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Liam

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  1. 736. ‘Kool Thing’, Sonic Youth (1990) Influenced by: Femme Fatale • The Velvet Undergound & Nico (1969) Influence on: Swimsuit Issue • Sonic Youth (1992) Covered by: Steve Wynn (1991) • Tub Ring (2004) Other key tracks: Expressway to Yr. Skull (1986) • Teen Age Riot (1988) • The Sprawl (1988) • Dirty Boots (1990) I was expecting myself to have heard this song before for some reason…I couldn’t have been more wrong. This is an interesting track primarily because it saw Sonic Youth team up with Chuck D of Public Enemy, apparently one of those ‘right place, right time’ moments. This was the closest the band came to something approximating mainstream acceptance according to the book, though this was somewhat at odds with the music they had been churning out the years previous. This is good-ish, but doesn’t inspire much more than that from me if I’m being completely honest. 737. ‘Only Love Can Break Your Heart’, Saint Etienne (1990) I’m a big fan of the original Neil Young song, but this couldn’t really be further from it. However, a sound that you don’t think necessarily should work on that song genuinely does. A blissed out dance vibe is almost creepy in its deployment, whilst things kick a little more into gear towards the second half to liven up what might otherwise become a song that outstays its welcome. 738. ‘Crazy’, Seal (1990) Influenced by: The Wind Cries Mary • The Jimi Hendrix Experience (1967) Influence on: Space Cowboy • Jamiroquai (1994) Covered by: Talisman (1996) • Iron Savior (2002) • Mushroomhead (2003) • Alanis Morissette (2005) • Helena Paparizou (2006) This is a personal favourite from my youth. The more I get to listen to songs from around this period, the clearer the influence of dance music and the like on pop music, something that I believe you can really hear in ‘Crazy’. Seal has a great, husky voice, whilst the lyrics, especially of the chorus, can be empathised with. This is also a tune that I probably didn’t realise had a lot more going on than it seemed when I first listened to it. The production makes everything feel lush. 739. ‘Mustt Mustt (Lost In His Work)’, Nusrat Fateh Ali Khan (1990) Qawwali is a blend of Islamic (Sufi) poetry and Hindustani music. Khan supported such fusion because, in the Qur’an, Allah is said to favor diversity—and Khan considered music the best way to celebrate this. He had already updated qawwali, speeding up and shortening traditional pieces that could last up to an hour and were performed with just harmonium, drums, and chorus vocals. “Musst Musst” (“intoxicated” or “high”) features a West African djembe drum, funky bass, and electric guitars. Over this, Khan recites Urdu poetry and improvises in his trademark wordless style, similar to scat. I enjoyed it. 740. ‘Diaraby Nene’, Oumou Sangare (1990) A Malian woman singing openly and honestly about female desire? Unsurprisingly, this was quite a controversial song at this time. The quick hi-hat driven tempo is simple, yet quite entrancing, whilst Sangare herself has an enjoyable, soulful quality to her vocals with the occasional moments in which she lets loose to really show her power. It is never really going to be ‘my bag’, per se, but a pleasant addition to the list.
  2. 731. ‘Energy Flash’, Joey Beltram (1990) Ermm, I think this is the right song. Like any dance song, there are about a bajillion different versions, so if I’m not identifying the one that the book is specifically referencing, apologies. This isn’t really my cup of tea, yet the allure is obvious. Pulsing beats and pulsating high hat tones comes together to create a very simple, but very danceable tune. An even more simple vocal loop repeats the word ‘ecstasy’, making it all too obvious what this song is an ode to. One for the ravers amongst us. 732. ‘Bonita Applebum’, A Tribe Called Quest (1990) – album version I threw up both the video and the album version as there was some suggestion of a difference between the album version and the one that got released. The biggest ear-opener so to speak for me is that guitar twang that would go on to be used in ‘Killing Me Softly’ I believe, though the lyrics also are an ode to the aforementioned Bonita as Q-Tip even promised to wear a condom if she wanted him to, or ‘crazy prophylactics’. There is a relaxed vibe to this seduction, something which makes this a pleasant outlier compared to some of the raunchier songs from the genre in the decades that follow. Not that I am a prude, but things are a fair bit tamer here and for the better considering the tone set by the music. 733. ‘Little Fluffy Clouds’, The Orb (1990) Again, I assume this is the right song as there are different mixes. This was – according to the book – one of the first trance records to infiltrate the mainstream. A mixture of spoken words, myriad samples and a pulsating beat, there is something quite hypnotic about the track from the opening seconds. This actually caused some legal issues as the main ‘vocals’ were Rickie Lee Jones talking on a promo interview for her own album in 1989, leading to her publisher requesting compensation. This isn’t really a style of music I like, but I do enjoy this song – it is difficult not to get swept along for the ride. 734. ‘Three Days’, Jane’s Addicition (1990) Influenced by: The Song Remains the Same • Led Zeppelin (1973) Influence on: Boatman • DJ Frane (1999) Other key tracks: Been Caught Stealing (1990) • Classic Girl (1990) • Stop! (1990) Jane’s Addiction are a band I missed the first time around (I was only 4, to be fair), and have only really heard music from their comeback towards the turn of the century, or whenever ‘Just Because’ came out. This was a band who were in the process of falling apart, whether due to personal rivalries, drugs, or both. Considering ‘Ritual de lo Habitual’ was considered something of a classic, this was apparently the only song in which all bands members ended up in the studio at the same time. It is impressive that a band who were falling apart at the seams created this sprawling epic, poetic and powerful all at once. This is an absolute banger and unlike some songs I’ve enjoyed but felt no compulsion to check out the rest of the band’s work, this does make me want to check out that album at least. 735. ‘Dub Be Good To Me’, Beats International (19900 Influenced by: Just Be Good to Me • The S.O.S. Band (1983) Influence on: Just Be Good to Me • Groove Diggerz featuring Lindy Layton (2009) Covered by: Faithless & Dido (2002) • Jack Peñate (2007) • The Ting Tings (2009) Before going into this further, it is worth noting that I never knew Norman Cook was involved in this. It was a cover as such, yet Cook threw a few other bits at it, such as harmonica taken from Ennio Morricone’s ‘Once Upon a Time in America’ soundtrack and the bass line from ‘Guns of Brixton’ by The Clash. Whatever he did, he did it right as it went all the way to number one in the UK. It was a song that I remember enjoying when young and it still works for me now. It is an interesting and inventive cover, taking the original and looking to introduce it to a new audience.
  3. They cited that the tour that followed saw them begin with 5 songs from the album, but by the end they only had 2 songs on the set list due to crowd response or lack thereof. Take that for what it is.
  4. 726. ‘Rhythm Nation’, Janet Jackson (1989) A more culturally aware Janet Jackson than I knew existed, the album this came from as a whole was one that tackled various social issues such as drug addiction and child poverty. This feels somewhat ahead of its time for 1989, a meld of funk, dance, pop and samples that sounds positively futuristic in comparison to what has come before it. The black and white video and stark lyrics are somewhat at odds with the choreographed dancing, but like her brother Michael, I believe Janet was someone who benefited from the whole package that was afforded to people through music videos as well as albums. 727. ‘Painkiller’, Judas Priest (1990) Influenced by: Wake up Dead • Megadeth (1986) Influence on: Angel in Black • Primal Fear (2001) Covered by: Angra (1996) • Death (1998) • Biomechanical (2005) Other key tracks: Battle Hymn (1990) • A Touch of Evil (1991) • Night Crawler (1992) We crash into a new decade with this song from Judas Priest, a band that I’ve never hugely been into. My biggest issue has often been Rob Halford’s vocal style – I’m just not a fan of that high-pitched metal wail that he utilises. However, it is hard not to get swept up in the guitar and drum work on this track. From the opening moment, you are propelled towards the finish, ably assisted by an excellent solo mid-track. Apparently, fans didn’t take to the new material in the way the band expected, though it has gone on to be considered one of if not their best album. 728. ‘Loaded’, Primal Scream (1990) Influenced by: Sympathy for the Devil • The Rolling Stones (1968) Influence on: Butcher Blues • Kasabian (2004) Other key tracks: Higher Than the Sun (1991) • Inner Flight (1991) • Movin’ on Up (1991) • Rocks (1994) • Burning Wheel (1997) • Kowalski (1997) • Star (1997) I once saw Primal Scream live in the middle of a Reading Festival day that was due to end with Metallica and System of a Down. I didn’t really know who they were (I knew some of their songs, but didn’t know they were by Primal Scream’), but they were by far the best band I saw up until that point – perhaps not hard when compared to Sugarcult and Good Charlotte. That doesn’t really have much to do with the song itself, but they have always been a band that I’ve liked more than I realised I guess is the point I’m making. I think they have better songs than this one, though it does encapsulate the blissed out rock that was part of their sound. Enjoyable, if not mindblowing. 729. ‘Iceblink Luck’, The Cocteau Twins (1990) Influenced by: Down • A. R. Kane (1989) Influence on: Fallen • One Dove (1991) Covered by: Mephisto Walz (2000) Other key tracks: Pearly Dew Drops Drops (1984) • Blue Bell Knoll (1988) • Pitch the Baby (1990) • Fifty-Fifty Clown (1990) My only knowledge of The Cocteau Twins was listening to a song based off of a Deftones cover of ‘Wax and Wane’. According to the book, this was a step towards the more comprehensible, considering the band had often produced vocals that were hard to understand, let alone interpret. The production on this makes everything feel suitable epic and shiny, especially the double tracked vocals that gives it a punch that I much appreciated. I’m not sure this will inspire me to check out more, but it is a very good song. 730. ‘Birdhouse in your Soul’, They Might Be Giants (1990) Another band whose name stands out enough to make them a band that many are probably aware of without necessarily having listened to anything by them. This is a song I know, though I could never have named it or placed it to a band. This to me feels very in keeping with an American-style of indie/alternative music that you find in bands like Presidents of the United States of America, Ben Folds Five (with less piano) and Eels. It means your mileage might vary depending on what you feel about that style of music. Myself? I’ve always enjoyed it and this – from melody to vocals – is an absolute ear worm.
