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


Liam

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519.      

 

‘Rapper’s Delight’, The Sugarhill Gang (1979)

I’ll leave it up to you as to which version you’d rather listen to. Largely considered (but perhaps controversially) the first ‘rap’ song, it was apparently spawned out of some messing around with largely throwaway rhymes and a reconstruction of the bass line from ‘Good Times’. Whatever it was, it is undeniably fun and there are few people I imagine who don’t come away from this song with at least the opening little rap stuck in their head. Apparently this was considered largely a joke by the New York hip-hop fraternity, but whatever it was, it sold a shedload and has had a lot of staying power. A song that is simply very enjoyable.

520.      

‘California Uber Alles’, Dead Kennedys

Influenced by: Holidays in the Sun • Sex Pistols (1977)   

Influence on: Giuliani Über Alles • Hasidic New Wave (1999)   

Covered by: Disposable Heroes of Hiphoprisy (1992) • Six Feet Under (2000) • Jello Biafra with The Melvins (2005) • The Delgados (2006)

This is a great song. I vaguely remember Jello Biafra’s name popping up as I tried to get into more alternative music when I was in my twenties, but I don’t really remember exploring his back catalogue much in the grand scheme of things. However, this comes straight out of the speakers and slaps you about the face. Biafra’s vocal gymnastics are great throughout, moving from snarly to sarcastic with ease, while the chorus adds that element of pop that makes this a great song to headbang and sing along to in equal measure. I’m sure if I understood the politics a bit more, there are probably even more layers to enjoy.

521.      

‘Typical Girls’, The Slits (1979)

Influenced by: Identity • X Ray Spex (1978)  

Influence on: She Walks on Me • Hole (1994)   

Other key tracks: Adventures Close to Home (1979) • Instant Hit (1979) • Love und Romance (1979) • Shoplifting (1979) • Spend, Spend, Spend (1979)

This does feel like several songs thrown together, covering a range of different genres such as reggae, punk and girl pop. I don’t know how groundbreaking this song was or the band itself, but it is interesting to hear women producing more alternative music than what has ended up on the list thus far. The jagged changes in pace and rhythm could be considered awkward, yet they make this a more memorable song than it might otherwise. There is a swagger about the song that I do enjoy – there was no attempt to kowtow to what was popular or what might have been expected of them as a girl band.

522.      

‘Atomic’, Blondie (1979)

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

Influence on: Into the Groove • Madonna (1985)   

Covered by: The Mission (1992) • Sleeper (1996)   

Other key tracks: Rip Her to Shreds (1976) • Denis (1978) • Hanging on the Telephone (1978) • Picture This (1978) • Dreaming (1979) • Union City Blue (1979)

A song that begins with an intro that sounds like a disco in a spaghetti western, ‘Atomic’ is the second Blondie tune to make the list and the weaker of the two in my opinion. That doesn’t mean this isn’t a fun slice of disco-pop, it just does less for me especially as I do feel it loses momentum as the track progresses with the extended instrumental section. With Debbie Harry such a focal point, a song that reduces her role to being a bookend doesn’t totally work for me. This was another hit for the band though, who had 10 top 10s in three years – impressive output.

523.      

‘Gangsters’, The Specials (1979)

Influenced by: Al Capone • Prince Buster (1964)   

Influence on: The Prince • Madness (1979)   

Covered by: Fun Boy Three (1994) • Citizen King (1999) • The Louisville Sluggers (2001) • Dub Pistols (2007)   

Other key tracks: A Message to You, Rudy (1979) • Nite Klub (1979) • Too Much Too Young (1980)

This was a song that I assumed I’d know when I heard it, but had no actual clue once it began. That is probably due to the book choosing The Specials first song under that moniker, an attempt apparently to mix reggae and punk that ended up instead working as a ska revival. I’ll be completely honest – I’m not a huge fan of ska, or at least ska as I know it in the years I’ve been alive. However, what I’ve heard of the Specials has always sounded good, probably because it became the ‘authentic’ sound of ska revival that everyone sought to sound like. This isn’t as good as some of their songs in my opinion, but gets in off of historical importance at least.

524.      

