9 More Great Album Covers Of The 1980s

Check out the first instalment here in case you missed it.

9. XTC: Oranges & Lemons (1989)

Artwork and Design by Andy Partridge, Dave Dragon and Ken Ansell

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8. David Sylvian/Holger Czukay: Plight And Premonition (1988)

Photography and Design by Yuka Fujii

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7. Anderson Bruford Wakeman Howe (1989)

Artwork by Roger Dean

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6. Grace Jones: Nightclubbing (1981)

Photography and Design by Jean-Paul Goude

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5. Debbie Harry: KooKoo (1981)

Photography by Brian Aris, Design by HR Giger

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4. Steve Khan: Eyewitness (1981)

Artwork by Jean-Michel Folon

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3. King Crimson: Three Of A Perfect Pair (1984)

Artwork by Peter Willis

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2. Donald Fagen: The Nightfly (1982)

Photography by James Hamilton

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1. Tackhead: Friendly As A Hand Grenade (1989)

Artwork by Gee Vaucher.

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So what is the tenth (or 20th) greatest cover of the ’80s? Suggestions below, please…

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Don’t Mention The Prog: It Bites’ Eat Me In St Louis

eat-me-in-st-louis-527b870be5b7fVirgin Records, released June 1989

9/10

Bought: Our Price Hammersmith, June 1989

It Bites go Metal? Nearly. A brave attempt to break the US? Possibly. Even Kerrang! magazine took notice of this one. Riff-heavy, blues-based rock was making a big comeback on the late-‘80s UK music scene, typified by the success of Thunder, The Quireboys, Gun and Little Angels. The gifted Cumbrian four-piece came up with a neat twist and produced their heaviest album yet. But they could never completely jettison their penchant for brilliant pop hooks, colourful instrumentation and intricate arrangements.

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Francis Dunnery’s guitar playing was leaner, meaner and more direct than before, with a stronger blues flavour; Hendrix and Clapton were touchstones now rather than Holdsworth and Gambale. The song and performance were paramount. He talked glowingly of David Sylvian and The Blue Nile in interviews. Producer Mack brought the big drum sound and ban on reverb. Dick Nolan expanded the grooves with his new six-string bass.

There were three near-hits (‘Still Too Young To Remember’, ‘Underneath Your Pillow’, ‘Sister Sarah’). Roger Dean provided the album cover concept/graphics/masks, possibly a weird move for a band trying to escape the Prog tag. It was red rag to a bull for the NME who ran a sarcastic mini-interview with Dunnery at the time which barely mentioned the band’s music.

First single ‘Still Too Young To Remember’ was Classic Rock of an early-‘70s vintage, sounding more like Family, Cat Stevens or Free than Genesis or Marillion. Virgin flogged it mercilessly with not one but two re-releases but there was still no sign of a hit. I remember excitedly rushing out to the buy the 12” version one beautiful spring day in 1989. Its superb B-side ‘Vampires’ features one of Dunnery’s most outrageous guitar solos. Other fine B-sides of the time include ‘Bullet In The Barrell’ and ‘Woman Is An Addict’ which features a killer whole-tone Nolan/Dunnery riff.

As the ’80s turned into the ’90s, It Bites were shaping up to be one of the bigger live draws in British rock – they embarked on three tours in the space of a year, selling out the Hammersmith Odeon and impressing everyone. A glorious night at the old Town And Country Club featured on the ‘Meltdown’ TV show. They played extensively in Japan and toured the States with Jethro Tull. The feeling in the Virgin camp was that the fourth album would deliver the big hit they were striving for. Too heavy for pop but too pop for metal? Too good for the charts? Suddenly, despite the lack of singles action, it didn’t seem to matter too much.

But the cracks were starting to show – Dunnery was a barely-functioning alcoholic whose self-loathing tendencies led to sublimely pissed-off guitar solos but more often than not wound up the rest of the band – especially the equally gifted yet far more docile John Beck (Dunnery recently said in a Classic Prog interview that they had very different ‘energy levels’), often leading to some thrillingly edgy onstage duels but also some resentment.

Decamping to Los Angeles to write songs for the fourth album proved a career move too far – Beck, Dalton and Nolan refused to work with Dunnery who was AWOL periodically throughout the sessions. The band splintered and that was that, despite a brief reunion of the original line-up the early noughties. It’s fascinating to imagine what might have been if they’d been able to hold on a bit longer and harness the creative tension between Beck and Dunnery. The breakup was a sad end to one of the most prodigious groups of musicians in the ‘80s pop pantheon.