Liam
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Posts posted by Liam
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631.
‘State of Shock’, The Jacksons featuring Mick Jagger (1984)
Influenced by: State of Shock • Ted Nugent (1979)
Influence on: Hooked on Polkas • “Weird Al” Yankovic (1985)
Covered by: DJ Flash & King MC (1984)
Other key tracks: Torture (1984) • Body (1984) • One More Chance (1984)
There are many things about this I didn’t know. I wasn’t aware that Michael Jackson still recorded with his brothers after his breakout as a solo artist, nor did I realise that he had ever done a song with Mick Jagger. As mentioned in the book, their vocals largely complement each other pretty well, though I don’t think much of the track as a whole. It seems to be here for the novelty as much as anything, although I guess it is another example of rock encroaching on more urban styles of music.
632.
‘Private Dancer’, Tina Turner (1984)
Continuing the theme of things I didn’t know, this was a song that was originally written by Mark Knopfler and destined for Dire Straits. However, the lyrics didn’t fit a male vocalist and it ended up passed onto Turner instead. With Jeff Beck taking over from Knopfler on lead guitar but the rest of the band involved, Turner produced a song that thrust her – as a solo artist at least – into stardom. This is a pretty good song and I’ve always liked how Turner sound like she is throwing her vocals out into the world; it doesn’t sound like it comes naturally in the same way as some of the women on the list so far, yet works great for a song like this. If anything, it could all be a little bit punchier in places, but I can see the allure all in all.
633.
‘Freedom’, Wham (1984)
The first of what I assume will be a couple of songs from either Wham or George Michael, this came from their second album and launched them internationally. This was chosen over ‘Wake Me Up…’ and ‘Careless Whisper’, which I find interesting, though the book explains it as the song that best encapsulated what Wham offered musically. Upbeat pop clashing with earnest vocals and lyrics from Michael was the tone set by the band and while this isn’t my favourite song by them, it isn’t hard to see the appeal of this tune and the band as a whole. This is earworm pop.
634.
‘I Want You Back’, Hoodoo Gurus (1984)
I wasn’t sure what to expect from this, but I was pleasantly surprised. Sounding like a song that could have easily been released in the 90s or 00s, this power pop/garage rock (whatever label you want to apply) came out of the gates fast and maintained a happy mixture of noise and catchiness that it maintained all the way through. This is really good in my opinion – that’s all there is.
635.
‘Sally Maclennane’, The Pogues (1985)
I love The Pogues. I’m going to attribute that to my Irish heritage, though that would be doing their raucous brand of Irish folk-rock-punk (again, whatever you want to label it) a complete disservice. When they land, the Pogues create some of the best, feel good – even when generally lyrically less than happy – music I’ve ever come across. Grab a drink, grab a friend, and singalong. This is another example of their being better songs by the band in my own opinion, but ‘Sally Mclennane’ is a stormer from start to finish.
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I'm back....and better than ever! Or something.
628.
‘Rattlesnake’, Lloyd Cole and the Commotions (1984)
Influenced by: Walk on the Wild Side • Lou Reed (1972)
Influence on: Lloyd, I’m Ready to be Heartbroken • Camera Obscura (2006)
Covered by: Tori Amos (2001)
Other key track: Perfect Skin (1984)
I believe that this is a song I’d have enjoyed a fair bit more when I was younger. Not to say I didn’t like what I heard, but the highfaluting literary references and oblique references are something that would have appealed to the more pretentious, early 20s me. The best part of the song for me was the guitar – there is something appealingly twangy from the first note that works. By the end of it, I was finally getting used to Cole’s vocal delivery, which had initially left me cold but formed a key part of the sound by the end.
629.
‘Im Nin’Alu’, Ofra Haza (1984)
Influenced by: Hayyaati Albi • Om Kalsoum (1950)
Influence on: Temple of Love (1992) • The Sisters of Mercy (1992)
Covered by: Anjali (2006)
Other key tracks: Yachilvi Veyachali (1984) • Lefelach Harimon (1984)
Having ended up representing Israel in the Eurovision Song Contest a year earlier, Ofra Haza reached back into her cultural heritage in order to bring Diwan – religious songs from special festivals – to the masses. Thus, we have very stylistically ethnic music with a poppier overtone and gloss to proceedings. The big thing here is that not only did the album as a whole further Haza’s reach as a performer, but this song was used as a sample in a number of other songs. I love these odd couple style pairings and though it sounds like it shouldn’t work, the ear for what makes a song catchy in terms of the overarching whole makes this one to enjoy.
630.
‘Purple Rain’, Prince and The Revolution (1984)
Influenced by: We’ve Got Tonite • Bob Seger (1978)
Influence on: Like You’ll Never See Me Again • Alicia Keys (2007)
Covered by: The Flying Pickets (1991) • Randy Crawford (1995) • Teddybears (1995) • LeAnn Rimes (1998) • Etta James (2006)
Prince has always been the perfect example of someone I should give more listening time to. An artist I never heard much from when I was younger outside of the odd tune, every additional song that I’ve been exposed to have been almost universally bangers. This is no exception. An anthem that saw Prince move from funkier climes into a crossover rock ballad sound, the emotiveness of the lyrics coupled with the slow build up of the rhythm create a timeless classic.
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425.
‘Wood Beez (Pray Like Aretha Franklin)’, Scritti Politti (1984)
Influenced by: Don’t Stop ’til You Get Enough Michael Jackson (1979)
Influence on: I Feel for You • Chaka Khan (1984)
Covered by: Audio Thieves (2006)
Other key tracks: The Sweetest Girl (1981) • Hypnotize (1985) • Perfect Way (1985)
Coming into this song, I thought it might be like ‘Sir Duke’ by Stevie Wonder – a song I assumed I’d never heard of, but was immediately recognisable. That wasn’t the case whatsoever as I couldn’t place this at all, yet the overall sound felt familiar. That is probably because the song doesn’t do too much out of the ordinary and Green Gartside’s vocals offer a polished take on funk. Similar to the song that just went, I don’t necessarily get the placement in the book, but this is definitely a groove.
426.
‘I Will Dare’, The Replacements (1984)
This is hard to age, probably as much due to any timelessness on its behalf to the amount of bands trying to pedal this sort of sound in the 90s, 00s and beyond. The book even points out The Goo Goo Dolls in particular, which I didn’t hear until I read those words, yet now can’t quite shake from my mind. The jangly alt-pop that seemed to speak to adolescent worry and positioned itself as more than your average pop song always has its fans and I was one of them, though I do feel like I have grown out of this style of music as I’ve got older.
