1,001 songs to listen to before you die...

[Curt McGirt]

Fun fact: "Under Pressure" was written during an all-night coke binge. Fitting title, I suppose. 

[Liam]

13 hours ago, Curt McGirt said:

Fun fact: "Under Pressure" was written during an all-night coke binge. Fitting title, I suppose. 

Yeah, the book said it was a night of messing around in the studio. Unsurprisingly didn't mention the coke element.

[Liam]

563.      

‘Tainted Love’, Soft Cell (1981)

Influenced by: Tainted Love • Gloria Jones (1964)   

Influence on: SOS • Rihanna (2006)   

Covered by: David Benoit (1994) • Wild Strawberries (2000) • Marilyn Manson (2002) • Paul Young (2006)   

Other key tracks: Say Hello, Wave Goodbye (1981) • Torch (1982)

This was a song that I listened to for many years without realising it was actually a cover version of a Northern soul song from the 60s. This feels like we are very much heading into the electronic 80s as songs like this begin to turn up on the list. It has always been a tune I’ve enjoyed, while for some it took on a deeper meaning as it was considered lyrically to be relevant to the increasing AIDs epidemic, yet I do believe it lacks a bit of oomph know that I listen to it critically. It is all very soft touch – which is obviously what they were going for – but it makes it seem weaker with age personally.

564.      

‘Walking on Thin Ice’, Yoko Ono (1981)

Influenced by: Ashes to Ashes • David Bowie (1980)   

Influence on: Hunter • Björk (1997)   

Covered by: Elvis Costello & The Attractions (1984) • We’ve Got a Fuzzbox and We’re Gonna Use It (1989)   

Other key tracks: Why (1970) • Kiss Kiss Kiss (1980) • Hard Times Are Over (1981) • No, No, No (1981)

I’ll be honest, I was ready to dismiss this song as being on the list purely due to who wrote it and how it was recorded hours before John Lennon was killed. However, that would do the song somewhat of a disservice. That isn’t to say it is comparable to some of the other, much better tunes that have popped up so far, but the angular guitar and Ono’s restrained vocals add a layer on top of a catchy rhythm section that lays underneath it all. I find the suggestion of an influence on Bjork an interesting one, as there are vocal moments and sounds from Ono that sound not entirely unlike something I’d expect from the younger artist.

565.      

‘Please Don’t Touch’, Motorhead/Girlschool (1981)

Influenced by: Summertime Blues • Eddie Cochran (1958)   

Influence on: Plastic Girl • The Busy Signals (2007)   

Covered by: The Meteors (1989) • Stray Cats (1994)   

Other key tracks: Emergency (1981) • Bomber (1981)

After their drummer broke his neck during a test of strength, Motorhead regrouped by recording an EP with labelmates Girlschool. They each recorded a song from the other band, before coming together for this song under the name ‘Headgirl’. This is a fun slice of rock and roll that comes barrelling out of the speakers and never really relents. Lemmy has a great rock voice as we know, yet it was nicely supported by Kelly Johnson who doesn’t feel any lesser by comparison. Going back to an older rock tune was a good choice as it bridged the gap between rock, metal and even to some extent pop as it was a catchy little number.

566.      

‘Super Freak’, Rick James (1981)

Yeah, so I obviously first heard ‘this’ when MC Hammer decided to lift the beat, and it isn’t hard to see why he did as it is a jaunty mix of what sounds like synthesiser, bass and keyboard, though I could be completely wrong about that composition. It is interesting to see the shift in lyrical content from the time he was signed (1966) to now, as this is all about the sex and unashamed about that. I mean, it is a better song than the MC Hammer tune that liberally lifted from it, but I find it hard to see past that for some reason. It just all seems a bit silly, though that might be to discredit this a little bit too unfairly.

567.      

‘Don’t Stop Believing’, Journey (1981)

I always wondered to what extent this was considered a ‘classic’ song or was just the right song in the right place when it came to a tune people were looking at for television and movies in the mid 00s. That isn’t to question how good it was as a song – sure, some may find it cheesy, but if you are into this AOR style of music, this is a great tune. Steve Perry has ungodly pipes, while the guitar riffs give it a bit of punch to take it a step above a sappy power ballad. At times, you just want a song to singalong to, and this offers that in spades.

[ohtani's jacket]

Gloria Jones actually recorded two versions of Tainted Love. The first was the 1964 Motown sounding recording and the second was a ramped-up 1976 re-recording after the song became popular in the Northern Soul club scene. I prefer the original, but both versions have serious vocal chops. I like the way Soft Cell slowed down the tempo and changed the key. The electronic beat is sweet as well. But they can't hold a candle to Jones' voice. 

 

That Yoko Ono song would have been great if she'd been a better singer. I like what the tune does musically, though. 

Rick James' Street Songs is one of the best albums of the 80s. If you were to ask me Purple Rain or Street Songs, I would take Street Songs every time. Here's a better track from the album:

That album version of Don't Stop Believin' is too slow. The song sounds so much better live. 

