was the year they faced off against what could be called the New Wave Borg. The rules were simple: assimilate or die. And man, oh man, did they do some crazy things in order to adapt. ZZ Top put artificial record scratching sounds in one of their songs. Dire Straits wrote a song about the very thing that was killing them (MTV), and wound up with the biggest hit of their career. Heart’s hard rockin’ Wilson sisters transformed themselves into porcelain popsters. Bands from the ‘60s (the Monkees, the Moody Blues) would reboot their careers in similar fashion the following year. There is no other way to say it: it was downright terrifying to watch, never mind listen to.

And yet, for as ugly as some of those rock makeovers were (see Dave Steed’s breakdown of the Animals’ New Wave record, if you dare), the musicians that buttered their bread on the opposite end of the musical spectrum suffered even worse. That’s right, I’m speaking of the men who mined the vaults of Mellow Gold.

Dan Fogelberg (R.I.P.) tried reinventing himself as a rocker with “Language of Love,” then abandoned pop for country (by way of bluegrass) after the public didn’t take to his “new style.” Paul Davis (R.I.P.) signed with pop-minded Arista and scored some of his biggest hits, but hated the direction his music was headed and also abandoned pop for country, his first love. In the musician’s equivalent of the last act of the scoundrel, Air Supply was singing Jim Steinman songs. Tick, tick, boom. Wuss rock was dying a gruesome death, and nobody cared.

Gino Vannelli was not going out like that. (more…)