427.
‘How Soon Is Now?’, The Smiths (1984)
There probably was a time – around my early 20s – where I could claim this song as possibly my favourite of all time. Lyrically, it is maudlin as all hell and won’t appeal to anyone who likes their music to look on the bright side, but it captured something for me at that time. Unlike the previous offering from the band on this list, I would say that Morrissey’s lyrics and delivery are more central to my enjoyment of the song, though the notes that ripple out to punctuate these moments add a sense of grandiose melancholy to the whole situation. Still a cracking song, if not one I can recommend to everyone.
19 hours ago, Curt McGirt said:This is nitpicking but I think it's okay to bring up since it's an informative note: it's not 'the Scorpions', it's just 'Scorpions'. I didn't know that for years myself.
Cool. Thanks for the info - I think it was more of a transcription error from me than anything.
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621.
‘Boys of Summer’, Don Henley (1984)
Influenced by: Caney Creek • The Dillards (1973)
Influence on: Runaway Trains • Tom Petty & The Heartbreakers (1987)
Covered by: Roger Daltrey (1998) • DJ Sammy (2002) • Bree Sharp (2002) • The Ataris (2003) • Paul Young (2006)
The introduction to this always reminds me of the Terminator soundtrack for some reason, while the song as a whole to me seems to somehow occupy a space where it feels like it is both older and newer than the actual year it came out. I had no idea that Henley was the singer for the Eagles, making this by far the best song to come out of that band’s existence. There’s nostalgia – admittedly not nostalgia that I belong to – alongside a smoothness that makes something that could seem quite cheesy actually feel kinda cool. It has one of the hookiest choruses you could find in music, making it ripe for multiple covers.
622.
‘Rock You Like A Hurricane’, The Scorpions (1984)
I mentioned cheese in the last entry, a concept that definitely defines this song by The Scorpions. This is 80s metal at its finest or worst depending on your mileage when it comes to this style of music. This is the perfect example of a song that you don’t need to overthink: it completely fits the niche it aimed for and with aplomb.
623.
‘Plauteau’, The Meat Puppets (1984)
Unsurprisingly, my first exposure to the Meat Puppets was through the Nirvana Unplugged album. However, I did go back to check out the originals and have a lot of time for them as well. While I prefer ‘Oh, Me’ and ‘Lake of Fire’ as songs, this is an arguably better slice of popular music. Pop it isn’t, but the chorus is undeniably catchy. The whole thing has this sun-drenched vibe to it that adds a touch of melancholy to the proceedings. I definitely dig it, I know that much.
624.
‘Tenderness’, General Public (1984)
Influenced by: Wings of a Dove • Madness (1983)
Influence on: Cherish • Madonna (1989)
Covered by: Galactic (2003)
Other key tracks: Never You Done That (1984) • Hot You’re Cool (1984) • As a Matter of Fact (1984) • Burning Bright (1984)
This was a song I assumed I’d know when I heard it – perhaps attached to a music soundtrack that I’d heard in passing. However, I couldn’t place it at all. The book even mentioned the films it did end up in, including Clueless, but I have no memory of it whatsoever. That either speaks to my poor memory or the lack of real staying power that the song had. It is definitely a bouncy power pop tune that I can understand why people like, yet I’m not quite sure why it ended up in the book. That isn’t a knock, but sometimes a good song is just a good song and that’s it.
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618.
‘I Feel For You’, Chaka Khan (1984)
Influenced by: I Feel for You • Pointer Sisters (1982)
Influence on: Who’s Zoomin’ Who • Aretha Franklin (1985)
Covered by: The Flying Pickets (1991) • El Caco (2008)
Other key tracks: I’m Every Woman (1979) • Ain’t Nobody (1983)
This is a great example of magpie-ing as this song saw really interesting elements taken from disparate places, all stuck together to create a really good four minutes of music. This was originally a Prince song, fused rap and R&B, had a bit of Stevie Wonder on the Harmonica and was helmed by Khan’s strong vocal. I like that this feels like a song that has been built to via various stepping stones from earlier in the list – an amalgam of sounds to create something as good, if not better.
619.
‘The Killing Moon’, Echo and the Bunnymen (1984)
Influenced by: The Seventh Seal • Scott Walker (1969)
Influence on: Crown of Love • Arcade Fire (2004)
Covered by: Pavement (1997) • Wendy Rule (1997) • Eva O (1998) • The Quakes (2003) • Grant-Lee Phillips (2006) • Nouvelle Vague (2006) • Something for Kate (2006)
Other key track: Back of Love (1982)
Periodically, this is a song that gets daily play from me. I then will go through times where I don’t listen to it for months. There is something about the song that just captures my imagination for certain windows of time. I love the relatively sparse instrumentation, somewhat jangly in nature, while also finding the vocal transition from verse to chorus really stirring. I’ll admit to only knowing this song through its use in Donnie Darko, but it has stayed with me longer than my interest in that film has.
620.
‘You Spin Me Round (Like A Record)’, Dead or Alive (1984)
Influenced by: Fashion • David Bowie (1980)
Influence on: Rock Me Amadeus • Falco (1986)
Covered by: Templebeat (1997) • Second Skin (1998) • Dope (2000) • Hate Dept. (2000) • Thalía (2002) • Jessica Simpson (2006) • Danzel (2007) • Thea Gilmore (2008) • Indochine (2009)
I find it hard to take Dead or Alive seriously, or moreso what Pete Burns became, but this is a banger of an 80s tune. The longevity of the song as a cover or a song to sample speaks to the quality pop that it offers. What is also of interest is this was an early Stock, Aitken and Waterman tune, names that became synonymous with the music charts in the years to follow. Sometimes you just have to enjoy a tune without thinking too much about it.
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615.
‘Immigres/Bitim Rew’, Youssou N’Dour (1984)
This is another song that I’d love to be able to talk about with some level of knowledge, but I know so little about N’Dour and this style of music. Like many, I mainly know of him based on the song ‘7 Seconds’, but this was the song that took him into the international mainstream. N’Dour’s wailing high pitched wailing vocals play across an exciting polyrhythmic (primarily) percussive melody, something which I always appreciate of music from Africa – just the sheer amount of different instruments, tones and sounds they generate create a lively background. Towards the end, there is even some rapping and a several false endings. I can see why this was a breakthrough song for the wider mainstream and while it isn’t always for me, it is the work of a talented man.
616.