‘Cars’, Gary Numan (1979)

Influenced by: Always Crashing in the Same Car • David Bowie (1977)   

Influence on: Koochy • Armand Van Helden (2000)   

Covered by: Frank Zappa (1980) • Hole (1995) • Shampoo (1995) • Fear Factory (1998) • The Leisure Society (2009) • Nine Inch Nails (2009)

This is a song that I love perhaps more than I realise. It isn’t one that ever pops into my head when I’m compiling playlists or collections of songs, yet whenever I hear it, I enjoy every last bit of it. The synth riffs and the overall melody set a tone that seems positive, though one that somewhat opposes the lyrics that are about being isolated and distanced from people. There is an extended instrumental that maintains the momentum whilst affording some variety to the tune. Top stuff.

 

‘California Uber Alles’, by Dead Kennedys is probably the best 'new' song for me. I've heard other stuff by them but somehow not that song.

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1 hour ago, Liam said:

I’m sure if I understood the politics a bit more, there are probably even more layers to enjoy.

https://en.wikipedia.org/wiki/Jerry_Brown

Quote

In 1978, San Francisco punk band the Dead Kennedys' first single, "California Über Alles", from the album Fresh Fruit for Rotting Vegetables, was released; it was performed from the perspective of then-governor Brown painting a picture of a hippie-fascist state, satirizing what they considered his mandating of liberal ideas in a fascist manner, commenting on what lyricist Jello Biafra saw as the corrosive nature of power. The imaginary Brown had become President Brown presiding over secret police and gas chambers. Biafra later said in an interview with Nardwuar that he now feels differently about Brown; as it turned out, Brown was not as bad as Biafra thought he would be, and subsequent songs have been written about other politicians deemed worse.[52]

It always amused me that their biggest song was them coming after an ostensibly liberal politician when Biafra had far larger fish to fry at the time -- but then reading the Wiki you see Brown could be almost as big of a piece of shit as the rest of them

Quote

In 1975, Brown opposed Vietnamese immigration to California, saying that the state had enough poor people. He added, “There is something a little strange about saying ‘Let’s bring in 500,000 more people’ when we can’t take care of the 1 million (Californians) out of work.”[25][26]

EDIT: And of course, lest I forget, they did change up the lyrics for good old Dutch 

 

Edited by Curt McGirt
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525.      

‘Babylon’s Burning’, The Ruts (1979)

Influenced by: War in a Babylon • Max Romeo (1976)   

Influence on: Babylon’s Burning the Ghetto • Lethal Bizzle (2007)   

Covered by: Zion Train (1996) • London Punkharmonic Orchestra (1998) • Die Toten Hosen (2000) • Don Letts (2005) • Kid Loco (2005)

Wow, this is good. This was like a punch straight to the face as I’m sure it was intended to be. Linking to a more modern act that I’ve always liked what I’ve heard from, this reminds me of a punkier Skindred. There had been a lot of cross pollination between punk and reggae in terms of influences, yet this is the first song on the list that really wears its influences on its sleeves in this fashion. The guitar work is great and searing in its intensity; the sound effects add a sense of tension, channeling the ‘anxiety’ that is prominent in the lyrics. Sad to hear that the main singer’s heroin addiction saw him die only a year later.

526.      

‘Message In a Bottle’, The Police (1979)

Influenced by: Watching the Detectives • Elvis Costello (1977)   Influence on: Daylight Goes • Grand National (2004)   Covered by: Excel (1989) • Leatherface (1991) • Maxi Priest (1996) • Machine Head (1999) • Wolfgang (2001) • John Mayer (2003)

Listening to this song after ‘Roxanne’, it is clear that The Police are good at minimal, engaging openings. This has a sense of momentum from the start that never really lets up, especially as it shifts engagingly from chorus to verse and back again. Though the lyrics are quite bleak until the final verse, there is an upbeat tone throughout most of it; the guitar work isn’t overly complex, yet is very catchy. It all adds up to a crowd pleaser.

527.      

