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Everything's an "anthem" these days* every song that asserts the simplest preference, celebrates any individual or social identity or activity (oh, "Flashdance...What A Feeling," or "The Safety Dance"). Maybe that's why the trend is toward no seats where rock is performed:

December 1, 1983
Mitchell Cohen

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BIG COUNTRY The Crossing (Mercury)

by Mitchell Cohen

Everything's an "anthem" these days* every song that asserts the simplest preference, celebrates any individual or social identity or activity (oh, "Flashdance...What A Feeling," or "The Safety Dance"). Maybe that's why the trend is toward no seats where rock is performed: we're expected to stand at attention from the throwing-out of the first electroblip. So it's at the risk of perpetuating this way of thinking that I report that the best songs of Big Country have a genuinely anthemic quality. Not that they go in for much rallying 'round the flag, boys—in fact, their political platform is "watch out below!" (Imminent Apocalypse 101) —but "Field Of Fire," "In A Big Country," "1000 Stars" arid "Harvest Home," to name but four, are walloping shouts, with guitars sending up warning flares, and drums rat-a-tat-tattirig to beat the band.

Big Country has big notions, and they keep all the corners of their canvas filled with arresting details:

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