‘It’s My Life’, Talk Talk (1984)
This is one of my Dad’s….favourite might be a stretch….but a song that I remember him downloading off of the internet in the early days of file sharing. That was my first introduction to the song, thus leading to me holding it in higher esteem than it probably deserves. Synth-pop isn’t for everyone, but this works for me. The bridge into the pre-chorus and the chorus itself are the best bits for me, though I would understand completely people who don’t like this song whatsoever.
617.
‘Smooth Operator’, Sade (1984)
The best hold/elevator music ever? This was a song that I had heard in any number of places, but had never pinned down to Sade until I was in my 20s. The jazzy pop elements does make it a song that I will forever link to muzak-laden waits on phone lines or elevator music. I guess it is up to you to decide whether that speaks to the quality of the tune, or the mundane nature of what she/they offered. Personally, I think Sade’s vocals are silky and appealing, even if the music the group produced was not the most exciting necessarily.
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611.
‘Two Tribes’, Frankie Goes To Hollywood (1983)
Influenced by: I Feel Love • Donna Summer (1977)
Influence on: Paranoimia • The Art of Noise (1986)
Covered by: Rosetta Stone (2000) • Doctor & The Medics (2008)
Other key track: One February Friday (1984) • War (1984) • The Power of Love (1984)
What a one-two punch when you consider that this followed ‘Relax’. It might be because the former is somewhat overplayed, but I think I prefer ‘Two Tribes’ as a song. It is another one where the video was so important as Reagan and Chernenko engaged in a fist fight for baying punters. The production for this, just like ‘Relax’, makes everything sound so big, while the bass line does a lot of the heavy lifting. There seems to be a potent mix when you take social commentary and dress it up in a seemingly positive, poppy fashion – it often does the job.
612.
‘Runaway’, Bon Jovi (1984)
Influenced by: All for Leyna • Billy Joel (1980)
Influence on: Ryders • Saigon featuring Memphis Bleek (2008)
Covered by: Alex Mitchell (2006)
Other key tracks: She Don’t Know Me (1984) • Burning for Love (1984) • You Give Love a Bad Name (1986)
I’m never one hundred percent sure what to think of Bon Jovi. They/he produce the odd stone cold banger, yet for the most part I couldn’t really care less about their output. This was a song that I don’t think I’ve ever heard from them and I can get the appeal…but it does nothing for me really. It establishes what Bon Jovi does – driving guitars, hooky choruses, capable vocals – but since I don’t overly care for them, that doesn’t really move me like some of the songs I’ve heard on this list.
613.
‘Born In The USA’, Bruce Springsteen (1984)
Influenced by: Love, Reign O’er Me • The Who (1973)
Influence on: Banned in the U.S.A. • Luke (1990)
Covered by: Stanley Clarke (1985) • Eric Rigler (2003) • Richard Shindell (2007) • Casiotone for the Painfully Alone (2009)
Other key track: Born to Run (1975)
What I said about my experiences with Bon Jovi could almost be repeated word for word here, except I have a bit more excitement when I hear a good Springsteen song. What I had heard from him in the past was enough to make me want to delve a little deeper, though he isn’t the first artist I think of when I talk about music I enjoy. The stadium anthem nature of this tune, providing the listener ample chances to sing along, is what makes this song, though it does always blow my mind how often people misinterpret it. It isn’t exactly lyrically subtle.
614.
‘World Destruction’, Time Zone (1984)
This is a weird collaboration viewed through a 2020 lens: Afrika Bambaataa and John Lydon. Even weirder was that Joe Elliott of Def Leppard was originally pencilled in as the lead singer for this track. I’m not the biggest fan of Lydon’s general vocal style, but it does work well side by side with Bambaataa. What this does that is perhaps more interesting than the song itself was the marriage of rock and urban music, something that was pretty rare at the time and would become a more increasingly utilised combination.
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607.
’99 Luftballoons’, Nena (1983)
This is an already good song – a chirpy take on nuclear annihilation – that has been helped along over the years by its use in popular culture. I think the original German edges the remade UK version that came out the following year, with the original also being the song that went to number 2 in the US (the English version had more success in the UK). It is very synth heavy in a way that could feel dated, but the driving drums and urgent vocals of Nena herself make it a song that still ‘works’ even today.
608.
‘Zungguzungguguzungguzeng’, Yellowman (1983)
Apparently the title is a reference to the Jamaican emergency service number, for those who might be wondering. This hits the list due to how the melody and beat was sampled a number of times in the future, though the original more than stands on its own and is a joyful groove from start to finish. There isn’t much more to say about this – just enjoy it.
609.
‘Blue Monday’, New Order (1983)
It is pretty crazy that this was the music that spawned from the band that were Joy Division, naturally minus Ian Curtis. Some of the nuts and bolts transitioned over – the darkly sinister bass and synths - but this was aiming for the dance floors rather than the stereos of introspective teens everywhere. The book uses the word ‘hypnotic’ and that is pretty perfect to sum up the song’s appeal. It sucks you in and keeps you listening. This is musically much more interesting than the stuff that came before, though whether you prefer one or the other is a matter of taste.
610.
‘The Trooper’, Iron Maiden (1983)
Influenced by: Lights Out • UFO (1977)
Influence on: Paschendale • Iron Maiden (2003)
Covered by: Sentenced (1993) • Jughead’s Revenge (1996) • Vital Remains (1996) • Supernova (1999) • Zen Guerrilla (2001) • Rage (2002) • Highland Glory (2005) • Hellsongs (2008)
I always feel like I should like Iron Maiden more than I do, or that I should at least listen to more of their music. It is rare that I come away from a Maiden song without enjoying it, yet that brand of metal is something I can only really stomach in small doses. However, I do get the appeal, and with Bruce Dickinson they have one of the most impressive sounding vocalists in metal – the ease and clarity of his delivery always struck me. This galloping masterclass bolts out of the gate and never really relents.
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603.
‘It’s Like That’, Run DMC (1983)
Not the easiest to find since it has been somewhat usurped by the vs Jason Nevins remix. This initial version is a lot sparer in terms of the backing as a drum track allows the rhymes and lyrics to do the work. This was apparently a groundbreaking song in terms of its atmosphere as it was a darker, edgier take on popular rap music, a genre that was still in its infancy. This is a weird one as I much prefer the remix as it adds a funkier layer to things, yet appreciate that the original song very much has its merits for the time it was created.
604.