‘The Winner Takes It All’, ABBA (1980)

Influenced by: Go Your Own Way • Fleetwood Mac (1977)   

Influence on: Total Eclipse of the Heart • Bonnie Tyler (1983)   

Covered by: The Corrs (1999) • Martine McCutcheon (2002) • Anne Sofie von Otter (2006)

Into the 80s with an ABBA tune that I think benefits from not having been unduly overplayed like some. This saw them move away from the more disco-tinged work of the 70s and produce a song that laid bare a lot of the sadness in their lives at this moment. While Bjorn suggested that his divorce from Agnetha the previous year wasn’t being channelled in this song, the vocals by her carry an earnest anguish that could only really use that upset as a starting point. It is great pop – it is what ABBA is all about, but it is also perhaps them at their best in terms of lyrics.

528.      

‘Rapture’, Blondie (1980)

Influenced by: Rapper’s Delight • The Sugarhill Gang (1979)   

Influence on: The Adventures of Grandmaster Flash on the Wheels of Steel • Grandmaster Flash & The Furious Five (1981)   

Covered by: Erasure (1997) • Alicia Keys (2010)

I don’t think I have ever heard this song, which surprised me as I just assumed that anything that was a Blondie hit would have crossed my path at some point or other. This is a song that makes the list because it was groundbreaking (the first ‘hip-hop’ number one), yet I don’t think it dates well at all. It doesn’t help that it felt like two songs welded together rather than a natural segue from one to the other. Maybe if I’d heard it when I was younger (or magically when it was released in the 80s) this might have meant a bit more to me. I’ll give the saxophone work its due – the best bit of the song for me.

529.      

‘While You See A Chance’, Steve Winwood (1980)

The book proclaims this as having the DNA of the AOR (adult oriented rock) musical movement and I can see what they are getting at as it doesn’t sound too dissimilar to the types of song Phil Collins will make a lot of money off. Unfortunately, the synth keyboard doesn’t age well at all, sounding high pitched and squelchy, for lack of a better word. However, Winwood himself provides a decent vocal, a sign of things to come with this style of music: catchy, largely inoffensive, untaxing.

530.      

‘Heartattack and Vine’, Tom Waits (1980)

This is more of the Tom Waits I had expected to hear on this list. Raspy vocals that sound spat out, world weary and beaten down. The instrumentation is sparse to allow Waits to do his thing, exploring the less than salubrious life of a person in Los Angeles. I’ll be honest – I’m not a huge fan of Waits’ voice, but his has always been a voice that I can imagine if you ‘get’ it, you’ll love it. Mainly, it has character, something that is all too lacking in a lot of modern (admittedly, popular) music.

 

Ok, so Babylon's Burning is my new favourite 'new' song.

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I consider it the best Clash song that the Clash never wrote. Also one of those songs I can listen to over and over and NEVER tire of; it's another of those songs I heard first on the No Thanks! comp and my jaw just dropped as I pressed the back button to hear it again. The album is way more reggae influenced, as well. 

EDIT: Goddammit, the first Youtube comment on there is the first line I wrote here. I swear I didn't see that first.

Edited by Curt McGirt
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531.      

‘Kings of the Wild Frontier’, Adam and the Ants

Influenced by: The Good, the Bad and the Ugly • Ennio Morricone (1966)

Influence on: The Beautiful People • Marilyn Manson (1996)  

Other key tracks: Dog Eat Dog (1980) • Antmusic (1980) • Physical (You’re So) (1980)

Gimmicky, but with the musical chops to back it up, this was Adam and the Ants first ‘hit’, breaking the top 50. The use of tribal drum sounds match up with lyrics that are a commentary on the oppression of Native Americans, whilst the pirate costume and face paint add a very visual point of interest. If anything, I feel everything could be a touch louder, but you can see how the percussion in particular has gone on to influence many heavier acts as it doesn’t let up for the whole of the songs run time. The last minute in particular is the strongest part of the song as the drums, guitar riffs and Adam’s best vocals of the four minutes all mesh to create a powerful crescendo.

532.      