  5. 721. ‘The Humpty Dance’, Digital Underground (1989) Influenced by: Let’s Play House • Parliament (1980) Influence on: If U Can’t Dance • Spice Girls (1997) Covered by: F.O. the Smack Magnet (2000) Other key tracks: Doowutchyalike (1989) • The Way We Swing (1989) • Gutfest ’89 (1989) • Rhymin’ on the Funk (1989) • The Danger Zone (1989) According to this book, this aimed to sit squarely in the middle of the aggressive rap of NWA and the radio friendly offerings of your MC Hammer types. This is definitely something that I personally enjoyed, the funky rhythms accompanied by risqué and playful lyrics. Like a lot of these style of songs so far in the list, the importance can be seen in the number of artists after the song came out who sampled it in their own music. Another interesting tidbit was that the promotional work for the song saw them joined by a young dancer who would go on to his own fame as Tupac Shakur. 722. ‘Back to Life (How Ever Do You Want Me), Soul II Soul (1989) Influenced by: The Jam • Graham Central Station (1976) Influence on: Unfinished Sympathy • Massive Attack (1991) Covered by: Dodgy (1994) • The Reelists featuring Ms. Dynamite (2002) I was born in 1986, so we are beginning to enter the realm of songs that I remember hearing in the car when I was a four, five, six year old child. This is one I very much remember and it comes with a pleasant nostalgia attached to it. This was the third recording of the song apparently, though seemingly the addition of the ‘How ever do you want me’ refrain was what made the song break out in the manner it did when compared to the other versions. It is the stand out bit of the song to be fair and the bit you remember outside of the introduction. Can imagine this was a banger on many a dance floor. 723. ‘Nothing Has Been Proved’, Dusty Springfield (1989) Influenced by: Private Dancer • Tina Turner (1984) Influence on: Jesus to a Child • George Michael (1996) Covered by: Pet Shop Boys (2006) Other key tracks: I Just Don’t Know What to Do with Myself (1964) • Some of Your Lovin’ (1965) • Goin’ Back (1966) • You Don’t Have to Say You Love Me (1966) I very legitimately had no idea that Dusty Springfield was still releasing songs during this time period, nor did I realise that this was a song by her as it is definitely one that I have heard before. My mind completely wiped it from my memory it would seem until this very moment. This went with a film about the Profumo affair and the lyrics harken back to the unravelling outrage of the time. Neil Tennant suggested Springfield due to her being a popular singer of the time period and due to the fact that they had collaborated on a song in 1987. It is a wise choice as there is a smoky sultriness to her vocals that lift what might have otherwise been something quite mundane. The orchestration also helps to give everything a hint of the epic. 724. ‘Headlights on the Parade’, Blue Nile (1989) Influenced by: Time it’s Time • Talk Talk (1986) Influence on: Barefoot in the Head • A Man Called Adam (1990) Other key tracks: Stay (1984) • Tinseltown in the Rain (1984) • The Downtown Lights (1989) • From a Late Night Train (1989) • Let’s Go Out Tonight (1989) I was all set to dislike this in the opening ten to twenty seconds, yet as I listened to more of it, I began to enjoy it. It doesn’t compete with my other favourite songs from this era by any means, but the emotive delivery of Paul Buchanan over the top of twinkling synths create an engaging sound. There is an element here of a band that I can appreciate the craft of what they have created with this song, even if it isn’t a band I’d like to listen a lot more to if I’m being entirely honest. 725. ‘Chloe Dancer/Crown of Thorns’, Mother Love Bone (1989) This is a strange one as I’ve heard Temple of the Dog, a tribute to Andrew Wood, but never Mother Love Bone themselves. I am a big fan of Pearl Jam as well, meaning it is interesting to hear Stone Gossard and Jeff Ament in a group before Pearl Jam. This is excellent. As the title gives away, this was two songs sequenced together (Crown of Thorns was available separately, whilst Chloe Dancer wasn’t). A heartfelt emotive vocal that apparently covered Wood’s relationship with his on/off girlfriend, atmospheric guitar and trance-like drum eventually bursts into life in the final two minutes to take this song over the top for me in terms of quality. This is up there with the best songs I’ve liked from the grunge-era bands I am in to and really showcased what they were capable of.
  6. 716. ‘Monkey Gone To Heaven’, The Pixies (1989) For ‘Where Is My Mind?’, I claimed that it was my favourite Pixies song. I think I forgot about this song when proclaiming that as this might ultimately be the song I enjoy the most by them. They have similarities in what they offer sonically, but I can’t look past the chorus for ‘Monkey…’, strings and all. If you are moving from heavy to soft, or aggressive to poppy, or quiet to loud, you need a good part to transition into to make it worthwhile, and that is what ‘Monkey…’ has. 717. ‘Can’t Be Sure’, The Sundays (1989) A relatively simple song that does a lot with very little, this was a band that some people had somehow proclaimed as the new Smiths if the book is anything to go by. This suggestion seems to come from the lyrical sarcasm more than the sound, which is way too airy and atmospheric to really meet that comparison. The swirling guitar does a lot of heavy lifting and complements Harriet Wheeler’s high pitched vocals to create a pretty good song all told. Not a song I’ve heard before, but one I wouldn’t mind to hear again. 718. ‘Lullaby’, The Cure (1989) I often know more songs by The Cure than I realise as I tend to forget the names of most of their hits outside of the ones that you can’t really avoid knowing (‘Friday I’m In Love’ et al). However, I’m pretty sure I’ve never heard this song at all. Depending on what you read, some suggest that song could be about child abuse or drug addiction, though Smith has suggested it is about the more mundane fear of ‘Spiders’. This isn’t The Cure sound that I tend to like – it doesn’t offer the light and dark of their best songs, only seemingly dwelling on the dark. It isn’t a bad song, it just doesn’t inspire me or engage me in the way some of their hits do. 719. ‘Free Fallin’’, Tom Petty (1989) Very American. Done. Alright, I’ll say a few more words about it. All jokes aside, but this has a very American sound and lyric that override everything else I feel about the song. That isn’t a knock at all, as it is clearly a great slice of poppy rock that practically soars as the chorus hits. My first exposure to the song was in ‘Jerry Maguire’, a film I particularly like, and the song has always been one that I have felt fondly about. To me, it doesn’t pretend to be anything special, but it tells an interesting enough narrative in an engaging way. 720. ‘Nothing Compares 2 U’, Sinead O’Connor (1989) A legitimate argument for the best cover of all time? It possibly says a lot that I didn’t even realise it was a cover until a good decade or so after I heard it for the first time. O’Connor has an excellent singing voice, tender yet with a hint of fire behind it all, and it is front and centre for this song. Couple it with a music video that showcased her charismatic visage – including the single solitary tear that rolls down her cheek – and you were onto a winner. I do find it personally interesting that as much as I do like this song, it does nothing to inspire me to check out anything else by O’Connor.
