PAT BENATAR
PRECIOUS TIME
JULY 1981
From the dark piano chords of "Promises In The Dark" to the finishing touches on The Beatles’ "Helter Skelter", rock and roll has its new queen. The talent is unmistakable with gritty vocals that command to be heard.
"Promises In The Dark" has several parts that lay down time changes that are uncharacteristic of pop songs, and more inbred of the heavy rock culture. Apprehension is not what put this group on top and they will stake claim as 'fearless' in the studio: the flood gates of rock have been launched. A brainstorm written with superiority that is grandiose and leaves some of the more pop/rock tunes in the dust and concentrates in the direction of solid rock.
"Fire And Ice" is a staple on the newly founded MTV channel. Benatar has been lyrically becoming an overachiever, digging to the depths of her soul and producing scorching emotional compositions. Women are not prone to rock with lyrically conscious commentary that can be felt as well as heard. Being involved in only three tracks on this release has allowed her to be more submerged in the lyrics without drowning in multiple songs.
Keeping the band complete has been beneficial and elevated the final results to an even higher plane. Touring together with little time to recoup before entering the studio often does a number on most bands. Benatar, even exhausted, is able to push through the pains of the road and bring her A-game to the studio. Possibly dragging the rest of the band in with her relentless power has made everyone involved become better.
"Precious Time" is one of the most complicated scores they have taken on and it was an outside composition. Curiosity looms large, wondering how the original composition developed in the studio as Giraldo spun over and under the crushing melody with his guitar playing that flows through the song. Black Sabbath is one band known for the change-ups that are all over this track. Giraldo is an underestimated talent that has uprooted some of the heavy metal philosophies and replanted them in this band.
This is the best cover version of this particular Beatles’ "Helter Skelter" ever to hit vinyl. Very seldom can you find a female singer with the chops to do justice to a male lead song of this magnitude. The band as a whole puts a performance down that has fully established them in the rock world. So grateful are we that they did not record the song with a pop based feel that would not have done it the justice it deserves.
The production is polished and slick with unforgettable rock songs that have the ability to stand the test of time (precious time!). Having possessed this album before Crimes Of Passion, I am surprised it took me a year. However, having them both fresh, how they complimented each other would have went unseen otherwise. How or where can they direct the follow-up? The answer lies within the mystics of the band’s future.
11/29/10
7/81