‘Rock of Ages’, Def Leppard (1983)
Influenced by: My My, Hey Hey (Out of the Blue) • Neil Young (1979)
Influence on: Pretty Fly (for a White Guy) • The Offspring (1998)
Covered by: Kelly Hansen (2000)
Other key track: Animal (1987)
There’s a ubiquity to ‘Rock of Ages’ as a title that made me think I must have heard this song before. I genuinely don’t think I have. I also genuinely don’t think I would have cared…until I read the entry and Joe Elliott referenced how it was written mainly as a spoof/parody of the rock anthem. To me, that doesn’t necessarily make the song better, but perhaps explains why I was somewhat underwhelmed by a song that sounded a lot like other stuff that I’d heard. The guitar work, gang chanting and production are all very good, don’t get me wrong, it just does very little for me.
605.
'Gimme All Your Lovin'', ZZ Top (1983)
Influenced by: Life in the Fast Lane • The Eagles (1976)
Influence on: Growing on Me • The Darkness (2003)
Covered by: Lonestar (2002)
Other key tracks: Beer Drinkers & Hell Raisers (1973) • Jesus Just Left Chicago (1973) • Cheap Sunglasses (1979) • Sharp Dressed Man (1983)
Now, this is my idea of a tune. I don’t really want to compare the two, but I do find it funny that it comes after the bombast of Leppard. This is pretty straight rock and roll and all the more fun for it. I always enjoy well done rock with a poppy edge to it and this gets it right for me. A Southern twang to everything, coupled with a great hook for a chorus. It is simple, yet oh so effective.
606.
‘Every Breath You Take’, The Police (1983)
This is by far and away the Police song I have heard the most as my Mum used to have it on a mixtape that was played on long journeys. It means I probably liked the song without really understanding the nastier undertones to the stalker-y lyrics until I was a lot older. There is an irony that some people consider this to be a romantic song when there is definitely a creepier vibe to everything. It is a song that I can’t really pinpoint the thing that makes it ‘good’ – the parts just come together to create something that hits at every points: introduction, verses, chorus.
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600.
‘Song to the Siren’, This Mortal Coil (1983)
Influenced by: 1/1 • Brian Eno (1978)
Influence on: If I Had Glass Hands and Glass Feet • School of Seven Bells (2008)
Covered by: Sally Oldfield (1996) • The Czars (2000) • Susheela Raman (2001) • Robert Plant (2002) • David Gray (2007) • John Frusciante (2009)
This was actually a cover of a Tim Buckley song, though the book claims that this was arguably a better rendition. Whether that is true or not, the melancholy oozes out of this throughout. The spare instrumentation allows Liz Fraser’s vocals to do the majority of the work and there is an otherworldliness about the production at points that makes this all work. My one complaint is that it builds, but never really goes anywhere – I wanted a crescendo or something, but I got none.
601.
‘Everything Counts’, Depeche Mode (1983)
Influenced by: Metall Auf Metall • Kraftwerk (1977)
Influence on: Pug • The Smashing Pumpkins (1998)
Covered by: In Flames (1997) • Meat Beat Manifesto (1998) • Yendri (2000)
Other key tracks: Love in Itself (1983) • Told You So (1983)
I feel like I step into a lot of these songs by saying that I like the band, but this isn’t my favourite song by said act. That is very much the case with Depeche Mode: this is a perfectly good song, but wouldn’t be one I place in my top five if I arbitrarily did a top five of their work. What does make this song more applicable to a list like this was how it started a transition away from the more twee pop tunes into the slightly edgier and darker techno/industrial-esque pathway. As I’m someone who much prefers later 80s Depeche Mode to what they offered before, I for one am happy that this song came along when it did, creating a bridge to a better version of the band.
602.
‘Dear Prudence’, Siouxsie and the Banshees (1983)
This is an interesting choice for a number of reasons. A cover of a Beatles songs written primarily by John Lennon (though credited to McCartney as well), this also included Robert Smith from the Cure on guitar. There was some spark of awareness of this song laying in the cobwebbed far reaches of my memory, yet I could never quite get to grips with when I may have heard this before. Siouxsie’s fairly upbeat delivery coupled with the echo-y production created a cover that gave the song a new and largely successful coat of paint. It perhaps lacks a bit of punch, but it isn’t really what they were looking to provide. Spectral and spangly is the order of the day.
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595.
‘A New England’, Billy Bragg (1983)
I’m always a sucker for a good singer/songwriter tune, and that is what I think ‘A New England’ offers. I went and saw Frank Turner at Wembley Stadium and Billy Bragg supported him with a good set. However, it was telling to me that it was this song that was the only one I really took away from it. The main chorus lyric begs to be sung aloud, the song doesn’t overstay its welcome, and the driving guitar throughout helps to add that sense of pace. The only thing I’ve always been a little confused about is the production – it sound like he was recording it in an aircraft carrier or something.
596.
‘Blister in the Sun’, Violent Femmes (1983)
This is not only a perfect example of a song that I knew but had no idea as to who created it, but it is a band that I remember being mentioned on….Clarissa Explains It All? Maybe Sabrina? I just remember Melissa Joan Hart talking them up in a television show multiple times. Though not a successful song when it was released, the angsty lyrics (covering failed relationships and masturbation) and catchy tune made it popular amongst teens and college students. It speaks to that age more so than some of the rose tinted love songs out there, while there is an alternativeness to the whole proceedings that I believe must have made fans of the band/song feel like they were into something beyond the poppy rubbish that was on the radio.
597.
‘Let’s Dance’, David Bowie (1983)
Influenced by: Good Times • Chic (1979)
Influence on: Last Dance • George Clinton (1983)
Covered by: Falco (1984) • Atrocity (1997) • Second Skin (2000) • M. Ward (2003) • The Futureheads (2006) • Nona Reeves (2007) • Sophie Ellis-Bextor (2007)
I always tend to love weird takes on popular music – things that aim for the mainstream but are just a little rougher around the edges in some way. Bowie was never going to create a song that was pure pop, but this was a fair step away from the oddness of some of his earlier work. Yet, this is aiming for pop stardom as done by Bowie, so there is character abounding throughout it. One of the biggest eye openers of this whole project is just how much stuff Nile Rodgers has found himself involved in as he added his considerable talents to the song as well as Stevie Ray Vaughan. Not my favourite Bowie song, but I can understand the allure for those who place it highly.
598.
