| | Foreigner Head Games CD Foreigner Discography of CDs
 (4 Customer Reviews)
Although Foreigner's third album, 1979's HEAD GAMES, didn't spawn the radio mega-hits that the band's two albums had (1977's self-titled debut and 1978's DOUBLE VISION), it still managed to keep the band's multi-platinum album string in tact. Foreigner managed to survive its first lineup change prior to the album's recording (bassist Ed Gagliardi was replaced by Rick Wills), and churned out another spirited set of arena rock, including gems like "Love on the Telephone," "Dirty White Boy," "The Modern Day," and the title track. HEAD GAMES showed that Foreigner would have no problem retaining its audience as the '80s were ushered in, something that not all '70s rock superstars were able to accomplish.
Foreigner continues their platinum winning streak on Head Games, the band's third album. By the time Head Games was released, FM radio had fully embraced bands like Foreigner, Journey, and Boston, whose slick hard rock was tough enough to appeal to suburban teens, but smooth enough to be non-threatening to their parents. Tailor-made for the airwaves, "Dirty White Boy" and "Head Games" kept Foreigner at the top of the arena rock heap as the decade came to a close, and the supergroup's successes would continue well into the '80s. [The 2002 reissue featured remastered sound and added one bonus track: "Zalia."] ~ Andy Hinds
Expanded & remastered reissue of their 1979 release. Features the previously unreleased bonus track 'Zalia'. Includes new liner notes written by Jerry McCulley. 2002.
All tracks have been digitally remastered.
Recorded at Atlantic Studios, New York, New York. Includes liner notes by Jerry McCulley.
Personnel: Mick Jones (vocals, guitar, piano); Ian McDonald (vocals, guitar, keyboards); Lou Gramm, Rick Wills (vocals); Al Greenwood (keyboards, synthesizer).
Audio Remasterer: Dan Hersch.
Liner Note Author: Jerry McCulley.
Recording information: Atlantic Studios, New York, NY; Cherokee Studios, Hollywood, CA.
Photographer: David Alexander .
Foreigner: Lou Gramm (vocals); Mick Jones (guitar, piano); Ian McDonald (guitar, keyboards); Al Greenwood (keyboards, synthesizers); Rick Willis (bass); Dennis Elliott (drums).
Producers: Roy Thomas Baker, Mick Jones, Ian McDonald.
Foreigner Head Games Songs Head Games Music Review Average Rating: (4.8 out of 5 stars)  CLASSIC!
Foreigner will always be classic! Love this CD in particular because my sister and I used to follow the words with the album when we were younger.
Submitted by angelag (Nashville, tn) 
Was This Review Helpful? Yes No Better album than initial sales would suggest
I loved this disc when it first appeared in 1979,and I still love it to this day!!!I think just from the title track "HEAD GAMES",this should have sold 4 million copies,but there are some real gems on this album,like "Blinded by science","Modern day","Love on the telephone","Seventeen",and "Rev on the red line". You really can't go wrong,in purchasing any of their 3 albums from the 70's.
Submitted by Mark (Wichita,KS,USA)
Was This Review Helpful? Yes No the bets cd the best song
do what you like .best song on the head games cd.
Submitted by jojokat (bethlehem,pa)
Was This Review Helpful? Yes No  Very, Very Good,....Blinded By Science an so
a very good album of foreigner. one of my favoits songs ever are blinded by science, a wonderful song....reve on the red line ist good too...
Submitted by licma (Aschaffenburg, Germany)
Was This Review Helpful? Yes No
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Along with bands like Styx, Journey, and Boston, Foreigner was one of the first hard rock acts to add overt Top-40 pop sensibilities to the mix. The result was mass crossover success, something that both the pop and rock audiences could easily latch onto. Foreigner's self-titled debut from 1977 is the epitome of classic rock: big guitar hooks, melodicism, simple driving rhythms, and sexually charged lyrics. Two of Foreigner's best-known tracks, "Double Vision" and "Cold as Ice," are included here, as are such strong album cuts as "Long Way From Home." FOREIGNER was a multi-platinum success--with just one try, the band found itself at the top of the hard rock heap.
Along with bands like Styx, Journey, and Boston, Foreigner was one of the most popular 1970s arena rock acts to add overt Top 40 pop sensibilities to the mix. The result was massive crossover success, something that both the pop and rock audiences could easily latch onto. Foreigner's self-titled debut from 1977 ...
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Prior to the band's fourth release, the aptly titled 4, Foreigner again sustained lineup changes. With the departures of second guitarist Ian McDonald and keyboardist Al Greenwood, Foreigner became a quartet for the first time. The streamlining of the lineup helped bring about even greater commercial success for the band, as 4 became Foreigner's best-selling album ever, eventually selling well over six million copies in the U.S. alone. Its success can also be attributed to the presence of soon-to-be-superproducer John "Mutt" Lange. The ...
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While the U.S. was being swept up by disco mania in 1978, Foreigner issued another hard rock tour de force, DOUBLE VISION. It was unthinkable that the sextet could outdo its solid 1977 self-titled debut, but it somehow did. Lou Gramm and company issued another set of rock radio staples and rock-steady album tracks, the best-known being such perennial arena rockers as "Hot Blooded" and the title track. But the highpoints didn't just stop there--such oft-overlooked compositions as "Blue Morning, Blue Day," "Lonely Children," and "I Have Waited So Long" are just as strong. DOUBLE VISION solidified Foreigner's standing as a '70s rock sensation.
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As part of Carter the Unstoppable Sex Machine, Jim Bob gained fame for his punk/glam rabble-rousers that were half U.K.-specific puns, half savage portraits of a rotting nation. On his own, Jim Bob carved out a calmer but still sharp route on various solo and collaborative releases, given an overview on this often enjoyable release. Those familiar with his hectoring Carter USM days would be most surprised by his gentler singing here, far more easygoing and conventionally tuneful but sometimes tinged with the bite of old. That bite still resides in his subject matter and approach, though -- if songs like "Candy Floss" and the great "The Mufty Day Riots" are, at least sonically, cheap and cheery variations of the bigger Carter USM stompers, it's more a matter of degree, while the sense of rain-drenched seaside resorts and broken-down clubs on songs like "A Bad Day" comes through in the romantic but melancholy performances, often keyboard-led. Meanwhile, his gimlet-eyed but always emotive portrait of Britain's frustrated and screwed-over populace continues song for song, whether talking about being only the victim of a "so-so crime" or simply the frustrations of petty authority and small-mindedness in general. ~ Ned Raggett
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