  7. 711. ‘Me Myself and I’, De La Soul (1989) Influenced by: (Not Just) Knee Deep • Funkadelic (1979) Influence on: Hot Potato • Freestyle Fellowship (1993) Other key tracks: Eye Know (1989) • Ghetto Thang (1989) • The Magic Number (1989) • Say No Go (1989) • Ring Ring Ring (Ha Ha Hey) (1990) As you can probably work out from my comments thus far, De La Soul isn’t exactly going to be in my wheelhouse when it comes to the type of music I listen to on a regular basis. However, they are the type of musical act that I think appeals to a broader spectrum of music fan than their contemporaries. This is partly due to the funky nature of the music, partly due to the witty and relatively easy to follow lyrics. This is probably my favourite song of theirs, though I don’t have much to compare with if I’m being completely honest. If this is your bag, I can definitely see the appeal. 712. ‘Epic’, Faith No More (1989) Influenced by: Fight like a Brave • Red Hot Chili Peppers (1987) Influence on: My Name Is Mud • Primus (1993) Covered by: The Automatic (2007) • Atreyu (2008) • Love Is All (2008) Other key track: Midlife Crisis (1992) I’ll preface my comments by stating that Mike Patton is one of my favourite vocalists of all time and Faith No More are one of my favourite bands of all time. However, ‘Epic’ might struggle to break my top ten of their songs. I get its position here as it was the one that announced them to world at large, but as is often the way with a band that you are a fan of, the most important, popular or best selling becomes a case of diminishing returns as you listen to it way too many times. That is not to say Epic isn’t a good song. It does a lot of what makes Faith No More great, I just think the band blew it out of the water in the years that followed. The other key track ‘Midlife Crisis’ would actually be a lot closer to my top spot. 713. ‘Like A Prayer’, Madonna (1989) Influenced by: Underground • David Bowie (1986) Influence on: How Do You Do • Shakira (2006) Covered by: Marc Almond (1992) • Bigod 20 (1997) • Loleatta Holloway (1999) • H2O (2001) • Rufio (2001) • Mad’House (2002) • Danni Carlos (2004) • Elena Paparizou (2006) • Lavender Diamond (2007) You’ve got to have some pretty huge cajones to produce a video like Madonna did for this song - I might as well throw that out there to begin with. The organ and choir gives this tune a real sense of power that it otherwise might not have, alongside its obvious use to tie in with the lyrical content of the song. I’m not sure what else to say really; you either like Madonna or you don’t, more often than not. 714. ‘W.F.L. (Think About The Future)’, The Happy Mondays (1989) Influenced by: Burning Down the House • Talking Heads (1983) Influence on: Weekender • Flowered Up (1992) Covered by: Manic Street Preachers (1993) Other key tracks: Step On (1990) • Kinky Afro (1990) • Grandbag’s Funeral (1990) This was another song where it was quite difficult to actually find the one mentioned in the book considering this was actually the third version of the song. Released in 1988, before a remixing by Vince Clarke of Erasure, the song was then remixed a further time by Paul Oakenfold. With the UK music scene seeing bands that might have otherwise been considered rock or indie in genre moving towards dancier climes, this involvement of Oakenfold feels like a natural move. There is an interesting juxtaposition between the mellowness of the beats and Shaun Ryder’s perma-scowl style of vocals, but it works. This is also a song that I feel would be raised immeasurably in my esteem if heard in context – this has a dancefloor in the later 80s/early 90s written all over it. 715. ‘Getting Away With It’, Electonic (1989) Influenced by: Heaven Knows I’m Miserable Now The Smiths (1984) Influence on: Miserablism • Pet Shop Boys (1991) Covered by: Skin (2003) Other key tracks: Lucky Bag (1989) • Get the Message (1991) • Feel Every Beat (1991) • Soviet (1991) I had no idea that this existed. For those not in the know, this was a band formed by Bernard Sumner of New Order and Johnny Marr of The Smiths. This song also included Pet Shop Boy Neil Tennant, though this wasn’t always the way based on reading around about this supergroup. Still, Tennant’s involvement as co-vocalist with Sumner adds to this really fun alternative dance track that is ridiculously catchy on top of everything else. I’ve always been a fan of Sumner’s voice, whilst the synth and strings work creates an airy melody that everything sits upon. Excellent stuff.
  8. You're right. However, I was basing that on the judgements on his music. Before he became even more of a dickhead, the biggest thing I always saw levied at his music was how miserable and melancholy it was.
  9. I was going to try and put it in order, but my computer is having none of it. Here you go: 697. ‘Straight Outta Compton’, N.W.A. (1988) This is another perfect example of a song that I feel I really can’t comprehend the impact of from such a distance in the future. I’m not a huge rap fan, but I’ve often enjoyed a song or two from the various members of N.W.A. and it isn’t hard to see what this brought to the table for mainly adolescent teens. A brooding rhythm is accompanied with rhymes about bullets, bitches and bling, rather than a lot of the other feelgood stuff that was in the charts at this time. This isn’t as good in my opinion as stuff like Next Episode or Still Dre, but that speaks more to those being THE rap songs of my own upbringing more than anything to do with quality. This was clearly an exciting change for the music industry and for those who wanted something a little bit different. 698. ‘Opel’, Syd Barrett (1988) A bit of an oddity as this was written in 1969, yet only ended up seeing the light of day in 1988 due to its placing on a set of unreleased music by Barrett. It was left off of The Madcap Laughs as the costs of production and recording threatened to spiral out of control. This all would probably mean a lot more to a Pink Floyd fan, yet as I am not really one of those, this ends up being a decent singer/songwriter tune with odd lyrics as much as anything to me. That perhaps is a bit harsh as I do like it; I’m just not as wrapped up in the narrative of it coming into existence. 699. ‘Everyday is Like Sunday’, Morrissey (1988) Influenced by: Sketch for Dawn • The Durutti Column (1985) Influence on: Everybody’s Changing • Keane (2003) Covered by: 10,000 Maniacs (1992) • The Pretenders (1995) • Colin Meloy (2003) • KT Tunstall (2008) Other key track: Suedehead (1988) I’m much less of a fan of Morrissey’s solo output as I am of his work with the Smiths, though with the odd exception. ‘Everyday Is Like Sunday’ is one of those exceptions. People often take shots at Morrissey due to his maudlin and melancholy ways, but it is exactly what I enjoy. I think there is something very British about the lyrics, tapping into a self-loathing nature that seems to permeate a lot of English humour, culture and general being, though it is as often celebrated as it is derided. As the book suggests, everyday might be like Sunday, but what is wrong with Sunday?
  10. 706. ‘A Little Respect’, Erasure (1988) I love this song. There. Done. Ok, I’ll give a little bit more. It has that grand mix of sad lyric juxtaposed with upbeat tune that I always appreciate when done well, whilst also being one of the hookiest earworms that have ever existed. It feels like it builds in chunks, so it swells to its appropriate end by the time the song has finished. A masterpiece of pop. 707. ‘Wicked Game’, Chris Isaak (1988) Influenced by: Blue Moon • Elvis Presley (1956) Influence on: Dark Therapy • Echobelly (1995) Covered by: R.E.M. (1995) • HIM (1996) • Crossbreed (1998) • JJ72 (2003) • Heather Nova (2005) • Girls Aloud (2005) • Giant Drag (2006) • Ima Robot (2006) • Stone Sour (2007) • Turin Brakes (2007) Sometimes it is the influence/cover section of a song that is most interesting or most reflective of what a song offers us. This is probably one of the most diverse lists of acts to offer their own take on a song, mixing pop with gothic-tinged rocky stuff, indy, and the like. To me, it speaks to the quality of the song as it has the brooding vocals over a languid guitar rhythm that lends itself to a range of different alternative music genres, yet also has a lyric that can easily be co-opted for a poppier take on things. As mentioned in the book, it helped that the music video had a naked Helena Christensen rolling around in it, a move away from an original David Lynch offering when the song was originally released. There is an argument perhaps to be made for it being a song that could be covered better – Isaak’s vocals aren’t a total lock in terms of how much I enjoy them – but this is the original and probably still the best. 708. ‘Personal Jesus’, Depeche Mode (1988) Influenced by: Rock and Roll (Part 2) • Gary Glitter (1972) Influence on: Reach Out • Hilary Duff (2008) Covered by: Lollipop Lust Kill (2002) • David Gogo (2002) • Gravity Kills (2002) • Pat MacDonald (2003) • Marilyn Manson (2004) • Tamtrum (2009) I’ve already made my love for mid to late 80s-era Depeche Mode clear, yet this is a song that stands above their earlier offering on the list (‘Never Let Me Down Again’). Apparently this was the first really prominent use of guitar on a Mode song and it helps it to reach its anthemic height. Everything about the singles in particular that the band offered at this time felt gigantic in size and scale, with ‘Personal Jesus’ a perfect example. The lyrics offer a deep take on putting someone on a pedestal, inspired by Elvis and Priscilla Presley’s relationship according to the book. Depeche Mode are such a strong singles band for me and this is one of their best. 709. ‘Soy gitano’, Camaron de le Isla (1989) Camaron was dubbed the Spanish Jimi Hendrix, mainly for his virtuoso musical talent and his premature death, and this is a highlight of what he could offer. Accompanied by a guitar played by Paco de Lucia, Camaron’s appeal was his passionate vocals that brought that brand of music out into the wider world. This is another ‘world music’ song that I feel poorly equipped to talk about, yet it isn’t hard to see the allure. The chorus is catchy, the flamenco guitars are playful throughout, whilst the vocal delivery is impassioned as Camaron sang a song about his love for his Gypsy roots. 710. ‘I Am The Resurrection’, The Stone Roses (1989) I’ve always assumed – wrongly – that The Stone Roses released their debut early on in the 90s, yet they just squeeze into the tail end of the previous decade. In some ways, this does feel transitional - a move towards the type of rock that would become more prevalent in the early to mid 90s. I was waiting for this album to come up, but am surprised about the song choice; I expected ‘I Wanna Be Adored’ with its opening lyric in particular a statement of intent from the band and Ian Brown. However, this is the end of the album and cemented what is, to me at least, one of the best albums I’ve heard. There is a swagger that comes with the noise, yet there is also a lot of talent, best emphasised by the four minute instrumental that closes things out. A barnstorming debut that didn’t build to the career it could have for the band as was, though it did set the ball rolling for many involved. I'm away for the next few days. As I'm with family, I might be able to squeeze and update or two out, but we shall see.