‘This Charming Man’, The Smiths (1983)
Influenced by: Walk Out to Winter • Aztec Camera (1983)
Influence on: Animal Nitrate • Suede (1993)
Covered by: Death Cab for Cutie (1996) • Braid (2000) • Darling (2000) Stars (2001)
Other key track: How Soon Is Now? (1984)
I hate Morrissey, yet I really like a lot of his music. The eternal conundrum of the wanker who is talented. I hadn’t really listened to the Smiths until I was at university and it caught me at that sweet spot where I still wanted lyrics to be all meaningful and shit, and when I started to look back into the 80s in general for my musical inspiration. Though Morrissey’s lazy croon and the lyrics for the song are naturally important, the jangly guitars make this song and really showcase Johnny Marr’s talents. At least he isn’t a wanker.
599.
‘Relax’, Frankie Goes To Hollywood (1983)
Influenced by: Don’t Make Me Wait • Peech Boys (1982)
Influence on: Animal • Def Leppard (1987)
Covered by: Brooklyn Bounce (1997) • Powerman 5000 & Danny Boy (2001) • The Dandy Warhols (2004)
Other key track: Rage Hard (1986)
From distance, it is sometimes hard to tell why Frankie Goes To Hollywood were as huge as they were. That isn’t to knock their music per se, but I think you had to be living in that moment to really ‘get it’. That, and people don’t like being told what they could and couldn’t do so when the BBC banned it, things completely took off for the song. To give it its due, it is dance floor banger that takes the techno and electro elements that have become popular and show what they can be utilised for when it came to pop music. The music video is….yeah. Be warned.
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592.
‘Situation’, Yazoo (1982)
Influenced by: The Robots • Kraftwerk (1978)
Influence on: Theme from S’Express • S’Express (1988)
Covered by: Tom Jones (1994)
Other key tracks: Only You (1982) • Don’t Go (1982) • Nobody’s Diary (1983)
I always assumed that Yazoo were more gimmicky than this song suggests. That speaks more to my knowledge of the name as a brand of milkshake more than anything of any substance. This is a lot more Kraftwerk meets Boy George with ex-Depeche Mode Vince Clarke working with Alison Moyet. Moyet in particular has a great voice that works to give everything a more human feel as she sings against a backdrop of electronica. This was the B Side to ‘Only You’ which was a huge hit, but this song earned its place in the book as being a route into areas such as techno and the commercial end of acid house. It is definitely a worthy song, that much is true.
593.
‘Rock the Casbah’, The Clash (1982)
Influenced by: Shah Shah a Go Go • The Stranglers (1979)
Influence on: 51st State • The Enemy (2009)
Covered by: Solar Twins (1999) • Rachid Taha (2004) • Something for Kate (2007)
Other key track: Should I Stay or Should I Go (1982)
Not that I am the most knowledgeable when it comes to The Clash, but as I’m not always the biggest fan of raw punk bands, this tended to be the era of their music that I preferred. It was – for me – where the mix of tunefulness, politics and noise met and was best realised, making this probably my favourite song by them. I don’t think I’ve ever met someone who disliked this song for that matter, though I’m sure the response to this post might just as easily prove me wrong.
594.
‘Buffalo Gals’, Malcolm McLaren (1982)
Influenced by: Zulu Nation Throw Down • Afrika Bambaataa & The Soulsonic Force (1980)
Influence on: Close (To the Edit) • Art of Noise (1984)
Covered by: Malcolm McLaren & The World’s Famous Supreme Team versus Roger Sanchez & Rakim (2005)
Other key track: Double Dutch (1983)
I didn’t realise that Malcolm McLaren ever released his own music – I only ever linked him to other musical acts. It is definitely an odd beast, yet with it came influence as it was another song to promote aspects of hip hop into the mainstream. A mix of line dance instructions, samples and record scratches create a song that is very weird, but definitely catchy and hard not to enjoy. The music video with breakdancing youths was also a good touch as music videos became more and more central to musical success.
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Both are on sale on Switch so I'll pick them up. Cheers.
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2 hours ago, Eoae said:
Yeah, I've quite like what I've played of Spiritfarer so far. I liked Thunder Lotus' previous two games a lot too.
I saw mixed reviews for Sundered, but it is currently on sale on Switch - recommend?
Also, what was their other game? Might as well ask while I am here. EDIT: No worries - stumbled across it somewhere else.
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589.
‘Save It For Later’, The Beat (1982)
Though the lyrics suggested a maturity, this was actually written when Dave Wakeling was a teenager – the song title even makes a sexual pun (…fellator). The Beat apparently were an act that leant more towards ska, but with this final album went for an up-market pop sound. The strings and brass give what is already a catchy tune another layer, while Wakeling’s languidly frustrated vocals fit the narrative of thinking that older people than you don’t always know any better in the grand scheme of things.
590.
‘Great Southern Land’, Icehouse (1982)
I wasn’t too sure what to expect as the book talked about Icehouse being an Australian band who had some lowkey success around the same time that AC/DC and INXS were beginning to go international. What I got was a song best positioned as AOR I feel, though one with quite an epic atmosphere to it. Normally, this might mean that numerous layers of sound or numbers of instruments, yet this was relatively sparse – it just continued to build in a way that made it feel bigger than the sum of its parts. The reverby vocals are a personal favourite and the whole song is worth a listen.
591.
‘Party Fears II’, The Associates (1982)
Influenced by: Ashes to Ashes • David Bowie (1980)
Influence on: Nobody’s Diary • Yazoo (1983)
Covered by: The Divine Comedy (2006)
Other key tracks: Gloomy Sunday (1982) • It’s Better This Way (1982) • Arrogance Gave Him Up (1982)
Nat King Cole, Bryan Ferry, David Bowie, Dusty Springfield, Billie Holiday, Can, and Kraftwerk are the bands cited as this bands main influences, which goes some way to describe the absolute carnage that is the song. It constantly feels like it is going to fall apart, yet plugs away in a manner that is equal parts camp, poppy, and crazy. Billy Mackenzie’s faux-operatic (almost) vocals stand out the most and are unlike any vocalist I think I’ve ever heard. Warbly and emotive, I’m still not quite sure what to make of them now.
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I bought Spiritfarer for the PS4 on a whim the other day. Very good game. Worth checking out for anyone who likes the collect/build/develop loop of an Animal Crossing or stuff along those lines. Definitely worth a look.
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585.
