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

[Liam]

479.      

‘Le Freak’, Chic (1978)

Influenced by: Get Down Tonight • KC & The Sunshine Band (1975)   

Influence on: A Lover’s Holiday • Change (1980)   

Covered by: The Corn Dollies (1990) • The Ukulele Orchestra of Great Britain (2006) • Millionaires (2010)   

Other key track: I Want Your Love (1978)

Fuelled by alcohol, cocaine, marijuana and being kicked out of Studio 54, a song with the lyric ‘ah, fuck off’ soon morphed into ‘Le Freak’. What speaks volumes when it comes to disco songs from this time period is that they run the risk of sounding very of their time, yet the best ones maintain a certain level of timelessness. That isn’t to say that ‘Le Freak’ sounds like it was made yesterday. However, it doesn’t sound as dated as it could have considering the circumstances. The clapping, the group vocals and the well-used strings all add little flourishes in this absolute tune.

480.      

‘Milk and Alcohol’, Dr. Hook (1978)

Influenced by: One Bourbon, One Scotch, One Beer • John Lee Hooker (1974)   

Influence on: Three Times Enough • Nine Below Zero (1981)   

Covered by: Jimmy Keith & His Shocky Horrors (1995)   

Other key track: She Does It Right (1975)

A reference to White Russians that the band were drinking during a night that they ran a red light and got arrested for possession of marijuana, ‘Milk and Alcohol’ was the band’s tenth single. The low buzz of the guitar/bass (I’ll be honest, I wasn’t sure) drive this song forward, creating somewhat of a repetitive tone but one that ties in to a narrative about being arrested and told to tow the line. The book cares more about the song than I did, if I’m being honest. It is perfectly good, but whilst they celebrate the vocals of the lead singer, they left me fairly cold.

481.      

‘Don’t Stop Me Now’, Queen (1978)

Influenced by: The Bitch Is Back • Elton John (1974)  

Influence on: I Believe in a Thing Called Love • The Darkness (2003)   

Covered by: The Vandals (2004) • McFly (2006) • Jeroen van der Boom (2006) • Katy Perry (2009) • The Royal Philharmonic Orchestra (2009)

For those who are not from the UK, this song was victorious (IIRC) when it came to a Top Gear vote for the greatest driving song ever, so that is its reputation on these shores at least. This is all about Mercury – the song is somewhat understated relative to some of what Queen offered, allowing Mercury’s vocals and lyrics to stand above and beyond everything else. This is all about having a good time and that’s what the song provides. Even though the song has been played to death, it still manages to excite in a way that some songs that get overplayed can’t.

482.      

‘Teenage Kicks’, The Undertones (1978)

The favourite song of John Peel almost wasn’t recorded by the Undertones as the commercial appeal of the song was at odds with their more punk interests. I guess it was the timing of their releases, but I always lump this in with songs like ‘Ever Fallen In Love’ as these quick, punchy, fun tunes that get in, do their job, and get out without overstaying their welcome. The song was successful enough to earn the band a record deal with a larger company and it was played at Peel’s funeral. Just a good rock song – little more I can add than that.

483.      

‘You Make Me Feel (Mighty Real)’, Sylvester (1978)

This was a song that I was sure I would know and it took the opening few bars to click that I’d heard this a number of times before.  Sung by an out gay man who often performed in drag, it was a song that the book termed ‘the soundtrack of gay liberation’, coming out as it did only a decade or so after the Stonewall riots. What was added to his repertoire in a move between labels was joining up with Harvey Fuqua (a Motown producer) and Patrick Cowley and his synthesiser. In what is already a lively and fun song, the swooshes and swoops of the synthesiser take it up that further notch and make it an irresistible dance tune.

484.      

‘Human Fly’, The Cramps (1978)

I’m a wrestling fan from the UK, so I obviously love this song as an entrance for Chris Brookes/CCK. As an actual tune, it is the guitar and the effective use of reverb that make this a great tune, alongside wonderfully snarly vocals from Lux Interior, their vocalist. The book suggests they were pioneers of psychobilly, a punk rockabilly crossover, and whether they are or not, there is a twanginess to the guitar line that does speak to that really Southern US rock amidst all of the other stuff going on. Great tune.

[ohtani's jacket]

I guess I overdid it with the links. Sorry about that.

Man, that Pere Ubu song was great. 

[OSJ]

The Cramps were the greatest band of all-time. That is all.

