Secret

Album review

While their first two albums may have cemented their fate as goth new romantics, there was always more to Classix Nouveaux than fashion and their short-lived "flavor of the week" status. In frontman Sal Solo, they had a vocalist with an exceptional range and a knack for writing catchy songs that would oftentimes get buried beneath the quirky arrangements and production that didn't seem to fully comprehend the depth of Solo's songs. On Secret, released in 1983, it all finally came together. Under the guidance of producer Alex Sadkin, most of the white funk elements of their sound had been chucked and replaced by a far more commercial synth-based sound, which helped to compliment Sal's vocals and push the melodies of the songs to the fore. Fans of the first two albums didn't have to worry, though, because there were moments here that could fit easily on the first pair of albums (namely, "The Fire Inside" and "The Unloved"). But those looking for something more than retreads of their past glories were pleased with the more direct sound of Secret. Some of the band's finest songs can be found on this platter, including "Never Never Comes," "Forever and a Day," "All Around the World," and "Heart from the Start." Sal's vocals were more passionate and his lyrics more personal. In the past, it often seemed too flashy when he'd slip into his trademark falsetto, but here he uses it sparingly and only to accent the songs. This was a new, mature Classix Nouveaux. Even Edward Bell's cover art moved the band to a new level of acceptability, adding a colorful flair to their older, darker image. Unfortunately, as Classix Nouveaux moved forward, their audience stayed behind and the album was not as successful as it should have been. Meanwhile, Sal had a deeply moving religious experience and began moving in a different musical direction. The band recorded another single with Sal but the writing was on the wall, and Solo took flight and went...er....solo.

© Steve Schnee /TiVo