Album version
Single version
‘Uncertain Smile’, The The (1982)
Influenced by: Hot on the Heels of Love • Throbbing Gristle (1979)
Influence on: Divine • Sébastien Tellier (2008)
Covered by: Pierce Turner (1986) • Poésie Noire (1990)
Other key tracks: Perfect (1983) • Infected (1986) • The Beat(en) Generation (1989)
This was a song that I took to almost immediately. I’m reliably informed that the integral use of the xylimba is what gives this songs its shimmery percussion that I particularly like, while everything feels oddly ‘easy’, for lack of a better way of putting it. That feeling is somewhat at odds with the negative, lovelorn lyrics, but everything just clicks for me. I have shared both versions, with the second album version getting rid of the horns and including a Jools Holland piano solo that could sound out of place, yet somehow doesn’t even though it runs fairly contrary to what came before. I prefer the album version for those keeping score.
586.
‘Valley Girl’, Frank Zappa (1982)
Influenced by: Supernaut • Black Sabbath (1972)
Influence on: Ya Hozna • Frank Zappa (1984)
Covered by: The Lewinskys (2003)
Other key tracks: You Are What You Is (1981) • No Not Now (1982) • Teen-Age Prostitute (1982)
There is no messing around with this song as it leaps straight out of the speakers and never lets up. This was Moon Unit Zappa’s desire to spend more time with her father in musical form, as he recorded her doing impressions of the local California teen-speak. This to me seems to be the precursor somewhat to the skit-song, for lack of a better term - the types of song which mixed singing and talking that became popular in alternative music in particular. Moon Unit does a really good job here of embodying that very (now) stereotypical view of what a valley girl was like and I really like the chugging guitars in the background. A better song that it has any right to be in some ways.
587.
‘Thriller’, Michael Jackson (1982)
There isn’t much I can say here that hasn’t already been said. This was the perfect marriage of music and video as ‘Thriller’ saw a fourteen minute homage to horror films take centre stage as much as the tune itself. The sheer scale of this was unheard of in terms of length and budget, with it even getting a theatrical release. The song actually isn’t up there for me as one of Jackson’s best, but it is one of his most important without question.
588.
‘Shock the Monkey’, Peter Gabriel (1982)
Tight percussive rhythms seem to be the order of the day in the very few tunes by Peter Gabriel that I’ve heard. Considering that is something I particularly enjoy, that is never a bad thing, though I’ve never been inclined to check out anything beyond that by him. I find that the lyrics of the song make this a weird choice for chart success, but chart success is what it managed as it was Gabriel’s biggest US song to date. This might be sacrilege to Gabriel fans – I really don’t know – but Gabriel doesn’t sound too dissimilar vocally to Phil Collins to my ears. That, or my hearing is just awful. The song was catchy enough to end up stuck in my head afterwards, so it has that going for it.
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582.
‘Black Metal’, Venom (1982)
I’m surprised that this song didn’t get a little influence/influenced section considering it was pretty important in the grand scheme of metal. Funnily enough, even though I am aware of it, I don’t think I’ve ever listened to it. What I always find humorous is what was considered ‘heavy’ then compared to know. That is not to say this doesn’t have some oomph and some punch. I really like everything except for the lyrics which are quite cheesy and going for ‘dark’ in a way that is very 80s.. This plays into my wheelhouse due to it being metal, but I think this a good song all in all.
583.
‘Shipbuilding’, Robert Wyatt (1982)
This was a song with lyrics written by Elvis Costello about the Falklands War. The latter part of this sentence gives the song its ‘importance’ in some regards, as it was an example of music tackling the societal issues of the day. However, I’m very unsure about Wyatt’s voice. I feel there is a time where I would have really liked it, yet I don’t think it quite does it for me at the moment. It might perhaps be a grower though as the swelling music and Wyatt’s contributions towards the end were working more for me by the end. On any given day, my reaction to this could be very different.
584.
‘Cattle and Cane’, The Go-Betweens (1982)
Influenced by: Who Loves the Sun • The Velvet Underground (1970)
Influence on: Lazy Line Painter Jane • Belle & Sebastian (1997)
Covered by: The Wedding Present (1992) • Jimmy Little (1999)
The book mentions about how Grant McLennan, before his death, talked about how proud he was of the different sound of this song. That is probably the best way to describe it – it does sound very different to a lot of what has come before. Singer songwriter with a mix of that driving rhythm that speaks to Joy Division almost (or so the book suggests). The vocal style seems to me to be something that will be aped by a number of bands in the late 90s/early 00s: akin earnest speaking rather than singing. While it is interesting, I’m not sure if I particularly like it if I’m being completely honest.
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577.
‘Atomic Dog’, George Clinton (1982)
Due to how ‘urban’ music tends to end up sampling or being sampled, I assumed that I might have heard this song before in some iteration, and I wasn’t wrong – I’m going to guess it was Snoop Dogg’s treatment of the tune that was my introduction. This is very influential apparently, yet it is hard with the distance of time to understand why. I mean, the percussion and synths create a fun beat, but it wouldn’t be a song that leapt out at me as something that was going to go on to be used in a number of different songs, films or television. A good song, just a bit of a baffling one.
578.
‘State of Independence’, Donna Summer (1982)
Influenced by: State of Independence • Jon & Vangelis (1981)
Influence on: The Places You Find Love • Quincy Jones (1989)
Covered by: Moodswings featuring Chrissie Hynde (1991)
This is a pretty wild song when you look at its providence. Originally recorded by Jon Anderson of Yes and Vangelis, Donna Summer re-recorded it with backing vocals from people such as Michael Jackson, Lionel Richie and Dionne Warwick. There is simultaneously a lushness and an etherealness – if that is possible – about the background music, while Summer has the voice to carry a song without doubt. As for the choir of backing vocal talent? They add a nice sense of dynamism to what is going on, as well as reinforcing the positive tone that the song seems to strive for. A good tune that I’m surprised I’ve never heard of.
579.
‘Save A Prayer’, Duran Duran (1982)
Influenced by: If You Could Read My Mind • Gordon Lightfoot (1970)
Influence on: Teddy Picker • Arctic Monkeys (2007)
Covered by: Tony Hadley (1997)
Other key tracks: Planet Earth (1981) • Hungry Like the Wolf (1982) • Rio (1982)
Some interesting influenced/influence choices here. I’ve already talked a bit about Duran Duran and that I tend to like their main singles as they meld together that 80s synth sound with what I believe are quite good pop songs. This is an underrated one in my own eyes somewhat as I do like it, I just don’t have as much interest in the song as I do some of their other tunes. As always, one of the big selling points for Duran Duran was the music video and they didn’t disappoint with some impressive views of Sri Lanka that aimed to sell the band’s apparently life of decadence. This all plays out against a backdrop of a fairly negative narrative – an interesting counterpoint between visuals and sound.