[ohtani's jacket]

This is Les Rallizes Dénudés, a Japanese version of the Velvet Underground, from their 1977 live album:

Spoiler

 

 

[Liam]

Just fyi, I'm on holiday until Friday, so no updates until then.

[ohtani's jacket]

I will take control of the thread >;)

[OSJ]

Little known factoid, the moderator of Wrestling Classics is playing percussion on Le Freak.

[Curt McGirt]

That Japanese song sounds like that one pop song that goes "wherever you go I'll follow, I'll follow..." etc. sang by female singers.

[Liam]

485.      

‘Shake Your Body (Down To The Ground)’, The Jacksons (1978)

Sometimes there is a debate within myself as to what version of a song I should choose. This, whilst coming from a Best of released many years later, was neither a live version nor the eight minute album version that I could have, in theory, gone with. Still, this is the single cut that was released and saw the Jacksons (a label change seeing them lose Jermaine and that ability to call themselves ‘The Jackson 5’) put out a song that was in keeping with the disco era and sparked some renewed interest in their work. This was written partially by Michael Jackson and was an early insight into his ability as a songwriter. It is hooky and makes you want to dance, ticking every box for this type of record at this point in time.

486.      

‘(I Don’t Want To Go To) Chelsea’, Elvis Costello and the Attractions (1978)

Influenced by: I Can’t Explain • The Who (1965)   

Influence on: Way Too Long • Audio Bullys (2003)   

Covered by: The Nutley Brass (1996)   

Other key tracks: Alison (1977) • Watching the Detectives (1977) • Pump It Up (1978) • Radio Radio (1978) • Accidents Will Happen (1979)

Elvis Costello is a musician that I always feel I should have listened to more of, especially as I tend to enjoy what I do hear. A sneering song about the self-absorbed fashion set who hung about the aforementioned Chelsea, this was apparently lifted to new heights by Costello’s new backing band (interesting factoid – his previous backing band went on to the be The News for Huey Lewis). There is a certain swagger to the music in the background, though the synthesiser/organ (whichever it might be) gets a little bit much for me in places. On the other hand, it is the quick burst of bass notes that adds an element of funk behind everything else, turning this song into something even better than it already was.

487.      

‘One Nation Under A Groove’, Funkadelic (1978)

Influenced by: Funky Worm • The Ohio Players (1973)   

Influence on: Oops Upside Your Head • The Gap Band (1979)   

Covered by: Chaka Demus & Pliers (1993)   

Other key tracks: Groovallegiance (1978) • Who Says a Funk Band Can’t Play Rock?! (1978)

I assumed I’d know this song when I turned it on, yet I have no clue as to what it is. It seems reductive to use the word ‘funky’ to describe a band called ‘Funkadelic’, but that does seem like what they are serving up. Apparently this was a step away from some of their more psychedelic offerings, whilst the hand claps, and call and response vocals made this a definite floor filler.

488.      

‘Das Model’, Kraftwerk (1978)

Influenced by: Ricochet, Parts 1 & 2 • Tangerine (1975)   

Influence on: Walk Away • Orchestral Manoeuvres in the Dark (1981)   

Covered by: Big Black (1987) • Rammstein (1997) • Messer Chups (2007)

This sounds a little bit like Kraftwerk decided to engage more with the tuneful element of music on top of their electro-background. Whilst it doesn’t feel as groundbreaking sonically as the first song on the list, this gets kudos for having lyrics that were ahead of their time as it explores ideas around female models and celebrity. They were so far ahead of the curve that it wasn’t until 1982 that the song went to the top of the UK charts after several releases. The synthesiser tune might end up lodged in my brain for the long haul, I believe.

489.      

‘Shot By Both Sides’, Magazine (1978)

Influenced by: Search and Destroy • Iggy & The Stooges (1973)   

Influence on: Just • Radiohead (1995)   

Covered by: No Fun at All (1997) • Mansun (2004) • Radiohead (2007) • Jarvis Cocker (2007)   

Other key track: My Mind Ain’t So Open (1978)

A song that was named after a comment at Howard Devoto’s apolitical beliefs, this had a greater influence in the long run than success at the time. Whilst the vocals are good, it is the climbing guitar sections that make this song for me. Coupled with increasing drum tempos, they are sonically dark to fit a lyrics that also are less than positive in nature. A great debut that has me intrigued as to what else they had to offer.

490.      

