For her fourth studio album, Pat Benatar and her band returned to the hallmarks of their debut, 1979's `
In the Heat of the Night'. Not only did they opt for more melodic songs supported by keyboards, synthesizers and textured backing vocals, but the guitar was pulled back from searing hard rock to a more subtly integrated approach. They also returned to that album's producer, Peter Coleman who, in partnership with guitarist Neil Geraldo, delivered a warmer, fuller sound than Keith Olsen had on their two previous albums.
That is not to say that `Get Nervous' doesn't rock, because it most certainly does. It is just more self assured and more artistically and consistently crafted than either `
Crimes of Passion' or `
Precious Time' (though, its particular synth/keyboard approach has dated a bit over time).
It is also a little more on the adult pop side. Much of this is probably because of the co-writers the band worked with on this one - most notably Billy Steinberg (who contributed to the last two albums) on four songs - rockers `Anxiety (Get Nervous)', `The Victim', `I Want Out' (which is better in the faster live version on the next album, `
Live from Earth') and the sublime hard rock ballad, `Fight It Out' - all of which are excellent.
Four other tracks are contributed by contract songwriters: the single, `Shadows of the Night' is the least representative of the rest of the record, `Looking for a Stranger' is a perfect witty Benatar rock song completely at home with the Steinberg songs, `Little Too Late' is possibly a little lightweight and the excellent `Tell It To Her' is, surprisingly, from the same composer as the dreadful `Hit Me With Your Best Shot'.
Geraldo, who co-wrote the four Steinberg tracks also contributes another of his classic bitchy tracks in `I'll Do It' and drummer Myron Grombacher is responsible for the new wave tinged closing track, `Silent Partner'.
`Get Nervous' was a welcome return to form after the uneven and often laboured `Precious Time'. Unlike that record, it has a strong sense of fun (which features in the best rock and roll records), even when dealing with emotional tragedy. It also stands as one of the best and most cohesive recordings from Benatar and her band.