Jump to content
DVDVR Message Board

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


Liam

Recommended Posts

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.

Link to comment
Share on other sites

It wasn't a super-dee-duper year for metal like the previous ones. First Danzig, first Carcass, first Pestilence, second Napalm, Leprosy, Dimension Hatross, Blood Fire Death, Thundersteel, and of course And Justice for All. I'm really surprised they didn't put anything from Jane's Addiction or Queensryche on there because those seem to be the big hard rock records of the year (Nothing's Shocking and Operation: Mindcrime). 

Link to comment
Share on other sites

6 hours ago, ohtani's jacket said:

The other three songs are:

697. Straight Outta Compton- N.W.A.
698. Opel- Syd Barrett
699. Everyday Is Like Sunday- Morrisey

 

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?

Edited by Liam
Link to comment
Share on other sites

15 hours ago, Curt McGirt said:

There's nothing wrong with being maudlin or melancholy. Morrissey is just an asshole. 

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.

  • Like 1
Link to comment
Share on other sites

On 10/23/2020 at 1:28 AM, Curt McGirt said:

It wasn't a super-dee-duper year for metal like the previous ones. First Danzig, first Carcass, first Pestilence, second Napalm, Leprosy, Dimension Hatross, Blood Fire Death, Thundersteel, and of course And Justice for All. I'm really surprised they didn't put anything from Jane's Addiction or Queensryche on there because those seem to be the big hard rock records of the year (Nothing's Shocking and Operation: Mindcrime). 

And Judas Priest's Ram It Down, which features one of my favourite songs of all time Blood Red Skies, which would make for an amazing wrestling entrance theme, if it wasn't over 7 minutes long!

Link to comment
Share on other sites

On 10/22/2020 at 11:38 PM, Curt McGirt said:

There's nothing wrong with being maudlin or melancholy. Morrissey is just an asshole. 

^ This!

  • Like 1
Link to comment
Share on other sites

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.

  • Like 1
Link to comment
Share on other sites

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.

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

1988

I thought there were two big omissions from this year. The first is the lack of anything from Sonic Youth's Daydream Nation. I know there is a Sonic Youth song later in the book, but Daydream Nation is generally the most critically acclaimed album of '88. I would have have thrown in something like Teenage Riot.

Secondly, since they covered so many bases with 'world music', I would have expected something from the Russian band, Kino.

Speaking of omissions, while I'm not a huge fan of the Cocteau Twins, I'm surprised they weren't included in the book considering that pretty much every other significant 80s act was. 

You can feel the rise of indie pop/rock in the songs I've chosen from this year:

Spoiler

 

I didn't realize how much I like The Wedding Present, The Flatmates and The House of Love until I put this post together.

Spoiler

 

There hasn't been any Misfits on the list, which sucks, but they could have at least included some Danzig.

Spacemen 3 would have been a good choice too:

Spoiler

 

Some other gems:

Spoiler

 

And, finally, this hate-filled monster:

 

  • Like 1
Link to comment
Share on other sites

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.

  • Like 1
Link to comment
Share on other sites

That's bullshit about Painkiller. The two albums BEFORE it (Turbo, Ram It Down) were trashed by the critics and their fanbase for being pop-oriented, and also for just generally being poor overall. Painkiller was considered a return-to-form and having more of a harder sound than they'd had in years. 

And then of course, Halford gave up the fight (heh) and walked from the band. 

Link to comment
Share on other sites

9 hours ago, Curt McGirt said:

That's bullshit about Painkiller. The two albums BEFORE it (Turbo, Ram It Down) were trashed by the critics and their fanbase for being pop-oriented, and also for just generally being poor overall. Painkiller was considered a return-to-form and having more of a harder sound than they'd had in years. 

And then of course, Halford gave up the fight (heh) and walked from the band. 

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.

Link to comment
Share on other sites

9 hours ago, Liam said:

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.

There's like 6 songs from Painkiller that SHOULD be played at every Priest gig, but I'm here to sing the praises of Turbo and Ram It Down! I already mentioned Blood Red Skies, but Turbo Lover, Out In The Cold and Reckless are phenomenal songs and they are even more appropriate now that I'm on my Cobra Kai hair metal kick! Rob Baldford probably didn't like the fact that they never accepted his Hair Metal Club for Men application and thus we have such an aggressive album as Painkiller after those two albums!

Link to comment
Share on other sites

Hmmm, interesting. Then again if I was going to Priest I would want to hear something off of so many different albums at that point that I REALLY don't want to hear half of Painkiller, unless they're playing a two hour or something long set. That was their TWELFTH ALBUM. And minus the only half-good Point of Entry, Turbo, and Ram It Down, I can honestly say that I like almost every single song off of all the rest of them.

Edited by Curt McGirt
Link to comment
Share on other sites

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.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...