‘Redemption Song’, Bob Marley and the Wailers (1980)

 

Influenced by: There’s a Reward • Joe Higgs (1975)

Influence on: Black Uhuru Anthem • Black Uhuru (1983)  

Covered by: Flying Pickets (1996) • Stevie Wonder (1996) • Johnny Cash & Joe Strummer (2003) • Don Campbell (2003)

A beautiful song that was the last song on the final album released before Marley’s death. Unlike much of his music, the Wailers are noticeably absent from the recording. This is just Marley, his words and his guitar. As always with Marley, it would do more for me if I was someone who was Rastafarian or black; the message and the popularity of a black musician must naturally be more meaningful if it is representative of yourself and your own beliefs. Still, anyone can enjoy this song, though it is – perhaps retroactively – tinged with sadness.

533.      

‘Dead Souls’, Joy Division (1980)

Due to their short time of existence and relatively limited output, I do wonder how many Joy Division songs the book will manage to squeeze in. Not that I am complain, being a fan of the band myself. The opening two minutes of this song, all instrumental, almost feel like they’d be at home in a band who pedalled heavier music than this. That feeling of weight never leaves, with Curtis providing vocals that as per usual somehow mix a roboticness with pure emotion. This may not be their best song personally, but it isn’t far away.

534.      

‘Master Blaster (Jammin’)’, Stevie Wonder (1980)

Stevie Wonder, as I have mentioned before, has probably been the artist that has risen the most in my estimations since I started this. He has so many songs that I didn’t realise were his and this is a perfect example. A song that is obviously influenced by reggae, with a clear reference to Bob Marley in the title. The two men had shared several stages in their careers and were mutually respectful. Just a cool overall song that moseys towards a hooky chorus – a song for the summer indeed.

535.      

‘Everybody’s Got To Learn Sometime’, The Korgis (1980)

I had not expected this to be the song that it was. I’m pretty sure I’ve never heard the original for this, but have more than likely heard the Baby D version that managed to gatecrash into the top 3 of the UK chart. Considering how straightforward/repetitive the lyrics are, there is an earnestness about them that works well with the airy synthesisers. The sum of the parts make the whole feel more epic than it probably is. The success of the song and what came along with that actually caused the band to break up. I guess it isn’t a bad position to be if this is your only song of note.

536.      

‘I’m Coming Out’, Diana Ross (1980)

I guess it becomes easy to suggest a song sounds timeless when it has been sampled in modern songs, but this to me does have an element of not feeling particularly out of place even many years later. With its nods to funk and disco, that was a real possibility, so it speaks to the song writing chops of Bernard Edwards and Nile Rodgers, putting their fingers in another successful pie. Though the focus could be on the groove of the melody, Ross’ voice is absolutely effortless in moving towards her higher soprano delivery at points. We even get a trombone solo for good measure. Fun times.

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1979

1979 happens to be the year I was born, so I have a special interest in it.

The best song from 1979 is Neil Young & Crazy Horse's Hey Hey, My My (Into the Black). That distortion was heavier than anybody else in '79.

Motorhead had a couple of good songs this year (Overkill & Bomber), and there were some other solid NWOBHM releases from the likes of Trespass and Witchfynde, but I think the best metal song from '79 is this version of Captured City by Praying Mantis:

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One of my favorite genres (in its many forms) is power pop, and I think the Undertones were doing the catchiest power pop around this time. 

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Folks may have been over punk in '79, but I'm not:

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This is a glorious piece of punk pop:

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I tend to lean toward a lot of the early stuff from bands that became bigger in the 80s:

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Kurt Cobain helped make this group famous. They're really, really good:

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I don't even know how you begin to explain this, but it's out there:

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New Zealand New Wave. Better than a lot of the rest of the NW from this year, in my ever so humble Kiwi opinion.

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Apparently, this song is about a blow up doll/

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One of the cooler post-punk tracks of the year:

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Living in Japan, having this released in the year I was born, of course I've gotta include it:

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Bela Lugosi's Dead.

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Why isn't Joe Jackson in the book, or Nick Lowe?

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The Romantics are pretty damn good too. Look, a drummer who's the lead singer:

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This slow jam is big in Australia and New Zealand but perhaps nowhere else in the world:

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Lastly, a beautiful country song from an interesting character:

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I will talk about funk and disco in a separate post, but I can't believe they overlooked Supertramp. Give me Supertramp over endless ABBA tunes. 