  11. 701. ‘One’, Metallica (1988) Influenced by: Buried Alive • Venom (1982) Influence on: Soldier of Misfortune • Filter (2008) Covered by: Die Krupps (1993) • Apocalyptica (1998) • Total Chaos (2001) • Crematory (2003) • Korn (2003) • Rodrigo y Gabriela (2004) • Beat Crusaders (2008) I’m not the hugest Metallica fan, but I am well aware of their pedigree and have witnessed live how good they can be when it comes to reeling off hit after hit. My preference has always been for the slightly more restrained version of Metallica, the more varied in terms of dynamics, the ‘softer’ Metallica, perhaps? ‘One’ definitely falls into that category, mixing its heft towards the end with more placid bits that allow the arpeggios to do a lot of the work alongside Hetfield’s cleaner vocals. Everything builds to a more aggressive close and the lyrics/video all point to Metallica seeking to be maybe more than just a metalhead’s metal band. It is a classic track for a reason. 702. ‘The Mercy Seat’, Nick Cave and the Bad Seeds (1988) Influenced by: 25 Minutes to Go • Johnny Cash (1965) Influence on: Prison Shoe Romp • 16 Horsepower (2003) Covered by: Johnny Cash (2000) • Kazik Staszewski (2001) • Unter Null (2010) Other key track: Deanna (1988) Another on the list of ‘should have listened to more from’, what I’ve heard by Nick Cave and The Bad Seeds has always been good. This is a song I’ve never heard before and is discordant pretty much from the opening moment, really building up a sense of the mental maelstrom swirling around a man waiting for his execution. There is a lot going in terms of the backing music which, whilst simple in melody, is layered with lots of different elements to create a wall of sound effect. When you fight through the swirling noise, there is also a good, catchy rock song to add that extra element of interest – Cave’s repeated exhortations fight their way to the front of everything by the end and that repetition lodges them firmly in your head. An interesting soundscape with a dark, dark centre. 703. ‘Ederlezi’, Goran Bregovic (1988) (Film version) This is one that I can’t necessarily comment too much on as I have no real context for it in terms of this style of music, whilst the book does also talk about how Bregovic himself was controversial for not crediting Gypsy musicians from whom he borrows. There is an eeriness amongst an otherwise lush production, primarily helped by the vocals of Vaska Jankovska, a young Gypsy singer who has a set of pipes on her. I understand why this song rose above other songs from the Balkan region in its popularity outside of that area, though it doesn’t do a massive amount for me once you look past the vocals. 704. ‘Ale Brider’, Klezmatics (1988) It is interesting how the book often groups minority and ethnic music together so having had a slice of Balkan music, it heads into a Jewish offering. Klezmer was a style of music that was largely destroyed when the Nazis did Nazi things, but it earned a revival amongst the Jewish diaspora in New York. The Klezmatics are apparently the most celebrated of this style of music, producing songs such as this which harken back to the celebratory Jewish music of weddings and other celebrations. I do enjoy it, if care little about it once it is gone. Good to see it recognised here as a slice of history though. 705. ‘Love Shack’, The B-52s (1988) It is odd how some bands have massive success pretty much consistently, whilst other acts have years or even decades between their most notable hits. This is almost ten years after ‘Rock Lobster’ and the band had largely failed to ignite much interest in the prevailing years. I personally feel this is a better song, though your mileage may vary depending on what you feel towards the much more unhinged former tune. Unlike some songs I enjoy, I have to be in the right mood for this, yet when I am, it does hit the right spot. Joyous, playful, catchy – can’t argue too much with that.
  12. 691. ‘Where Is My Mind?’, The Pixies (1988) Another pretty solid example of a band I feel I should have listened to a lot more than I actually have, The Pixies tick a lot of the boxes of music I like, yet it has often been the vocals that put me off for some reason. Still, this is probably my favourite song by them as it gets the balance between the noisy melody and the high pitched singing/spoken vocals just right. There is something oddly romantic about the song as a collective, which is probably why it sat quite well in the closing scenes of ‘Fight Club’. The song lurches in many different directions, whilst still feeling pretty cohesive – an impressive feat in and of itself. 692. ‘Waiting Room’, Fugazi (1988) I could basically copy the beginning of my last entry for Fugazi, though they are a band I’ve actually heard very little from unlike the Pixies. Again, I can’t necessarily attest to the historical importance of songs from genres that I’m not a big listener of, but this was apparently seen as a shot in the arm as to what punk could offer as Ian Mackaye and friends threw in a mixture of influences, including a particularly funky bass that I can really get behind no matter what others might have thought at the time. Controlled chaos that was always threatening to bust at the seams, this is a good song. 693. ‘Touch Me I’m Sick’, Mudhoney (1988) Influenced by: Scene of the Crime • Iggy & The Stooges (1981) Influence on: Teenage Whore • Hole (1991) Covered by: Sonic Youth (1988) • Naked Lunch (2001) • My Ruin (2005) Other key track: Here Comes Sickness (1989) I have this album in my collection somewhere, yet I couldn’t really tell you much about it – speaks to how often I listened to it. I know the importance placed on the group: they were from Seattle, on the Sub Pop label that became home to a number of bands peddling this brand of grunge or rock, and were considered an influence for a number of bands who went on to bigger and better things. Maybe being considered purely as an influencer underplays Mudhoney as a band, but it is hard not to hear early Nirvana in this song in terms of the structure and the sound of what they were offering. However, the thing that stands out the most is that this is a fundamentally catchy song, something that was rarely lost in the grunge period that was to follow. 694. ‘Feed Me With Your Kiss’, My Bloody Valentine (1988) Influenced by: The Living End • The Jesus and Mary Chain (1986) Influence on: Revolution • Spacemen 3 (1989) Other key tracks: Nothing Much to Lose (1988) • You Made Me Realise (1988) • Blown a Wish (1991) • Only Shallow (1991) • To Here Knows When (1991) Like The Jesus and Mary Chain who are referenced above, My Bloody Valentine are a band whose name makes you want to listen to them without even knowing what music they produce. I believe I have an album by them lodged deep in my collection, but this isn’t the style of music I particularly associate with them. Clean vocals sit on top of a wall of guitar, ably helped by a driving drum rhythm. I’m not sure I particularly like it, yet as a sign of what they were capable of doing, this is an interesting snapshot. I like the parts, if not the sum of the whole. 695. ‘Buffalo Stance’, Neneh Cherry (1988) Influenced by: Buffalo Gals • Malcolm McLaren (1982) Influence on: Wannabe • Spice Girls (1996) Covered by: The Rifles (2009) Other key tracks: Kisses on the Wind (1989) • Manchild (1989) • The Next Generation (1989) Hmmm…I think I’ve heard this before, or at least the component parts. I’m possibly the wrong audience for the tune, as I’m a middle-aged white male from the UK, but the book talks about how empowering it was for a number of upcoming musical acts in the mid to late 90s to have someone talking about female empowerment. From a purely musical standpoint, there is a lot going on here as it bounces around from pop to hip hop to rap and back again. Really fun with a powerful message for a number of people, it isn’t hard to see why this was highly rated by some. 696. ‘Fast Car’, Tracy Chapman (1988) Influenced by: Down to Zero • Joan Armatrading (1976) Influence on: Sometimes I Rhyme Slow • Nice & Smooth (1992) Covered by: Amazing Transparent Man (2003) • Hundred Reasons (2004) • Mutya Buena (2007) I honestly have never met a single person who dislikes ‘Fast Car’. The simple guitar and accompaniment let Chapman’s vocals tell a story that a lot of people can easily empathise if they weren’t already experiencing elements of it themselves. There is nothing for me that is particularly outstanding about any one point, yet it all adds up together to create an all-time classic. At a time when big pop singers were all the rage, it is pleasing that Chapman’s brand of folk wasn’t lost in the shuffle.