580.
‘Candy Girl’, New Edition (1982)
Influenced by: ABC • The Jackson 5 (1970)
Influence on: Candy • LL Cool J featuring Ralph Tresvant & Ricky Bell (1997)
Covered by: Baby DC featuring Imajin (1999)
Other key tracks: Is This the End? (1983) • Popcorn Love (1983)
I love the trivia that this is the first ever UK number 1 single with rapping in it, especially since the guns, bling and gangster image that is often frowned upon by those who know no better. This feels so Jackson 5, while the rap element bridges the gap between that period of music and the more modern style that had become popular. This also felt like a song that kept the idea of the boy band simmering along, eventually ending up with acts like New Kids of the Block (created by the same person, in fact) and even eventually stuff like NSync.
581.
‘Mad World’, Tears for Fears (1982)
Influenced by: Matthew and Son • Cat Stevens (1966)
Influence on: American Princess • Prozak (2008)
Covered by: Michael Andrews featuring Gary Jules (2003) • Brai nclaw (2004) • The Red Paintings (2005) • Sara Hickman (2006) • Tara MacLean (2007) • Zonaria (2008) • Elisa (2009)
I’m of the generation where my first introduction to this tune was the Michael Andrews/Gary Jules cover. There is a real darkness in the tune and the lyrics to the song, yet underneath if all is a hookiness that speaks to the Cure or even what Depeche Mode eventually became as the decade progressed. This utilisation of not only synth, but discordant noise in pop music seemed to becoming more popular. I probably never quite gave this the credit it should have got as I was a big fan of the cover, as well as other Tears for Fears songs, but it is a very oddly fascinating slice of music for the time period.
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The book is officially out today. Should mean you can now access it via Kindle Unlimited as well. Thanks for all of the support thus far people.
Edit: Enrolment on Kindle Unlimited should now be sorted.
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6 hours ago, OSJ said:
"A touch above"? Annie Lennox was so far above Boy George (and I like Boy George), that it's like comparing Amanda Nunes and Ronda Rousey.
I actually meant to say 'a level above', but that also doesn't probably do things justice.
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That Povetkin punch. Man.
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574.
‘Do You Really Want To Hurt Me?’, Culture Club (1982)
Influenced by: The Tracks of My Tears • The Miracles (1965)
Influence on: Hold Me Now • Thompson Twins (1983)
Covered by: Violent Femmes (1991) • Diana King (1997) • Mike Post (1998) • Mark Eitzel (1998) • Blue Lagoon (2005)
This is another song which I attribute my knowledge or interest in it to something other than the song. For this one, it is the scenes in The Wedding Singer that have this song as the focal point. This was the first real hit for Culture Club and came the year after MTV began broadcasting, perhaps beginning to highlight the importance of style to go with substance. This is a soulful enough tune, yet one that I do think could be quite divisive. Myself? I like it and thing that George’s vocals, while not the most impressive comparative to the best, carry the song considering they are largely front and centre without much to hide them.
575.
‘Electric Avenue’, Eddy Grant (1982)
Influenced by: Downpressor Man • Peter Tosh (1977)
Influence on: Avenues • Refugee Camp All-Stars (1997)
Covered by: Raggadeath (1997) • Tait (2003) • Skindred (2009)
Other key tracks: I Don’t Wanna Dance (1982) • War Party (1982)
I remember this from its re-release in the 00s and enjoy it now as I did then. The interesting thing here is how the lyrics are somewhat at odds with the jaunty tune that underpins it all. This is a frustrated Grant lashing out about class and poverty issues with Electric Avenue a reference to a real street in London. The use of synths and guitars create that swarming noise in places that suggests the unrest that Grant is looking to explore at the same time as turning this into an absolute jam.
576.
‘Sweet Dreams (Are Made Of This)’, Eurythmics (1982)
Maybe calling this underrated is a stretch, but it isn’t always a song I think about when it comes to the overall ‘best’ songs. However, it is a complete banger – catchy, aggressive, melodious, immediate. Lennox is a bit like Boy George here inasmuch as someone with a distinctive look that was immediately engaging, yet I’d argue her vocals are a touch above his. There is a whole sense of something darker that the music helps to create, all topped off with some overtly sarcastic lyrics that sought to explore the realities of trying to make it in the music industry.
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568.
‘Pretty in Pink’, The Psychadelic Furs (1981)
Influenced by: Sweet Jane • The Velvet Underground (1970)
Influence on: Mr. Brightside • The Killers (2004)
Covered by: Pink Lincolns (1987) • Automatic Seven (1997) • The Dresden Dolls (2005)
Other key track: Mack the Knife (1981)
I haven’t heard of the song or I don’t even think the band if I’m being honest. However, this feels very early 90s pop/rock to me if anything. It is interesting that this inspired a film of the same name as it does feel like the type of track that would end up at the start or end of a teen rom-com. While the guitar and drums are both good, I do feel I particularly enjoy the keyboard work that takes the edge slightly off of the rockier elements of the song, giving it more dynamism and making it catchier in the process.
569.
‘Ghost Town’, The Specials (1981)
Influenced by: What a Feeling • Gregory Isaacs (1980)
Influence on: Hell Is Around the Corner • Tricky (1995)
Covered by: Terry Hall (1995) • The Prodigy (2002) • Get Cape. Wear Cape. Fly (2006) • The Aggrolites (2009) • Kode9 & The Spaceape (2009)
Other key track: Do Nothing (1980)
There are certain genres that you may not be a huge fan of, but you can easily identify the song or two that you really like. I’ve said before I’m not a big fan of ska or two tone – largely because my experience with the genre tended towards revivals and iterations of the original stuff rather than the trendsetters – but I do enjoy this song. The lyrics and overall negative tone was prescient for a time period where riots were kicking off in the UK, people were unhappy with the government, and the band were falling out with each other. Indeed, three quit shortly after it was released. Still, the eeriness of the sirens and the trumpet (I believe that is what it is) help to push the lyrics and the song as a whole to the next level.
570.
‘I’m In Love With A German Film Star’, The Passions (1981)
Influenced by: Fade Away and Radiate • Blondie (1978)
Influence on: The Metro • Berlin (1981)
Covered by: The Names (2002) • Foo Fighters (2005) • Chris Whitley (2005)
There are some songs where just the name makes me want to like them. I think I was hoping for something a little more idiosyncratic than what I got, but that isn’t to say the song isn’t good. Barbara Gogan has a great smokiness to her voice, while the drums, guitar and bass create a backdrop that is hypnotic in nature. It works well for the lyrics – a tale of infatuation having a tune that pretty much locks you in is a happy stroke of luck or musical skill whichever way you look at it. I think the build to the end is also effective, as it could be considered fairly monotonous otherwise.
