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Contact

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Album Review

After Platinum Blonde's second album — a massive success in the band's homeland of Canada, stiffed in the States — the group's members disappeared for a couple of years. When they re-emerged in late 1987, they brought with them one of those albums that screams, "This one had better be a hit — or these guys are gone." (Unfortunately, it wasn't, and they were.) Guided by multiple producers, including Bernard Edwards (Chic, Duran Duran, Power Station), Platinum Blonde lost some of the magical new wave/AOR balance that had made it so successful. Instead, Contact found the band barking up several trees at once, searching vainly for that elusive American smash. They tried big beat, Power Station-style rock on the title track (ironically, not produced by Edwards); went for the heartstrings on the radio-ready ballad "I Might Have You," and turned in a cover of the Ohio Players' "Fire" bad enough to make you believe the label insisted on it. Yet, for all the album's faults, many of the songs were actually quite strong, and, overall, Contact wound up being an enjoyable, if not particularly coherent, effort.

Biography

Formed: 1981

Genre: Pop

Years Active: '80s, '90s

Platinum Blonde was formed in Toronto, Canada in 1982 between the end of the disco boom and the beginnings of glammy hard rock. New wave was in its commercial glory and bands like the Police, Duran Duran and Billy Idol were combining fashion and sound to cash in on the new art form of music video. Vocalist Mark Holmes, guitarist Sergio Galli, bassist Kenny MacLean and percussionist Chris Steffer were Canada's answer to those bands. In 1983, Platinum Blonde released its debut album, Standing in the...
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Contact, Platinum Blonde
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