  13. Yeah, I literally had no idea whether that was true, but having looked around a bit it seems a weird piece of judgement. Edit: going back to the book, the actual line is that 'against the title track's full frontal assault' the rest 'almost sounded tame'. So make of that what you will. Perhaps I read too much into that, though they do go on to say that the single was a high water mark that they never touched again before they split in 92.
  14. 686. ‘Faith’, George Michael (1987) The title song from an album that sold millions, saw seven singles released from it and won a Grammy, ‘Faith’ was the start of Michael’s ascension to pop icon. With lyrics that touched upon Michael’s own personal need to believe following a dark time in his life and some pretty simplistic sounding guitar work to provide the bouncy rhythm, the song is one that does a lot with very little. It doesn’t try and do too much, relying on the quality of the songwriting to carry everything, something which I think it achieves with aplomb. Not my favourite song by him necessarily, but an understandable eye opener for those wondering what he would offer post-Wham! 687. ‘Need You Tonight’, INXS (1987) This is a song from my childhood inasmuch as I remember my Dad having the ‘Kick’ VHS video. There is something ultimately very slinky and sexy about how everything comes together for the song, helped somewhat by the video – Hutchence wasn’t a bad looking chap at all. The quick bursts of guitar are the personal highlight for me, adding a discordant element to things that helps to create the darker, seedier tone. Apparently, the creation of the song was very casual, even up to the fact that the tune stopped abruptly as it was practically an unfinished song when Hutchence put lyrics to it. If you believe the story, that pretty much became the song we hear today, with the abrupt ending another element that helps the song stand out for me. 688. ‘With or Without You’, U2 (1987) U2 upset me. They have become a byword for shit music at times, whilst Bono is someone who makes it ever easier to laugh at him as the days go past. However, some of their work in the mid to late 80s and even into the early 90s is sublime. The latter era work as it is tends to detract from that and I always wish it wasn’t lost to the wider musical world. This is another example where I can say this isn’t the best song by them in my opinion, yet I know it was probably the one that first really grabbed my attention. It is indelibly attached to my growing up and is still a song I enjoy to this day, even if I rarely go out of my way to listen to it. 689. ‘Freak Scene’, Dinosaur Jr. (1988) Influenced by: Schizophrenia • Sonic Youth (1987) Influence on: Smells Like Teen Spirit • Nirvana (1991) Covered by: Godeater (2001) • Belle & Sebastian (2008) Other key tracks: Don’t (1988) • Keep the Glove (1988) • No Bones (1988) • Pond Song (1988) • They Always Come (1988) • The Wagon (1991) That this is suggested as an influence on bands such as The Pixies and Nirvana speaks to how important Dinosaur Jr. were to the shaping of some of the music that came out in the new decade. The quiet/loud mishmash with acoustic-y work and singer/songwriter-esque stylings giving way to distorted guitar solos was probably quite eye-opening at this time and created a song that still sounds interesting today. I’d argue that this style has somewhat been surpassed by what came after it, yet it set the tone and deserves to be lauded thusly. 690. ‘Follow The Leader’, Eric B. and Rakim (1988) Influenced by: Listen to Me • Baby Huey (1971) Influence on: Root Down • Beastie Boys (1994) Covered by: Parliament Funkadelic & P-Funk Allstars featuring Rakim (1995) Other key tracks:Just a Beat (1988) • Microphone Fiend (1988) • Lyrics of Fury (1988) This is very much outside of my wheelhouse, so the extent to which it is or isn’t good or is or isn’t worthy is beyond me. However, I can say one thing for sure – Rakim is one quick MC/rapper (delete as applicable). There is a funkiness in the bass, the samples and the mixing, but Rakim feels like the star of the show here, at least for my uneducated ears. The single was a powerful opening to an album that didn’t quite reach those heights again, according to the book. Whether that is true or not is for those who know more than myself, though I can say it was a pretty powerful way to get things going.
  15. 682. ‘The One I Love’, R.E.M (1987) Influenced by: Break It Up • Patti Smith (1975) Influence on: Morning Glory • Oasis (1995) Covered by: Butthole Surfers (1989) • Moog Cookbook (1996) • Sufjan Stevens (2006) Other key tracks:It’s the End of the World as We Know It (and I Feel Fine) (1987) • Everybody Hurts (1992) I’m a big fan of R.E.M, but I’ll be honest that it was Guitar Hero/Rock Band that first got me interested in this song, whichever game it ended up on (if not both at some point). This was apparently the big breakthrough for the band as they went from being a college radio band to signing a multi-million dollar deal with Warner Brothers. I’ve always loved Stipe’s vocals on the chorus part of the song, as well as enjoying the darkness of the lyrics. I find it funny that – according to the book – people believed this to be a love song, when the lyrics are anything but pro-love or relationships. 683. ‘Fairytale of New York’, The Pogues featuring Kirsty MacColl (1987) This is the only song on the list thus far that I haven’t listened to. The reason? Even this list won’t have me listening to a Christmas song in October. However, with this being my own favourite Christmas song, I don’t really need to listen to it in order to know how it all goes. I’ve already espoused my opinion on the Pogues and this is a great anti-Christmas song in as much as that is a thing, or at least one that chooses to focus on how things aren’t always bright and rosey during that time period. I get a bit precious sometimes as it is a song that I liked a lot before it seemed to become everyone’s favourite Christmas song, but so be it – it is better that it gets airplay over and above some of the other crap from that part of the year. 684. ‘Paradise City’, Guns ‘n’ Roses (1987) I’ve never liked G’n’R as much as I feel I should, though their ‘big’ hits are pretty much all bangers to various degrees. This probably sits between Sweet Child O’Mine and Welcome to the Jungle in terms of my enjoyment (Child being the ‘best’) when it comes to the main tracks from Appetite For Destruction. Axl Rose is a vocalist that has me asking the same questions as I do of Billy Corgan of all people: how did they become lead singers in a band with their style of singing? I mean, Rose is a more typical rock and roll singer, but the high pitched wailing is so very distinctive and not always entirely pleasant. However, it works and when supported by a blistering rhytmn section, it all comes together to create something exciting. 685. ‘Never Let Me Down Again’, Depeche Mode (1987) Apparently, this was a song that underperformed in the UK, yet had fans in the US flocking to check out what Depeche Mode had to offer. I’ve only ever really listened to the singles by Depeche Mode, so this might be coming from ignorance, but this does feel the most fully realised Mode song in terms of the sound they had been striving for after Vince Clarke left. It is dark and moody, more muscular in tone from what they had created before especially in an atmospheric closing minute or so. Not my favourite song by them, though it isn’t hard to see why this drew the attention of many new fans to the band.