571.
‘Radio Free Europe’, R.E.M. (1981)
– Original recording
Influenced by: When My Baby’s Beside Me • Big Star (1972)
Influence on: Agoraphobia • Deerhunter (2008)
Covered by: The Replacements (1985) • Just Say No (1992) • Alan Pinches (1997)
Other key track: Sitting Still (1981)
I’m a pretty big fan of R.E.M., but I’ve never really heard any of their earlier stuff. This, to me, feels like it gets on the list primarily for being the first song on their first album if my research is correct. There isn’t anything particularly bad about this, yet there isn’t really anything that makes it stand out amongst some of the other songs on the list. As they head towards the chorus, you get that first sense of the sound that will make them famous as Stipe goes from mumbling the verse to a more soaring vocal, while the overall jangliness of the guitars adds a certain amount of life to the song. Decent, and an interesting snapshot of them so early on.
572.
‘The Message’, Grandmaster Flash and the Furious Five (1982)
This is a hip hop song that has transcended vastly beyond that niche and for all the right reasons. Unlike the usual braggadocious lyrics, it was a song that aimed to explore ideas around inner city poverty. When you throw in the playful keyboard, squealing synths and various other elements, it all comes together to make a song that stood out musically as well as for its message. It isn’t hard to see how this song became such a huge hit in 1982 – it felt different compared to the tunes from its own genre, let alone when you compare to what else was out there. Apparently, only Melle Mel ended up on the song; the rest were on the label seemingly for promotional reasons as much as anything…or at least that is my understanding.
573.
‘365 Is My Number’, King Sunny Ade and His African Beats (1982)
Now this is a fun song. Very much outside of my wheelhouse, yet I always feel that a good percussion can make a song palatable for anyone as it just makes you want to nod your head or tap along. This has that in spades, while there are some interesting use of slide guitar and surf rock elements to make it more interesting to a Western ear, it could be argued. For my own interest, it probably goes a little bit too long overall, but is another song from another culture that I am glad that I’ve had a chance to check out through this project.
1,001 songs to listen to before you die...
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636.
‘Voices Carry’, ‘Til Tuesday (1985)
Influenced by: Only the Lonely • The Motels (1982)
Influence on: I Touch Myself • Divinyls (1991)
Covered by: Gang Green (1986) • Morella’s Forest (1995) • Vitamin C (2005) • Toxic Audio (2005) • Tiffany (2007) • MGMT (2009)
I’m somewhat conflicted by this. As I was listening and reading the book at the same time, I didn’t care too much for what I was hearing until the entry spoke to how the music tonally fit the narrative of the lyrics. I guess that was pretty cool, as was the idea that this was originally written about a lesbian relationship. However, it doesn’t really do too much for me in the grand scheme of things. Aimee Mann does have a pretty good voice, yet I don’t care really about the rest. If it takes the book explaining something for me to show any interest, that isn’t a great indicator of my enjoyment. I’ve heard worse, but I’ve heard a lot better.
637.
‘The Sun Always Shines On T.V.’, A-ha (1985)
Influenced by: It’s My Life • Talk Talk (1984)
Influence on: Beautiful Day • U2 (2000)
Covered by: Hubi Meisel (2002) • Delays (2006) • Atrocity (2008) • And One (2009) • Nadja (2009)
Other key tracks: Hunting High and Low (1985) • Take on Me (1985) • Train of Thought (1985)
The argument here will be that they probably should have gone with ‘Take on Me’ in this spot, but this is arguably a better song. It was also a more successful song, at least here in the UK as it hit Number One (I can only assume the other song didn’t). There is a punch amidst the melancholy pop that I like – perhaps I’ve just heard ‘Take on Me’ much too much over the past three decades, so appreciate the opportunity to enjoy a different song by the band. I’ve not heard loads by them, but I have always thought Morten Harket’s voice is sleek and works well to anchor the band.
638.
‘Get Into The Groove’, Madonna (1985)
Influenced by: Ain’t No Big Deal • Barracuda (1983)
Influence on: Don’t Wanna Lose This Groove • Dannii Minogue (2003)
Covered by: Ciccone Youth (1986) • Mina (1988) • Dale Bozzio (2000) • Superbus (2002) • Missing Persons (2005) • The Medic Droid (2008)
I think Madonna crosses into that group of musicians where it is hard to argue that she hasn’t had a few absolute tunes in her time. To me, ‘Into The Groove’ doesn’t hit the highs of some of her other music, though it is a good chunk of disco-y pop that very much showcases what she had to offer in the mid-80s. I don’t have much more to offer really – you either like it or you are pretty much ambivalent to it when it comes to Madonna in my experience.
639.
‘Running Up That Hill’, Kate Bush (1985)
Influenced by: No Self Control • Peter Gabriel (1980)
Influence on: Speed of Sound • Coldplay (2005)
Covered by: Blue Pearl (1990) • Elastic Band (1994) • Distance (1998) • Faith & The Muse (2001) • Placebo (2003) • Within Temptation (2003) • Chromatics (2007) • Little Boots (2009)
To me, this song all is about the chorus as much as anything else. The meandering about around it works less for me, yet when Bush launches into those few lines, it really begins to take off. Claims in the NME from the time that this was the best single by a British, non-black artist sounds like a bit of stretch to me, but I think if you are really into Kate Bush – something I’ll admit I am not – this could very well be a song you place on that type of pedestal.
640.
‘West End Girls’, Pet Shop Boys (1985)
Influenced by: The Message • Grandmaster Flash & The Furious Five (1982)
Influence on: Jump • Madonna (2005)
Covered by: My Morning Jacket (2005) • The Hotrats (2009) Other key track: Rent (1987)
I’ve always enjoyed what little I’ve heard from the Pet Shop Boys and this is no outlier to that. It is a very good song that has a lot going on, between the talk-rapping, the synth and percussion driving things along, and Marc Almond’s earnest chorus delivery. Apparently, ‘Blue Monday’ by New Order was eventually the song that encapsulated the sound Neil Tennant wanted for the Pet Shop Boys, and you can hear that within ‘West End Girls’ in places. This won an Ivor Novello award for the song of the decade from 1985-1994, so it definitely was lauded by some and the synth/percussion didn’t particularly date and/or age the sound either.