Bash-N-The Code - Bash-N-The Code

BASH-N-THE CODE
Bash-N-The Code
Myrrh
1986

As much as I wax nostalgic for the decade of which I spent much of my formative years–that being the 1980 –I do admit that there was just as much pop culture to be embarrassed about as there was plesant memories. Show me a decade that doesn’t. And it doesn’t get much more embarrassing than what passes as R&B pop music of the time. And there was a lot of bad R&B pop on the radio at the time.

In the CCM market, there was more than its fair share of mediocrity going on, as you can imagine. One band of said mediocrity was Bash-N-The Code, a group that started off as a mellow 70s pop rock band called Found Free, until the founder decided to start playing dance pop and R&B to appeal to the teen market. Changing the name to Bash-N-The Code, this first album of theirs was released in 1986 on the Myrrh label.

The music on Bash-N-The Code is very much in keeping with the mid-80s homogenized pop style that sounds more like the type of rock music that they would artificial produce for a movie at the time to keep from having to pay exuberant copyright fees to actual bands and artists. The songs are heavy on the keyboards and upbeat rhythms, with the kind of cheesy non-challenging lyrical prose that was (is?) typical of the CCM pop rock bands, sung by a husband and wife duo that alternated between faux-gritty “dude” vocals and cheery sugar-drenched, respectively.

Listening to this album just to get a review out was not a fun things. I found the music annoying, a product of a time I would rather forget and pretend never happened. In case you’re wondering what kind of 80s pop icon I can compare Bash-N-The Code to…well, do you remember a band called The Jets? Of course, you don’t. They were a band consisting of a bunch of siblings from Minnesota that released a couple of inexplicably moderately popular albums in 1986 and 1987 that played the same type of uninspired R&B pop. For whatever reason, a copy of Bash-N-The Code–on vinyl, none the less–wormed its way into my collection, and thus the obligatory review.

There. That’s out of the way. Passing on listening to this one again, ever.

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