  16. 676. ‘It’s A Sin’, Pet Shop Boys (1987) Influenced by: Passion • The Flirts (1982) Influence on: Like a Prayer • Madonna (1989) Covered by: Gamma Ray (1999) • JJ72 (2001) • Paul Anka (2005) • And One (2009) Other key tracks: What Have I Done to Deserve This? (1987) • Always On My Mind (1987) Though I didn’t immediately recognise the song when I read the title, I assumed that it was likely to be something I had heard before. However, it was a vague recollection at best, while I heard songs like ‘West End Girls’ so much when I was younger. This is the Pet Shop Boys aiming to be at their most theatrical and it is a storming dance-pop offering that unsurprisingly confirmed them as superstars, at least nationally. It is a hook-laden offering that includes some interesting additional elements such as thunder, organs and synth flourishes. It wouldn’t usurp the other songs by them I like, but I can see what the appeal would have been. 677. ‘Pump Up The Volume’, M|A|R|R|S (1987) A collaboration between AR Kane and Colourbox, yet mainly a showcase of the latter’s talents, this was a crossover between the underground dance scene and a myriad range of other sounds through samples. I can believe that this would have sounded urgent and vital to music fans who were looking for something a bit different. It isn’t necessarily for me, though the appeal is obvious and it is a tune that even had me shuffling away on the sofa as I wrote this entry. 678. ‘Birthday’, Sugarcubes (1987) I’ve never heard anything Björk that wasn’t just her solo work, so to have a song from her initial band before her solo success is pretty cool. What was even more eye-opening was that this lyrically explored the ‘relationship’ between a five year old girl and a fifty year old man. Really experimental Björk does little for me, yet I do really enjoy her whisper to wail vocal delivery played out against a backdrop of pretty conventional indie rock. The birth of an eventual superstar, I guess. 679. ‘Beds are Burning’, Midnight Oil (1987) Influenced by: Clampdown • The Clash (1979) Influence on: Zombie • The Cranberries (1994) Covered by: Split Lip (1996) • Augie March (2001) • Novaspace (2003) • Misery Inc. (2007) Other key tracks: Dream World (1987) • Gunbarrel Highway (1987) • The Dead Heart (1987) Another band from Australia, though based on the write-up and the number of views on this video, this is something a bit bigger than some of the other offerings from that country in the global musical scheme of things. This is another one I expected I might have heard before, but I legitimately had no idea what it was. Lyrically, this was a call for the Australian government to give land back to the indigenous peoples and it is definitely a catchy rock song with a hooky chorus. I’m not a huge fan of the singing style of the lead vocalist if I’m being completely honest, which detracted a bit from my enjoyment…but it was hard not to enjoy especially when the chorus kicked in. 680. ‘Yé Ké Yé Ké’, Mory Kanté (1987) Influenced by: Lan Naya • Bembeya Jazz National (1985) Influence on: Tekere • Salif Keita (1995) Covered by: Picco (2008) Other key tracks: Akwaba Beach (1987) • Nanfoulen (1987) This was not what I expected at all. Take a Guinean love song and slap some techno-style beats and you get this floor filler from 1987. Apparently, this getting released shortly after the concept of ‘World Music’ began to take off helped it reach to a broad audience, including multiple remixes and covers (in different languages) over the years. Not for me, but an enjoyable curio nonetheless. 681. ‘Just Like Heaven’, The Cure (1987) Influenced by: Another Girl, Another Planet • The Only Ones (1978) Influence on: Taking Off • The Cure (2004) Covered by: Dinosaur Jr. (1989) • Goldfinger (1999) • 30footFALL (1999) • In Mitra Medusa Inri (2001) • Gatsby’s American Dream (2005) • Katie Melua (2005) This is such a good song. Still not my favourite by The Cure - ‘Inbetween Days’ probably holds that crown – though the two songs aren’t a million miles away from each other sonically. This is perfect pop really in terms of the melody, whilst Smith’s lyrics add that extra poetic element that takes it to another level. Considering how the band could be viewed as one that celebrated melancholy, this is all pretty uplifting, helped significantly by the soaring string (at least I believe that is what it is) arrangements. We even get a cameo from Smith’s wife in the music video. EDIT: Informed elsewhere that Bjork had over bands before Sugarcubes. Thought I'd leave my 'review' the same as when posted though.
  17. 670. ‘This Corrosion’, The Sisters of Mercy (1987) This is another band that I’ve always felt that I should have gone back to check out, yet have never got around to it. I’m not entirely sure if I believe I’m missing out having listened to it, though this is at least one example of a Jim Steinman produced song that I can now name outside of his work with Meatloaf (I’m sure I know others, just not that Steinman was involved). If anything, this is a little too electro-poppy for my liking – that isn’t often a bad thing, but I almost expect the vocals to be accompanied by music that was a bit punchier than what I actually got. The multi-tracking backing vocals to create a wailing choir is cool and it isn’t a bad song at all, yet it sits below top tier stuff that this list has kicked up for me. To give it some credit, I was more into it by the end of the song, so maybe it was a grower? 671. ‘Camarón’, Pata Negra (1987) The problem I have with ‘world music’ in a list like this is that I am so very unarmed when it comes to what I can say about it. I don’t necessarily know if it is a strong representation of the genre it is representing, or whether the artist did better songs elsewhere. I can say that this is a pretty fun song with flamenco mixed with electric blues riffs, creating something that is definitely listenable to…that’s all I got really. To what extent it is worthy of its place is hard to judge. 672. ‘Amandrai’, Ali Farka Toure (1987) …ditto? It is tempting to cut and paste what I said before almost word for word, though this time the list celebrates someone that was dubbed the ‘African John Lee Hooker’. However, this one musically feels a little more universal, at least up until Toure’s vocals which are in the language of the Touareg. It is undeniably interesting to hear such a bluesy feeling tune coming out of Mali and it feels pretty cool even without too much knowledge about the narrative of the song. Apparrently a song about a secret lover, this uses the guitar sparingly in places, building to louder bursts to pierce the tension. A song that I enjoyed irrelevant of my lack of knowledge. 673. ‘Push It’, Salt ‘n’ Pepa (1987) Influenced by: The Bird • The Time (1984) Influence on: Money Honey • Lady Gaga (2008) Covered by: Numb (1996) • Ten Masked Men (2000) • Harry (2003) • Girls Aloud (2008) Other key tracks: Tramp (1987) • My Mic Sounds Nice (1987) Now, this is a song I know. The provocative lyrics and rapping were surely eye opening for its time, though I’ve always thought that it was the music in the background that made the song what it was. People came for two ladies talking about people who needed to ‘push it real good’ and stayed for the catchy electro rhythms. This is another song I can’t imagine people disliking – it might not be in their top 10 or 20 or 100 even, yet I’ve never heard a poor word said against it. 674. ‘Bring The Noise’, Public Enemy (1987) Influenced by: Niggers Are Scared of Revolution • The Last Poets (1970) Influence on: AmeriKKKa’s Most Wanted • Ice Cube (1990) Covered by: Anthrax featuring Public Enemy (1991) • Staind and Fred Durst (2000) What I’ve always enjoyed about this song was how it appealed to fans of other genres, not just rap or hip-hop. There is a weightiness to everything, from the vocals to the music to the scratching, that works for me even as someone who never particularly cared for this style of music. If I was more knowledgeable about this style, I’m sure I’d be able to talk some more about how complex and multi-layered everything sounds: there feels like there is a hell of a lot going on from start to finish. Oh, and enjoy – if that’s the right word – some Tim Westwood on the video choice. 675. ‘True Faith’, New Order (1987) Influenced by: Planet Rock • Afrika Bambataa & The Soul Sonic Force (1982) Influence on: The Real Thing • Gwen Stefani (2004) Covered by: The Boo Radleys (1993) • Dreadful Shadows (1995) • Aghast View (1997) • Flunk (2005) • Code 64 (2005) • Anberlin (2009) What a song. This isn’t a universal song that I think everyone would enjoy necessarily, but if it scratches that musical itch like it does for me, it ends up there with some of the best of the decade. There is a darkness about the lyrics that is at odds with the sound, a darkness that was even toned down somewhat as the original lyrics explicitly referenced drugs in a way the radio-friendly ones didn’t. This is probably Bernard Summer at his best vocally in terms of what I’ve heard by New Order, whilst the drums and melodic bass touches adds an almost ethereal atmosphere. Bliss.
  18. 667. ‘Attention Na SIDA’, Franco (1987) This gets on the list due to Franco being a popular Congolese music artist and this being a very open call for people to ‘Beware of AIDS’. In the country at the time, a lot of the lyrics had to be wrapped up in metaphor to avoid censure, but there is nothing hidden here. Franco would pass away 18 months later, quite possibly from AIDS itself although it was somewhat unclear. This song shows him use a mix of speak-singing and more spoken word sections against a lively percussive background beat. I find this type of song hard to judge; definitely here on merit, but unlike a lot of the other stuff that made the list. 668. ‘Under The Milky Way’, The Church (1987) Another band from Down Under, but one that had moved to Los Angeles by the time they had international success. I felt like I would know this as it kicked in, yet it wasn’t to the chorus that I realised I had at least heard that part of the song before. This is moody and poetic and unsurprisingly successful as it is a fine piece of music, though the wailing sounds that punctuate the middle of the song I could very much do without. 669. ‘Bamboleo’, Gipsy Kings (1987) I’m pretty sure I found out that this song was from the 80s many years ago, yet I always try and place it in the 90s. Was it sampled in another song, or was it just that good that it was getting radio play several years down the track and in my formative years? I wouldn’t be surprised either way as this is an absolutely storming track. Lively and passionate, it works its way to a chorus that desires audience participation. Apparently this song helped the album it came from go on to sell seven millions records, which only serves to highlight how exciting this song was for the contemporary audience. Still just as good today, mind.