‘Public Image’, Public Image Ltd (1978)

Influenced by: Moonshake • Can (1973)   

Influence on: Higher Than the Sun • Primal Scream (1991)   

Covered by: Alphabeat (2008) • Feeder (2008)   

Other key tracks: Religion (1978) • Death Disco (1979) • Poptones (1979) • This Is Not a Love Song (1984)

An interesting song and change in style of Johnny Rotten/John Lydon as he sought to make waves beyond his association with The Sex Pistols. Outside of the noise, this is pretty far removed from what the Pistols had been doing and showed that Lydon was more than capable of producing his own stuff of note. You can still give or take his vocals for the most part in my opinion, but the lyrics fit in with a seeming disenfranchisement with the media presentation of him in the past and there’s enough of a catchy undercurrent to find me nodding along at points.

[ohtani's jacket]

Welcome back.

I'd forgotten how good that Jacksons track is, especially that chorus. 

One Nation Under a Groove... Y'know, at Japanese weddings they never dance, but I wasn't having any of that. At the second party, I had everyone up and dancing to this. 

Elvis Costello has a string of really great albums at the beginning of his career (the first three are the most highly regarded, the rest are perhaps for aficionados.) (I Don't Want To Go To) Chelsea is one of his meaner tunes. He was also capable of heartfelt ballads like this:

 

[Fuzzy Dunlop]

I'm a bit late with this and could easily be accused of being biased seeing as a) The Undertones are from my hometown 2) they're one of my all time favourite bands and d) I don't have a third reason but Teenage Kicks is pretty much one of the greatest songs of all time.

It is 2 and a half minutes of perfection.

Edited July 26, 2020 by Fuzzy Dunlop

[Curt McGirt]

Best cover ever.

[Liam]

 491.      

‘Alternative Ulster’, Stiff Little Fingers (1978)

Influenced by: Ulster • Sham 69 (1977)   

Influence on: Church of Noise • Therapy? (1998)   

Covered by: London Punkharmonic Orchestra (1998) • Voice of a Generation (1999)   

Other key tracks: Suspect Device (1979) • At the Edge (1980) • Listen (1982)

I love the opening riff for this song – that’s worth noting right at the start. A song coming out of Northern Ireland, this focuses mainly on the punk themes of feeling alienated and not really having anything to do. If you like your music in keeping with the punk side of things, this is a song for you. For me, it never quite recaptures my interest after the opening, but I can easily understand its merits.

492.      

‘(White Man) In Hammersmith Palais’, The Clash (1978)

Influenced by: Police and Thieves • Junior Murvin (1976)   

Influence on: Jah War • The Ruts (1979)

Covered by: 311 (1999) • Fighting Gravity (1999) • Manic Hispanic (2001) • Built to Spill (2003) • Colin Gilmore (2004)

Our first and I’m guessing not last engagement with The Clash. This was considered by Joe Strummer himself as the best song he wrote and was an attempt to mix punk with the reggae roots sound that he so enjoyed. Alongside a rock guitar and reggae beat, Strummer’s lyrics are very political, calling on wealth redistribution and white/black youth coming together. He also questions that rise of the National Front. I particularly like Mike Jones and his harmonising; it is simple, but adds an effective additional layer to the vocals. There are other Clash songs I much prefer, but I get why Strummer held this in such high regard.

493.      

‘Ambition’, Subway Sect (1978)

Another UK punk act, but one cut from a different cloth from a lot of the other bands that have been spotlighted so far. Vic Godard wrote this song and provided the vocals, ones that are nasally and whiny especially relative to the pretty robust guitar work. It creates a catchy, some might argue poppy, take on punk. One of the odder additions to the tune is the sound effects from what I can only assume is the computer game Pong in the background. They aren’t even used subtly, as they take prominent space during the chorus and are the last sounds you hear as the song fades out. Decent, if nothing more.

494.      

‘Hong Kong Garden’, Siouxsie and the Banshees (1978)

Named after a Chinese restaurant and aimed to celebrate Chinese people in general after Siouxsie saw the owners of said restaurant abused by skinheads, this is a really punchy piece of what they call post-punk. The electric xylophone gives a suitably ‘Chinese’ sound to the proceedings, whilst Siouxsie’s vocals almost feel like calls to arms in her insistent delivery. This song packs a punch at just under three minutes – I’ve talked about momentum with songs in the past and that is how this tune feels. Some of it sounds a bit hackneyed now, but the overall sound of the band is one that intrigues me.

495.      