 

[Curt McGirt]

"Please Don't Touch" was originally by Johnny Kidd and the Pirates, btw. "Emergency" from the sessions, a Girlschool song played by Motorhead, proved they could write killers too:

Rick was reportedly seriously pissed about Hammer basically stealing his song... until the first royalty check came in, which promptly gave him a new lease on life. And he needed it right about then. I'm with OJ, Street Songs is a killer album. 

Meanwhile Yoko being on this list is a mystery to me as well. Song is good though. It would have amused me more if they had put on "Don't Worry Kyoko (Mommy's Just Looking for Her Hand in the Snow)" however 

[Liam]

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.

[ohtani's jacket]

1981

The list was a real hodgepodge of songs, but that's kind of befitting of the year. Some really good picks, though. Genius of Love, Ghost Town, and Radio Free Europe were songs I had all but forgotten about that I really dug. It Must Be Love was the jingle for a diapers commercial when I was a kid. Not the song's fault, but it was the only one I couldn't take seriously. 

Like I said, 1981 was a real mix of shit. It was a good year for music, but I don't think there was a dominant musical style. There were a million post-punk acts  in '81. You could go down that foxhole and never come back, but they splintered off into so many different sub genres. I'm kind of surprised they didn't include XTC or Gang of Four, as I always thought those bands were critical darlings.  If I had to pick the best song of the year, I reckon it would be Youth of America:

These would be awfully close, however:

 

 

Here's a small sample of other stuff I like from '81:

Spoiler

Sexbomb, Flipper

Sorry for Laughing, Joseph K

The Passion of Lovers, Bauhaus

Poor Old Soul, Orange Juice

Happy All The Time, The Jangletties

Marliese, Fischer-Z 

Eisbar, Grauzone

Inworlds, Chrome (EP)

Afterwards, Artery

Churches, New Musik

Red Tape, The Nits

 

 

[ohtani's jacket]

1981 Cont. 

I want to give a shout out to Aus, which was pumping out some classics in the early 80s:

 

And one from NZ:

On the metal front, the last time I listened to Iron Maiden,  I thought Killers was their best album. Pretty much every metal album I've listened to from '81 has been solid. A few tracks stand out, though:

Spoiler

 

 

 

 

 

I think Mr. Crowley is a 1980 song. There might have been a single in '81, but I always loved that song, and Randy's the best:

I found my list of floor fillers, but the picks for '81 run the length of my arm. I'm gonna go with some interesting ones:

Spoiler

This is Roberta Flack's son:

 

 

 

 

 

 

 

 

 

 

I've got a million of 'em, so I better stop. I'll close this out with Bobby Womack bringing back some 70s soul:

 

[ohtani's jacket]

I forgot The Gun Club.

 

[OSJ]

2 hours ago, ohtani's jacket said:

I forgot The Gun Club.

 

One should never forget The Gun Club, nor should one forget Kid Congo Powers!

For a minute there The Gun Club was runner-up to The Cramps as greatest band in the world.

Edited August 21, 2020 by OSJ

[Liam]

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.

[OSJ]

"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.

[Liam]

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.

[Liam]

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.

[Curt McGirt]

Another drug story: When they recorded "Atomic Dog" George was so high that he had to be literally held up in front of the mic while he rambled whatever gibberish came to him, and that's what's on the song. I believe the beat was played backwards as well, IIRC.

[OSJ]

George Clinton on drugs? I'm shocked, I tell you, shocked!

I'm reminded of the story of someone driving George somewhere and he asked if anyone in the car minded if he smoked. Everyone was polite to the great man and said "Go right ahead!" George pulled out the crack pipe and fired it up...

Edited August 25, 2020 by OSJ

[Liam]

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.

[Curt McGirt]

Wow, props for Venom getting in! And not even a slow song. 

Re: The lyrics, a lot of people still don't get that Venom weren't dead serious -- they were a bunch of drunk Geordies and though not entirely tongue-in-cheek, not without a sense of humor that was like a big, flashing red sign. I mean just looking at the first album they wrote a song about contracting an STD! How serious can you take that?

[ohtani's jacket]

Parliament and Funkadelic were a huge influence on West Coast hip hop and G Funk, so it's no surprise that Clinton's solo stuff would also be sampled.

I always preferred the shorter edit of The Message to the full length version. 

The Go-Betweens were a great band. They went on to release some great songs before splitting in '89. 

 

[Curt McGirt]

I also forgot about the immortal "Red Light Fever" off that first Venom (Welcome to Hell), about... well you know.

Black Metal upped the ante from that base with "Teacher's Pet". About... well you know.

[Liam]

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.

[ohtani's jacket]

Of all the great music Zappa made, they included Valley Girl? The only good thing about that song is that he was a cool dad. 

Edited August 26, 2020 by ohtani's jacket

[Liam]

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.

[Liam]

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.

[Curt McGirt]

31 minutes ago, Liam said:

I’m not always the biggest fan of raw punk bands

This is amusing. I know what you mean, but "raw punk" has become shorthand in the underground for something that sounds far different than the Clash. For example: 

As far as "Rock the Casbah" goes? Eh, it's okay. Perfect example of "pop Clash" and I think a better radio single than "Should I Stay Or Should I Go".