  19. 662. ‘Rise’, Public Image Ltd (1986) Lyrically, this song takes a swipe at the treatment of people in apartheid-era South Africa, especially when it begins to describe some of the torture techniques used by the powers that be. I much prefer this song to the previous entry from the band, though I still don’t particularly care for John Lydon’s overall…presence…on things. The presentation of this song in a case marked ‘Single’, taking a swipe at consumerism, was something that was interesting enough and gives it perhaps a wider significance on top of the topical lyrics. I am a big fan of the mix of lighter music with darker lyrical tone so this was always going to be more up my street than some offerings on this list, even if it isn’t top tier for me. 663.. ‘Love Can’t Turn Around’, Farley ‘Jackmaster’ Funk (1986) Influenced by: I Can’t Turn Around • Isaac Hayes (1975) Influence on: Flowerz • Armand Van Helden (1999) Covered by: BustaFunk (2000) Other key tracks: All Acid Out (1986) • The Funk Is On (1986) • It’s You (1987) The song – or at least the backing music – was a source of great controversy as the ex-housemate of Farley claimed that it had been appropriated. However it came to find its way out there, it is a pretty catchy little number. It was topped off by the almost literally larger than life Darryl Pandy, who I can only assume is the plus-sized mullet on legs that is showcased in the video. It is a strong look, I’ll give him that. Not my sort of music, but it was hard not to get carried away with the overall boppiness of the track. Can imagine this easily filled a dancefloor or two. 664. ‘Dear God’, XTC (1986) Influenced by: God • John Lennon (1970) Influence on: One of Us • Joan Osborne (1995) Covered by: Sarah McLachlan (1996) • Tricky (2003) Other key tracks: Making Plans for Nigel (1979) • Generals and Majors (1980) • Ball and Chain (1982) • Senses Working Overtime (1982) According to the book and Colin Moulding, the bassist for the band, this was a song that saved XTC as they were days away from being released by their record label when this became an unlikely hit. A song that is anti-religion in its lyrics, it caused some controversy but was also gaining airplay enough to see it get placed as a B side for a single. I don’t mind the song as a whole, though I think it speaks volumes that I actually like the bit sung by the little girl at the start the most out of everything else, at least up until the lyrical freakout towards the end. A decent offering, if less impactful for being heard several decades later. 665. ‘Don’t Want To Know If You Are Lonely’, Husker Du (1986) I’ve only heard the odd bit from Husker Du before, but what I have heard only left me thinking that a band with that name should be heavier. I don’t know why, it just sounds like a metal band rather than one that plays heavy rock. I perhaps got my answer from the book as they were originally a punk band, though their ‘best’ work tended to be when they added in more in the way of pop sensibilities to go with their capable aural onslaught. The entry goes on to mention Nirvana and the Pixies and I can definitely see the fingerprints of this song on what those bands released in the years to come. In the recent entries, this is by far the best song that I’ve never heard before. 666. ‘Kiss’, Prince & The Revolution (1986) A song that the record label didn’t want to relase as it sounded too much like a demo, this became the third Number One in the U.S. for Prince. Apparently, this was developed by Prince and Mazarati, with it originally being the bones of a song Prince was willing to let go, only for him to be subsequently impressed by the potential once he heard a fuller, fleshed out version the following day. I say fleshed out, because it is pretty sparse going as Prince songs go, but it allows the simple lyrics and delivery to do the talking. There is something effortlessly cool about most of what Prince does and it might be best highlighted by ‘Kiss’ – it isn’t his best song, but it wouldn’t necessarily work with any other musician.
  20. 656. ‘Some Candy Talking’, The Jesus and Mary Chain (1986) Influenced by: I’m Waiting for the Man • The Velvet Underground (1967) Influence on: Teen Age Riot • Sonic Youth (1988) Covered by: Richard Hawley (2006) • The Caulfield Sisters (2006) Other key track: Never Understand (1985) Here are a band I always felt I should check out, if only for their name, yet never did. To be fair, it wasn’t just because of the name – the style of music that was attributed to them largely sounded like something I would enjoy as well, and this is borne out by the song ‘Some Candy Talking’. I’m always a huge fan of noise coupled with a sense of melody, which is the crux of this song. Waves of feedback burst out of the speakers, but it is accompanied with a pretty conventional ‘pop’ sensibility. A worthwhile song for the list and one for me to listen to. 657. ‘No Sleep Till Brooklyn’, The Beastie Boys (1986) I’ve liked the ‘big’ Beastie Boys songs, but have never really dallied with them beyond that. Naturally, ‘No Sleep Till Brooklyn’ fits into that category and is a fun slice of what they were offering: white guy rappers with a rockier edge. I’m not a music historian but I think they came along at the right time if this list was anything to go by – that style of rock/rap crossover had become a more common thing as the 80s rolled on and they manged to incorporate the two better than most. It isn’t my favourite song by them, yet it was one of the most notable songs on the first American Chart topping rap album, so deserves its place here. 658. ‘Raining Blood’, Slayer (1986) The second Kerry King song in a row (he did guitar duties on ‘No Sleep…’), ‘Raining Blood’ is easily one of the best metal songs in my opinion. This is primarily due to my general aversion to Slayer; I wouldn’t say I don’t like them, I’ve just never really wanted to delve much deeper into their catalogue based on what I have heard. However, ‘Raining Blood’ rises above my general apathy for the band and firmly slaps me in the face every time I hear it. The atmospheric opening, the galloping drums, the shredding guitars: it manages to be both ‘extreme’ sounding and interesting, which says a lot I think. Alongside all of this, the guitar riffs make it so damn catchy. Top work. 659. ‘First We Take Manhattan’, Jennifer Warnes (1986) Influenced by: Masters of War • Bob Dylan (1963) Influence on: Democracy • Leonard Cohen (1992) Covered by: R.E.M. (1991) • Warren Zevon (1991) • Joe Cocker (2000) • Tyskarna från Lund (2003) • Sirenia (2004) • Maxx Klaxon (2005) • Boris Grebenshchikov (2005) Knowing Jennifer Warnes only from her soundtrack work, I was looking forward to hearing what else she had to offer. This was written by Leonard Cohen on an album by Warnes that covered several other Cohen songs. The book spends a lot of time talking about Cohen’s lyrics which cover ideas about fascism and narcissism amongst other things, but what interests me is that Warnes’ voice sounds somewhat at odds with such a politically interesting song yet it still works. Her warmth is very much a soundtrack-style of vocal for the most part. However, it is this warmth that makes things work as it turns the lyrics – some that people even consider advocating terrorist ideals – into something ‘normal’. 660. ‘True Colors’, Cyndi Lauper (1986) Influenced by: Bridge Over Troubled Water • Simon & Garfunkel (1970) Influence on: Shining Through • Fredro Starr featuring Jill Scott (2001) Covered by: Leatherface (2000) • Sarina Paris (2001) • Erlend Bratland (2008) I don’t think I initially realised that this was a song by Cyndi Lauper when I first heard it, as it sounds somewhat at odds with the songs that had made her famous. To Lauper’s credit, her production that saw things stripped back from some of the more frenetic pop work of her debut album rewarded her with a chart topping hit. I never overly consider Lauper as a ‘great’ singer, but her vocals here do the job and are left to stand on their own due to the sparseness of the backing music. As an interesting aside, this was written by the same duo who wrote ‘Like A Virgin’ for Madonna. 661. ‘Move Your Body’, Marshall Jefferson (1986) A banger that heralded the start of a new musical movement. I don’t think I’ve ever heard this before, but I couldn’t help but bop along as I wrote this paragraph. Jefferson had disliked the commercial sensitivities of disco, before discovering an altogether ‘dirtier’ genre of music that spoke more to his interests when it came to filling the dance floor. ‘Deep house’ and ‘house’ are the terms used by the book, genres I’ve either not heard of in the former or don’t overly care for in the latter, but it isn’t hard to see the allure of this tune on night in the club in the 80s. The piano – a rarity in this style of music apparently – is an excellent addition that adds a further layer to enjoy.
  21. 652. ‘Ay Te Dejo En San Antonio’, Flaco Jimenez (1986) This seems to be a choice based on including as many different styles and genres as possible, the song being more indicative of the whole. Apparently Jimenez was a well-considered artist in the Conjunto style of music, a Tex-Mex mix, so much so that he was a session guitarist for a number of famous bands including the Rolling Stones. This is what it is and if you like it, you like it. I’m not a huge fan, but it is a cultural thing as much as anything – it is outside of my frame of reference in a way that makes it hard to really engage with it past the fact that it sounds lively and interesting enough. 653. ‘Time Of No Reply’, Nick Drake (1986) I like Nick Drake, but I do feel that placing three of his songs in a list like this is overkill. This was unearthed for a posthumous collection, so is also weirdly placed as it very much wasn’t a song recorded in the 1980s. A emotive acoustic song with lyrics that hint at the darkness that he was to succumb to, it is a very good tune, but it isn’t as good as Northern Sky in my opinion. That they’ve included two songs that largely are there to emphasise the depressive thoughts that ultimately ended his life seems unnecessary as either song makes the other redundant. 654. ‘Wide Open Road’, The Triffids (1986) This has movie soundtrack written all over it. Well, at least until the singer starts to relay his tale about a lover’s desertion. Another Aussie entry – a country that maybe is a bit over-represented compared to some other places, primarily because I assume the language – this is pleasant enough, but doesn’t set the world alight for me. It is almost so ok to be non-descript, which is probably one of the worst things you can say about music. Yeah, I don’t get it. 655. ‘There Is A Light That Never Goes Out’, The Smiths (1986) Influenced by: There She Goes Again • The Velvet Underground (1967) Influence on: Losing My Religion • R.E.M. (1991) Covered by: The Divine Comedy (1996) • Neil Finn (2001) • The Ocean Blue (2002) • The Magic Numbers (2006) • Noel Gallagher (2009) Another song I could probably claim as being my favourite of all time at some point in my music fandom. It has fallen a little since my early 20s when this might have been the case, but it is still an absolute belter of a track. Sure, it is all overwrought and maudlin, but I love the juxtaposition between the negative and the positive, the darkly comic lyrics and Morrissey’s delivery throughout. I’ve not listened to the whole of The Smiths’ back catalogue and I’ve often heard it can be a bit hit and miss in places, but this is the band as I like to hear them – the serious and the silly in close proximity.