‘Being Boiled’, The Human League (1978)

Influenced by: Showroom Dummies • Kraftwerk (1977)   

Influence on: Just Fascination • Cabaret Voltaire (1983)   

Covered by: Beborn Beton (1994) • Heaven 17 (1999) • Simple Minds (2001)

This is an interesting song as it was first released in 1978, before rising to interest at a time when the majority of the band had left and moved on to different things. You can see where the Kraftwerk influence comes with the sparse electronic instrumental, whilst Phil Oakey’s vocal delivery isn’t monotonous but doesn’t do much beyond delivering some rather spaced out, pro-vegetarian (apparently) lyrics. This is especially interesting when you contrast it to the more popular ‘Don’t You Want Me’ – you can hear the embryonic ideas, though that chose to embrace the poppier side of things in a way this doesn’t quite. I really like it, truth be told.

496.      

‘Rock Lobster’, The B52’s (1978)

Influenced by: Beach Party • Annette Funicello Funicello (1963)   

Influence on: Hey You Girl • Pitbull (2006)   

Covered by: Dead Horse (1991) • Boy Division (2008)   

Other key tracks: 52 Girls (1978) • Planet Claire (1978) • Party Out of Bounds (1980) • Private Idaho (1980) • Summer of Love (1986)

There’s a barely suppressed mania behind all of this, with the insistent electronic organ chords sounding like the prelude to a mental breakdown. Couple that with shrieking female vocals and barking delivery of the lead vocalist and this has an undercurrent of something a lot darker than it is. That they manage to take this to seven minutes in length is almost impressive, though there is the underlying surf-pop tone that makes it an enjoyable listen.

[Curt McGirt]

"One-album band", but what an album. 

[OSJ]

5 minutes ago, Curt McGirt said:

"One-album band", but what an album. 

When you record an album that is this good there is simply nowhere to go from there.

[Fuzzy Dunlop]

Aw man, I love the shit out of Stiff Little Fingers too although, in saying that, At The Edge might well be my favourite song of theirs:

I had always heard about them and The Undertones making jibes at each other because one of them sang a lot about the Troubles here and the other sang mostly about teenage dreams, Mars bars and their cousin Kevin. I mean, I don't know how one could possibly make jibes about any band whose song has the lyrics  ''He's got a fur lined sheepskin jacket, my ma said they cost a packet'' and ''His mother bought him a synthesizer, got the Human League in to advise her'' but there we go.

Edited July 26, 2020 by Fuzzy Dunlop

[ohtani's jacket]

5 hours ago, Curt McGirt said:

"One-album band", but what an album. 

You don't like Nobody's Heroes?

[Curt McGirt]

7 hours ago, ohtani's jacket said:

You don't like Nobody's Heroes?

You know, I'm an ass -- I've never listened to it, just always thought they were one of those "one album bands" from word of mouth. And now I'm listening to it and eating my foot. 

[Liam]

497.      

‘Roxanne’, The Police (1978)

Influenced by: Soul Rebel • Bob Marley & The Wailers (1970)   

Influence on: Who Can It Be Now? • Men at Work (1981)   

Covered by: Aswad (1997) • George Michael (1999) • Fall Out Boy (2005) • Michael Paynter (2008)

Apparently coming during a year that started with the Police having no record label deal or money, this song was inspired by Sting’s time spent at a festival in Paris. The earlier Police stuff apparently tried to ride the punkier wave of this time period, but they got nowhere. Instead, some more reggae and jazz elements fit more with their overall aesthetic, and this was eventually a hit. Sting’s earnest vocals are a highlight, as well as the building layers of the instruments as they head out of a relatively sparse opening into the rest of the song.

498.      

‘Another Girl, Another Planet’, The Only Ones (1978)

Influenced by: Lonely Planet Boy • New York Dolls (1973)   

Influence on: You Can’t Put Your Arms around a Memory • Johnny Thunders (1978)   

Covered by: The Replacements (1989) • London Punkharmonic Orchestra (1998) • Jack Hayter (2002)

The biggest compliment I can pay this song is that it feels timeless. This might be due to its use in commercials and films, or the amount of different bands that have covered it, but I think it speaks more to how good of a rock song it is. This was their only ‘hit’ (it went to 57 in the UK charts), but everything about this screams that it should have gone higher. A great introduction, interesting lyrics and a mid-song solo all help to create something that sounds more classic than it really ever was.

499.      

