• Rating: VG+
• Date: 1980 (release)
  
• Charts:
  Billboard #002
  Entered Aug 23, 1980
  On charts 093 weeks
  
• Album Releases:
  CD Chrysalis F2-21275
  1980 LP Chrysalis 1275
  CS Chrysalis F4-21275
  CD Capitol 21275
  Chrysalis 1275
  
• Time: 37:07 min
• AMG ID: R000001671 (album inprint)
  
• Album Tracks:
  • Treat Me Right
    Peaked at 18 on the Pop charts, #31 on the Album Rock charts
    
  • You Better Run
    Peaked at #42 on the Pop charts
    
  • Never Wanna Leave You
  • Hit Me with Your Best Shot
    Pat's first gold single. Peaked at #9 on the Pop charts.
    
  • Hell is for Children
  • Little Paradise
  • I'm Gonna Follow You
  • Wuthering Heights
  • Prisoner of Love
  • Out-a-Touch
• Album comments
• Rokin' Robin's Album Articles
• AMG Album Reviews:
  She won the Best Rock Vocal Performance - Female for her revival of the Young Rascals 1966 hit "You Better Run". ~ Donna DiChario
  
• Album Personnel:
  Scott St. Clair Sheets - Guitar
  Roger Capps - Bass/Vocal
  Neil Geraldo - Guitar/Keyboards/Vocal
  Myron Grombacher - Drums
  Glen Hamilton - Drums
  Pat Benatar - Vocal
  Keith Olsen - Producer/Engineer
  Chris Minto - Engineer
  

LITTLE PARASDISE

Neil: I always like those grooves. The bedding is kind of Tex-Mex like we're doing now, but it's simpler. It's like a New Orleans thing.

OUT OF TOUCH

Myron: I contributed heavily to that song. I think I wrote one line and graciously accepted a third of the song.

Neil: No, no, no. The chorus was nowhere until you fixed it up.

Myron: we had the whole song but for some reason we couldn't get one little piece of it. I guess God wanted to me to get a song on the album, so he gave me a little piece of it.

Neil: It sounded great. It was just a guitar riff.

Pat: That's what we do. Everybody just throws ideas in. Songs don't alwasy come complete. When we start cutting them we don't have any idea where we're going.

HELL IS FOR CHILDREN

Pat: Roger and I used to write a lot of stuff from the paper. They had this article called "Hell Is For Children". It was all about child abuse. It was like the first big expose. It was real disturbing, and we just got interested in it, so we started writing the song.

I'M GONNA FOLLOW YOU

Neil: My buddy Billy Steinberg wrote that. We met him at Chrysalis. He had a band they were thinking of signing called Billy Thermal. I thought he had great songs, and they it would be a good idea if I got together with him. So we started wroting together. Then we found out he owns a grape vineyard. Maybe not a vineyard, because I think they just grow table grapes. So this was a song we used to do in his set.

YOU BETTER RUN

Pat: I always liked the Rascals. I'd demoed that even way before we even got a record producer. I knew if I ever got a record deal I wanted to do that song. We used to do it in our live show.

Myron: When we first went out on tour, because we only had one album out, we went back to alot of songs that Patti liked that she had done before, and this wwas one of them. as we played it we changed the arrangement on it.

Neil: That was the first song I did. We did it for the movie Roadie. That was the first time we put it on record.

HIT ME WITH YOUR BEST SHOT

Myron: We'll frequently do songs by outside writers. None of us knew Eddie Schwartz. But we worked hard on the arrangement. It's a good song.

Pat: After awhile you get saturated with it.

Myron: There was so much exposure on that song. Every time you turned on the fights and a guy got hit in the face, they'd play it!

Pat: I am sure if the Beatles were still together and they had to play I Want To Hold Your Hand, they'd die. It's like some songs last, and others you just outgrow. I mean, Heartbreaker I could play anytime; it never bothers me. I don't know. It seemed like a good idea at the time.

NEVER WANNA LEAVE YOU

Pat: Neil started that song; I cleaned it up. I'm always the third and fourth verse writer. He gives me all his junk. We finished up at my apartment.

Neil: I actually started writing that when I was going to sleep and I just had a guitar by my bed. I was just going boom, boom. That's why it's so monotonious. I was just going boom, boom, boom, and I started figuring out, 'Oh this might be good.' Before we did the record it was in a major key. That's when we fooled around with it and said, this ain't right, and changed it to a minor key. The vocal phrasing comes from not going to sleep, I think. I used some real fast picking there; it's a kind of sliding effect I call The Killer Bees. That's what you feel like when you can't go to sleep.