  22. Anyone here playing 13 Sentinels: Aegis Rim? Thinking about possibly picking it up and the reviews are good, so wondered if anyone had taken the plunge.
  23. 649. ‘Manic Monday’, The Bangles (1985) The first thing I might as well throw out there is that I had no idea that this was written by Prince. When you listen to it with that knowledge, you can definitely feel his fingerprints. It was originally written for another band, but was passed onto the Bangles when the initial plan didn’t work out. There is a sunniness in tone that is pleasing alongside a pretty simplistic chorus that makes it eminently singable. As ‘classic’ songs that I feel a lot of people know goes, it is fairly low down on my list, but it is a perfectly crafted pop tune and would probably place higher for many others. 650. ‘Sun City’, Artists Against Apartheid (1985) It is only in recent years that I have realised just how many protest songs have been pumped out into the world. Not all are created equal however, and this was one that largely didn’t achieve its goals when it came to bringing about the end of apartheid. It is debatable that it was one of the more interesting stabs at cultural awareness and politics within this type of ensemble song as rappers and rockers united to create a musical hybrid during a time when that mesh of sounds was still in its infancy. This was also a more diverse selection as Miles Davis, Bruce Springsteen and Hall & Oates were amongst the large cast adding their voice. It lacks the overall hookiness of the other notable protest songs, yet the chorus definitely gets burrowed inside your brain. 651. ‘Kerosene’, Big Black (1986) This is definitely something. It sounds like the prototype for bands like Godflesh and that ilk as the overall sound feels like someone was putting a guitar through a grinder as much as anything else. Lyrically controversial – some people linking the lyrics to gang rape, apparently – this is definitely a song that is unsettling in the sound that is created. As someone who is a fan of the heavier and more alternative musical genres, I definitely ‘enjoy’ this, if that is the right word. It won’t be for everyone, but for me it was beautiful noise.
  24. 646. ‘The Whole of the Moon’, The Waterboys (1985) Influenced by: 1999 • Prince (1982) Influence on: N17 • The Saw Doctors (1989) Covered by: Terry Reid (1991) • Jennifer Warnes (1992) • Human Drama (1998) • Mandy Moore (2003) Other key tracks: Don’t Bang the Drum (1985) • This Is the Sea (1985) • Fisherman’s Blues (1988) I don’t think I’ve ever heard this song properly. When I say that, it doesn’t mean I don’t know it – a random friend of mine bursting into the chorus at random times almost twenty years ago covered that at least. It isn’t hard to see what appealed to him, as this does feel pretty epic in terms of the production and sound. Fitting for a song talking about the whole of the moon, really. As I listened, I was just waiting for it to tip beyond sounding nostalgic to sounding dated and twee…I think it fell on the right side of that divide, but not by much. 647. ‘Marlene on the Wall’, Suzanne Vega (1985) Influenced by: Help Me • Joni Mitchell (1974) Influence on: Marlene Dietrich’s Favorite Poem • Peter Murphy (1989) Covered by: Underwater City People (2005) Other key tracks: Neighborhood Girls (1985) • Luka (1987) • Tom’s Diner (1987) The book notes that Vega was an interesting proposition in a time period where every girl (fan and singer) was inspired by Madonna. An ode to a poster that doubles as a chance to chart the exploration of a young woman on a journey of self-discovery, this gets some kudos from me primarily for being a fair bit unlike a lot of the female-fronted music that has been on the list. It is all very pleasant, if a little underwhelming though if I’m being entirely honest. If you were looking for tunes from a female singer-songwriter during this time, I could definitely see the allure. 648. ‘How Will I Know’, Whitney Houston (1985) Influenced by: Who’s Zoomin’ Who? • Aretha Franklin (1985) Influence on: Waiting for a Star to Fall • Boy Meets Girl (1988) Covered by: Dionne Warwick (1985) • The Lemonheads (1996) • Hit the Lights (2008) Whitney Houston is one of the greatest singers I have ever heard. There. Not only did she have the voice, she also had writers and producers who could spot a tune from a mile away. This is a perfect slice of pop, made all the better for Houston’s then-early 20s vocals that were already something special. This has always been a song that I think is hard to dislike due to the joyous infectious delivery of both the lyrics and the melody, and that belief hasn’t dimmed as I listen to it now in the bleak days of 2020 and as impending middle age leaves me ultimately at my most cynical about ‘nice’ things.
  25. 641. ‘She Sells Sanctuary’, The Cult (1985) Influenced by: Dazed and Confused • Led Zeppelin (1969) Influence on: Available • The National (2003) Covered by: Britt Black (2005) • Keane (2007) • The Dandy Warhols (2007) Other key track: Love Removal Machine (1987) I love this song. It was a song my Dad introduced to me and has therefore got a higher position in my musical interest than it might deserve. However, I’d also argue that it has a lot going for it. Billy Duffy’s guitar is the driving force behind the song as a whole, though I’ve always enjoyed the wailing delivery of Ian Astbury on vocals. There is hooky earworm momentum throughout, with all of the parts building up to one very enjoyable tune. 642. ‘Close To Me’, The Cure (1985) Influenced by: Jimmy Mack • Martha & The Vandellas (1966) Influence on: So Human • Lady Sovereign (2009) Covered by: Dismemberment Plan (1995) • The Get Up Kids (1999) • -M- (1999) • Kaki King (2008) • I Was a Cub Scout (2008) This was a strange one for me as I couldn’t have told you what the song was – I know a fair few by the Cure – yet I was immediately aware of it when the opening breathing and simple keys came over the speakers. What that tells me is that this has some interest for me, yet not enough for me to have ever been bothered to remember what it was called. There is a charming simplicity to the tune, and who doesn’t enjoy the excuse for a good rhythmic handclap? However, there are better songs that the band has produced which I hold in a higher regard than ‘Close To Me’. 643. ‘Under Mi Sleng Teng’, Wayne Smith (1985) This gets on the list due to its influence it would seem as this was an early success in the world of ‘digital’ reggae. The song is undoubtedly catchy, though it is interesting to hear a backing tune that has no live instruments involved…not that I can tell anyway. This was apparently a slowed down rock and roll preset that gave them this tune; whatever it was, it created the foundation for an ode to Smith’s love for marijuana. 644. ‘Cruiser’s Creek’, The Fall (1985) I have people that absolutely swear by The Fall, yet I’ve never heard a single song of theirs and couldn’t have even guessed what type of music they were. Some take on rock or indie was always my guess, for the record. Mark E. Smith has vocals that will be divisive from the very beginning, but the overall tune is pretty catchy whether you like him or not. The driving guitar melody in particular gives it a hook that makes this – according to the book – about as commercial as The Fall ever became. This is perfectly fine, yet it doesn’t have me rushing to Spotify to check out any more from them if I’m being honest. 645. ‘Life in a Northern Town’, The Dream Academy (1985) Influenced by: The Thoughts of Mary Jane • Nick Drake (1969) Influence on: Sunchyme • Dario G (1997) Covered by: Voice Male (2003) • Neema (2006) Other key tracks: Test Tape No. 3 (1985) • Poised on the Edge of Forever (1985) As soon as I saw the ‘influence’ section, I was waiting to hear something I knew as it rang a bell. Indeed, the song ‘Sunchyme’ liberally reworks the chorus chant to create a chart-topping hit. Thus, this song feels out of place for me even if it really isn’t – I can’t look past the idea of a 90s dance track. It is an odd dichotomy between the largely muted sound away from the chorus….to the chorus itself. It allows the song to finally kick into gear, though perhaps wouldn’t be as effective without the more subdued moments to create an engaging dynamic. An interesting choice as much as anything else.
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