‘Germ Free Adolescents’, X-Ray Spex (1978)

Influenced by: Heavy Manners • Prince Far-I (1976)   

Influence on: Not a Pretty Girl • Ani DiFranco (1995)   

Covered by: The Levellers (1997) • Michael Monroe (2003) • Studio 99 (2006)   

Other key tracks: Oh Bondage Up Yours! (1977) • The Day the World Turned Day-Glo (1978) • Identity (1978)

This was not entirely what I expected…though I’m not quite sure what I expected to be quite honest. Poly Styrene, the lead singer, is the complete and utter star of the show. With a fairly slow rhythm that is at odds with the punkier elements of the band, Styrene is an absolute tour de force on vocals. Powerful, sarcastic, genuine, catchy: her vocals and delivery are what makes this a song that was beyond my admittedly unclear expectations. Great stuff.

500.      

‘Runnin’ With The Devil’, Van Halen (1978)

Influenced by: Dealer • Deep Purple (1975)   

Influence on: Lay It Down • Ratt (1985)   

Covered by: Bryan Clark (2003) • Whitney Morgan & The Waycross Georgia Farmboys (2006)   Other key tracks: Eruption (1978) • Ain’t Talkin’ ’bout Love (1978) • Jamie’s Cryin’ (1978)

Sitting half way through our countdown is what I can only assume is the first of a few appearances by Van Halen. For me, they are a prototypically 80s band so to see them pop up in 1978 is surprising. This is the debut song from their debut album and set the tone for what Halen had to offer in terms of their rock and roll stylings. I’ve never listened to a lot of Van Halen, but this feels re-invigorating to a scene that seemed to be lacking something truly exciting at this time. There’s enough swagger, falsetto vocals and guitar licks to get people excited, propelling the band into the limelight.

HALFWAY POINT!

[Liam]

501.      

‘Hammond Song’, The Roches (1979)

Maggie, Terre and Suzzy Roche formed the trio that – after Paul Simon had helped get the first two get started – released ‘Hammond Song’ at the tail end of the 70s. This feels different with a lot of the songs that have been on the list so far: it is folky, sure, but there is a dreaminess about the relatively sparse guitar work when it becomes removed from the harmonies, harmonies that are the real essence of what they seem to offer as a trio. There is something nice and pleasing going on here, yet it doesn’t extend much beyond that for me. Right time, right place, right moment, this could be a song that really works for someone.

502.      

‘Heaven’, Talking Heads (1979)

I’ve not heard as much Talking Heads as I feel I probably should have done, but if the book is anything to go by, this isn’t necessarily in keeping with the rest of their material. David Byrne on this song looked to explore the afterlife, presenting it as both tranquil and maybe a little bit boring. There is less ‘busywork’ than the other songs I’ve heard by the band, which allows the message and the echoey production to do the heavy lifting. An interesting song, if nothing else.

503.      

‘Eton Rifles’, The Jam (1979)

Influenced by: Substitute • The Who (1966)   

Influence on: What a Waster • The Libertines (2002)   

Covered by: The Nutley Brass (1996) • Stereophonics (2009)   

Other key tracks: In the City (1977) • English Rose (1978) • The Butterfly Collector (1979)

The feeling of aggression is palpable from the opening note right through ‘Eton Rifles’. A song about class inequality that came to Paul Weller following a clash between Eton students and left-wing demonstrators, it is a very British song inasmuch as I think we do songs about class differences in lieu of the lack of ‘the road song’ that the US loved. The intro kicks this song immediately into gear and the whole thing feels very angular, hitting its peak in the hooky, yet aggressive chorus. No messing around here from Weller.

504.      

‘London Calling’, The Clash (1979)

Influenced by: Dead End Street • The Kinks (1966)   

Influence on: Don’t Break the Red Tape • The Enemy (2009)   

Covered by: The Pogues (1993) • Captain Tractor (1995) • One King Down (1999) • The Business (2003) • Gelugugu (2003) • Bruce Springsteen (2009)

As might have become clear in this reviews, I’m not always the biggest fan of ‘punk’ bands. I’m much more into rock and metal, with punk never really hitting the same note for me. However, The Clash probably stand above many of those other bands as an act I do genuinely like. It helps that they were able to write storming tunes like ‘London Calling’, with much more interesting and bigger ideas than their recent contemporaries in the punk scene. I’m sure they weren’t the only ones doing it, but they tackled weightier social and political issues in a way that helps them still to resonate today in a way that say The Sex Pistols don’t to me.

505.      

