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No Vacancy: The Best of the Motels by Motels (The) (CD, Jul-1996, Capitol/EMI Records) 
No Vacancy: The Best of the Motels by Motels (The) (CD, Jul-1996, Capitol/EMI Records)

 
No Vacancy: The Best of the Motels by Motels (The) (CD, Jul-1996, Capitol/EMI Records)

Artist: Motels (The)
Release Date: Jul 1996
Format: CD
Record Label: Capitol/EMI Records
Genre: New Wave, Rock & Pop
UPC: 077779093021
Product ID: EPID3115920
Description: The Motels: Martha Davis (vocals); Tim McGovern (guitar); Marty Jourard (keyboards, saxophone); Michael Goodroe (bass); Brian Glascock (drums). Includes liner notes by Glenn Baker. NO VACANCY collects songs from the Motels' five albums. ...
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Track Listing
1. Danger
2. Only the Lonely
3. Celia
4. Shame
5. Careful
6. Suddenly Last Summer
7. So L.A.
8. Cries and Whispers
9. Icy Red
10. Apocalypso
11. Total Control
12. Take the L
13. Trust Me
14. Remember the Nights
15. Bonjour Baby
16. Little Robbers
17. Annie Told Me
18. Kix
19. Whose Problem?

Details
Playing Time:70 min.
Distributor:EMI Music Distribution
Recording Type:Studio
Recording Mode:Stereo
SPAR Code:n/a

Album Notes
The Motels: Martha Davis (vocals); Tim McGovern (guitar); Marty Jourard (keyboards, saxophone); Michael Goodroe (bass); Brian Glascock (drums).
Includes liner notes by Glenn Baker.
NO VACANCY collects songs from the Motels' five albums. Martha Davis' sultry vocals powered the Motels to the top of the charts twice ("Only The Lonely" and "Suddenly Last Summer," both top-10 hits).
All five of the Motels' albums are well worth acquiring -- even 1985's more commercial Shock. But for an introductory overview of the often dark and unsettling band's legacy, No Vacancy is highly recommended. This superb CD boasts all of the songs the Motels were best known for, including the dreamy "Suddenly Last Summer," the clever "Little Robbers," and the melancholy hits "Only the Lonely" and "Take the L." But as No Vacancy illustrates, they had many more artistic triumphs than those hits. Often compared to the Doors, the Motels didn't sound very much like Jim Morrison and company -- but paralleled that fellow L.A. band in that they were experts when it came to depicting Hollywood's darker side. Classics like "So L.A.," "Apocalypso," and the troubling "Celia" brilliantly capture the type of emotional desperation that's prevalent in Tinseltown. Meanwhile, Pat Benatar is a valid comparison on "Cries and Whispers" and "Shame," both examples of the slicker, more commercial direction the Motels were taking in the end. But even at her most commercial, the charismatic Martha Davis sounds soulful and inspired. ~ Alex Henderson

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