Yeah, it’s THAT good. When something like 8 out of the 12 songs on record become hits, you know you’ve pretty much “bulls-eyed” the entertainment world. Very few albums in history have accomplished this feat… Michael Jackson’s “Thriller”, the first Aretha record, Shania’s “Come on Over” and Bruce’s “Born in the USA” are the first ones that come to my mind.

We’ve heard the songs a million times, but that still doesn’t take away how great they are. This album was huge, of course. But artistically, from note one, you know you’re in for an Americana treat.

This record had recording geeks everywhere force drummers to record their drums separately. Hi hat first, kick drum next, snare drum next, fills next… it was crazy. Started a whole craze of ultimate studio drummer frustration.

Unfortunately, this was probably the only album to get that technique right, and producers from then on preferred the drum machine. Every note separate, and in time. I'd bet some drummers burned this album, or used it for Voodoo rituals, or something like that. If I was a drummer, I would have.

Sorry, I digress... back to FMF.

Is the playing fancy? Nope. Are the songs fancy? Nope. Is Tom’s voice fancy? Nope. But I dare you to find me another album that bleeds energy and honesty like this one does, while landing squarely in the pop genre.

The songwriting is stellar…words and music in perfect synergy. Songwriters everywhere need to memorize this album if they want pop success while keeping their “artistic integrity” intact.

To show you just how seriously they took the production of this record listen to my favorite track “face in the crowd”. The clave percussion hits are tuned to a note (d, in this case) and reverb’d out to create a beautiful single note ostenato pattern.

Simply put, every note, every drum hit, every word, every guitar tone is perfectly placed.

No question this is a guitar record. But you won’t find blistering solos, finger wiggling, or tons of fancy effects. Just quality tone, without much bass guitar, keyboard, or anything else to get in the way.

Which means, it’s a modern Byrds record. And it’s a beauty!

There were 4 other truly astounding records from this time period, and I feel compelled to list them, because as a collection they accompanied “Full Moon”, and dominated radio. Police “Synchronicity”, Bruce’s “Born in the USA”, John Mellencamp’s “Uh-Huh” , and John Fogerty’s “Centerfield”. Each one of them had a few hits, and long radio life.

This was essentially music’s last stand before Hip Hop and Hair Metal. A truly miserable period of pop music followed.

As a producer, I crave making a “full moon fever”. But you need the right artist, crazy money and at least 2 years to do it.

As a guy who does solo acoustic guitar gigs, no other album does for a crowd what these songs do. I doubt I’ll see another record in my lifetime that will have the affect this one does on a listening audience.

Final thought... producer Jeff Lynne’s “Armchair Theater” record. If you love “full moon fever”, buy it now. Thank me later.