‘Transmission’, Joy Division (1979)

Influenced by: Funtime • Iggy Pop (1977)   

Influence on: Obstacle 1 • Interpol (2002)   

Covered by: Submarine (1995) • Low (1996) • The Smashing Pumpkins (1998) • New Order (2002) • Bauhaus (2006) • Innerpartysystem (2008) • Hot Chip (2009)

I think you either like what Joy Division does or you don’t. Though I don’t listen to a lot of their stuff, I am a fan of what I hear and ‘Transmission’ is a good slice of what they offered during their all too short time in existence. The robotic delivery alongside the spacious production presents an eerie backdrop that allows Curtis’ vocals to slowly rise in intensity and desperation. With Joy Division and New Order, it always felt to me like it was taking relatively straight forward beats and chords, but became all about the looping and the layering. That is pretty prevalent on ‘Transmission’, which doesn’t do anything too complicated, yet sounds excellent.

506.      

‘Voulez-Vous’, ABBA (1979)

Influenced by: Stayin’ Alive • Bee Gees (1977)

Influence on: Drama! • Erasure (1989)   

Covered by: High Inergy (1979) • HAM (1990) • Erasure (1992) • Culture Club (1999) • Morgana Lefay (2001)   

Other key tracks: Waterloo (1974) • S.O.S. (1975) • Knowing Me, Knowing You (1976)

I don’t think it is a particularly bold claim, but I do feel that very few acts can challenge ABBA when it comes to pure songwriting ability. It is rare to find a song of theirs that isn’t pure earhooky enjoyment and whilst some songs of theirs have been overplayed in the years since they were created, many still hold up today. ‘Voulez-Vous’ isn’t one of my favourite by them, but it is a good pop song that hits the ground running, merging disco with their pop sensibilities to create a great tune. The book suggests that its relative lack of success has made it all the more enduring; a statement I can support as it still bops even today.

[ohtani's jacket]

1978

So the 1910s-70s only produced half of the songs you should listen to before you die, and the 80s-10s produced the other half? I dunno about that. The 70s did have more songs than any other decade, I suppose. 

In '78, we're getting into the beginnings of post punk and new wave. I was surprised that Psycho Killer wasn't included. It looks like they included a Talking Heads song in the next group of songs, but I would consider Psycho Killer to be one of the definitive tracks in rock history. 

I was also surprised by no September from Earth, Wind and Fire. How can you go your entire life without hearing that song? 

I kind of expected something from The Cars as well -- maybe Just What I Needed -- but I think they might be coming up soon. No Cheap Trick? Surrender's not bad. I thought they would go with Joe Jackson's Is She Really Going Out With Him? too. That's a pretty great pop tune. 

I thought they might include Judas Priest too, but instead we got Van Halen. 

I won't include links anymore, but here are songs I like from '78:

City Slang, Sonic's Rendezvous Band (perfect song for the book, IMO)
Dot Dash, Wire (they keep overlooking this band)
Down In the Tube Station at Midnight, The Jam
Aloha Steve And Danno, Radio Birdman
Adult Books, X
Where Were You? The Mekons
Street Where Nobody Lives, Pagans
Better Off Dead, Wipers
It's the New Thing, The Fall
Hit Me With Your Rhythm Stick, Ian Dury & The Blockheads
You Can't Put Your Arms Around A Memory, Johnny Thunders
We Got the Neutron Bomb, The Weirdos
American Squirm, Nick Lowe 
What Do You Want Me To Do, The Pointed Sticks
Don't Ask Me Questions, Graham Parker
Bombers, Tubeway Army
Slash Your Face, The Dogs
Judy Says (Knock You in the Head), The Vibrators
Bored, Destroy All Monsters
Kill City, Iggy Pop & James Williamson
Kerouac, Willie Alexander and the Boom Boom Band
Rocket to Nowhere, Mike Rep & the Quotas
Horizontal Action, Psycho Surgeons
I Want To Be An Anglepoise Lamp, The Soft Boys
Ghosts of Princes in Towers, Rich Kids
Picture My Face, Teenage Head
She Don't Know Why I'm Here , The Last
Funky But Chic, David Johansen 

Disco had almost killed funk, but there were still some good acts like Heatwave, Instant Funk, The Bar-Keys, Slave, The Brothers Johnson, Brick, Con Funk Shun, Brass Construction, Hi-Tension, and Lakeside. There were a couple of new guys on the scene too by the name of Prince and Rick James. I like a good disco tune too. I Love the Nightlife, Boogie Oogie Woogie, Spank and I Love the Nightlife are all monster disco tracks. Leroy Huston's Never Know What You Can Do (Give It A Try) is another smoking tune.

 

Edited July 30, 2020 by ohtani's jacket

[ohtani's jacket]

I will include some links for New Zealand and Aussie bands:

Debut single from the Go-Betweens. Fun song about actress Lee Remick.

Spit Enz

The Numbers (who changed their name to The Riptides)

Pub rock classic.

 

[Liam]

507.      

‘Beat The Clock’, Sparks (1979)

Influenced by: I Feel Love • Donna Summer (1977)   

Influence on: Planet Earth • Duran Duran (1981)  

Covered by: Bent Boys (1993)   

Other key tracks: Amateur Hour (1979) • Never Turn Your Back on Mother Earth (1974) • The Number One Song in Heaven (1979)

Sometimes, I have no real idea of how many tracks could turn up for a band. For me, ‘Beat The Clock’ is an unexpected second Sparks song considering I felt that ‘This Town…’ was likely to be their only involvement. This had a much greater influence than I was aware of, as the duo eschewed the rockier work of yesteryear to become a synth duo with clear nods to disco (Girgio Moroder had worked with Donna Summer on ‘I Feel Love’). A fun slice of electro/disco-pop that was probably ahead of its time with its use of synths, this paved the way for more synth-based escapades by musical acts in the 80s.

508.      

‘Oliver’s Army’, Elvis Costello and The Attractions (1979)

Influenced by: Dancing Queen • Abba (1976)   

Influence on: Shipbuilding • Robert Wyatt (1982)  

Covered by: Billy Bragg (1988) • Blur (1993) • Raimundos (1997) • Peter Mulvey (2002) • Belle & Sebastian (2002) • Minibar (2003) • Dirty Pretty Things (2006) • Bill Janovitz (2008)

Some of the influences/influence on stuff is always interesting: whilst I would never have thought of ‘Dancing Queen’ when I heard this, it is clearly an inspiration when it came to the piano motif. A song whose overall tone is completely at odds with the message, a generally sunny sounding tune is the backdrop for an anti-war message from Costello. Costello was quoted in 1982 as stating the song was “A grim heart in the middle of an Abba record.” – can’t really sum it up better than that. I love songs that have juxtaposed tones/lyrics, so have particular enjoyment of this tune.

509.      

‘Tusk’, Fleetwood Mac (1979)

Influenced by: Born in Captivity • The Alpha Band (1977)   

Influence on: Brother Sport • Animal Collective (2009)   

Covered by: R.E.M. (1991) • Camper Van Beethoven (2002)   

Other key track: Gold Dust Woman (1977)

This feels a world away from the music that came off of the ‘Rumours’ album; a double album that saw more of a focus on Lindsey Buckingham’s new wave experimentation. My only real knowledge of this album comes from this scene from the Mighty Boosh (admittedly, a personal favourite):

Outside of that…the song is alright, I guess? The marching band stuff is definitely something different relative to a lot of what is on the list and the lack of much in the way of lyrics doesn’t stop the song being very listenable. However, it isn’t ‘Rumours’, so I’m just not that interested.

510.      

‘Gloria’, Umberto Tozzi (1979)

It has been a while since an Italian song has found the list, so now we have ‘Gloria’. Now, I’m not sure if I’ve heard this song, but I’ve definitely heard the tune. The riff ended up in songs such as ‘Physical’ by Olivia Newtown John, and one of my absolute favourite songs in ‘Disco 2000’ by Pulp. This is big and catchy, leading to a song that bounced around the world, re-recorded in the US and UK by other artists. This is music as big, dumb fun for me and is all the better for it.

511.      

‘Black Eyed Dog’, Nick Drake (1979)

Nick Drake’s story is a pretty sad one, one of a man who felt underappreciated, battled depression, and eventually killed himself. This was actually recorded in 1974 and is a clear statement about either Drake’s depression or ideas around the Devil, which I guess can easily be linked to depressive states as well. Whilst an interesting snapshot of Drake’s mindset at this time, I prefer the first song of his that made the list. There’s a certain level of enjoyment to be had from all Drake’s work in my opinion though, so am glad to see this on the list.

512.      

‘Are Friends Electric?’, Gary Numan (1979)

Influenced by: The Man-Machine • Kraftwerk (1978)   

Influence on: Metal • Nine Inch Nails (2000)   

Covered by: Replicants (1995) • An Pierlé (1996) • Moloko (1997) • Information Society (1997) • Republica (1997) • Rosetta Stone (2000) • Chris Whitley (2006) • Weezer (2008) • The Dead Weather (2009)

Another act who moved away from punk rock to something that ended up fitting their musical aesthetic much better. This sounds like the natural extension of the music by Kraftwerk and Sparks that has already popped up on the list with the robotic, hypnotic use of synthesisers the ultimate takeaway from the song. According to Numan, this was the first electronic UK number one – whether that is true or not, it was definitely another song that began to move music in a different direction come the turn of the decade.

[Curt McGirt]

On 7/29/2020 at 9:09 PM, ohtani's jacket said:

I won't include links anymore, but here are songs I like from '78:

*posts best list yet*

Dammit, just put 'em in a spoiler tag

I'll go ahead and do the Priest. They put out two albums in '78:

 

 

Edited July 31, 2020 by Curt McGirt

[Liam]

513.      

‘Boys Don’t Cry’, The Cure (1979)

Influenced by: Love You More • Buzzcocks (1978)  

Influence on: Feed Me with Your Kiss • My Bloody Valentine (1988)   

Covered by: Tuscadero (1995) • Lostprophets (2004) • Superbus (2005) • Grant-Lee Phillips (2006) • Reel Big Fish (2006) • Razorlight (2006)

Not my favourite song by The Cure, but definitely up high on the list, ‘Boys Don’t Cry’ is a poppier song than a lot of their other offerings. It flopped, though that couldn’t have been helped by it initially not even ending up on their debut album (it was re-released a year later, then another six years later with a different vocal). To me, it is very no thrills, but all the better for it. Poppy rock at its best.

514.      

‘Good Times’, Chic (1979)

With a huge backlash already underway against disco as a musical genre, this was the last successful song released by Chic. I run the risk of going back to my ‘groovy’ descriptions of yesteryear, but it really is – the guitar work underneath everything lays the groundwork for lyrics that actually jabs at the ‘good times’, coming as they did during a rather large recession. What I have noticed throughout these disco songs is that the clap is a core component of any song has been produced with the hopes of getting people on the floor.

515.      

       What I think is most amazing about this song was that it came from his debut album and was the first song in which Jackson had artistic control. Whatever you think of the man he became, this is insanely good record to bring out as the first one that has any of your fingerprints on it. Perhaps lacking some of the lyrical interest and slightly deeper tones of other songs by Jackson that were still to come, it does still compare quite favourably with the rest of his catalogue. He comes out of this song fully formed, vocal tics that became his trademark and all.

516.      

‘Lost In Music’, Sister Sledge (1979)

Nile Rodgers and Bernard Edwards were given the pick of Atlantic’s roster to produce music for, choosing to eschew choices like the Rolling Stones to work with Sister Sledge instead. The plan wasn’t to be the guys who ‘turned an act disco’, but try and push an act on to bigger heights, something they clearly achieved. Sister Sledge were four singers, with Kathy providing the bulk of the main vocals, vocals that are warm and emotive. This takes some of the elements of disco without losing some of the…I guess rhythm and blues…that the group were able to provide. As could be expected, Rodgers (I’m guessing) guitar work is great.

517      

‘Brass In Pocket’, The Pretenders (1979)

Based on the band and the way it was spoken about in the book as a sure fire hit, I assumed I’d know this as soon as I listened to it, and that was exactly the case. Had no idea what it was called or that it was the Pretenders, but hey ho. It is weird I’d never attributed it to the Pretenders as Hynde’s vocals are very distinctive, vocals that I particularly enjoy in the few songs I’ve heard. Apparently she hated the commercial nature of the song, but when you have a hit on your hands, I guess you’ve got to put it out there for the masses. It doesn’t do too much instrumentally (with a riff possibly taken from a Barry White song), allowing Hynde’s yearning vocals to do most of the work.

518.      

‘Outdoor Miner’, Wire (1979)

I really don’t know what to make of this. What makes it even more interesting is watching the lyrics video as I listened to it – apparently it is about an insect, but the lyrics seem to go much further beyond that. The book seem to include this song mainly because of it being a departure from the band’s sound and their most popular song. The layering of the two vocals towards the end is a neat way to bring this to a crescendo and a finish, whilst the overall song is very catchy for its admittedly short run time. I enjoyed it enough that I played it again after I’d finished – probably as much to get my head around it as anything.

SELF EDIT: I had to then listen to it a third time as I realised I was playing the video at 1.25x speed. Still, my words remain the same.