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1970 cont.

I can't understand the backlash against disco. Disco, funk, I don't care what it is so long as I can dance to it. 

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The three monster funk tunes of '79, IMO:

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That skinny little dude from Minnesota:

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Rick James bustin' out:

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How was Boogie Wonderland not on the list?!

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Wrestling fans will appreciate this one:

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Finally, cool off with some Teddy;

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You couldn't cool off with that, could you?

 

Edited by ohtani's jacket
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I LOVE "Captured City" (and Praying Mantis), but I think there's nothing wrong with the slightly up-tempo/less sluggish version on Metal for Muthas

I will take that song to the grave with me. We could probably make a full NWOBHM thread of stuff we like. 

As for the rest I'm gonna dive into everything I haven't heard and thanx a ton for putting everything up! 

EDIT: Ooooo man that OG version is indeed its own beast. I should have listened all the way through before posting. So much darker.

Edited by Curt McGirt
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537.      

‘Back in Black’, AC/DC (1980)

I joked before about AC/DC having one song. However, if there is one song by them that I can look at and go ‘fuck yeah, that’s a good song’, it is ‘Back in Black’. Not a particularly outrageous choice, but from the moment the intro hits, you know you are in for a good rocking time. When you also consider that this was from the first album since the death of Bon Scott, this is a real statement of attempt. The guitar crunches from note one and Brian Johnson’s delivery is frankly ridiculous. This is the four minutes that allow me to ‘get’ AC/DC probably more so than any of their other work.

538.      

‘Let My Love Open The Door’, Pete Townshend (1980)

A much more playful offering by Pete Townshend than anything he was involved with in The Who. According to the book, he came up with the song as they were three chords he liked, and he sang some of the first lyrics that came into his head. Whether I believe the end of that statement, it is a very uplifting sounding song which apparently relates to ideas learnt from an Indian spiritual teacher. This isn’t really anything special outside of being something pleasant in my opinion, though I do like the contrast between this and the songs that the Who ended up with on the list thus far.

539.      

‘Geno’, Dexy’s Midnight Runners (1980)

Influenced by: Michael (The Lover) • Geno Washington & The Ram Jam Band (1966)   

Influence on: Ghost Town • The Specials (1981)  

Other key tracks: Dance Stance (1979) • There, There, My Dear (1980) • I Love You (Listen to This) (1985) • This Is What She’s Like (1985)

I was completely sure I’d never heard this song before…until the trumpet (I’m guessing that was a trumpet) hit after the initial opening. I may not even have heard the rest of the tune if I’m being entirely honest, but that bit is very memorable. A song that celebrates and equally sneers at Geno Washington – if you look at the lyrics – this song had elements of blues and ska, showcasing the Runners at what I feel was a bit more of an interesting and creative spot than I’d ever really considered they have been at when you think you’ve only ever heard ‘Come On Eileen’ by them. A decent enough song, though nothing that particularly excites me.

540.      

‘Guilty’, Barbra Streisand and Barry Gibb (1980)

Influenced by: How Deep Is Your Love • Bee Gees (1977)   

Influence on: Above the Law • Barbra Streisand with Barry Gibb (2005)   

Covered by: Tom Jones & Gladys Knight (1997) • Bee Gees (1998)

I had literally no idea these two had ever worked together. This was Gibb at the height of his powers when it came to writing songs, whether for the Bee Gees or a number of other acts who topped the chart this year. I’ve never cared much for Streisand, but when you listen to her, it isn’t hard to see why people are such huge fans of her – she has a really good voice on her. It meshes nicely with Gibb’s falsetto, especially as the bulk of the start of the song allows Streisand a chance to showcase her pipes before Gibb joined in. I didn’t expect to like this, yet I can’t really fault it. There is a honeyed silkiness to it all that might not be enjoyed by all, but it worked for me.

541.      

‘Love Will Tear Us Apart’, Joy Division (1980)

Influenced by: Be My Wife • David Bowie (1977)  

Influence on: As It Is When It Was • New Order (1986)   

Covered by: Paul Young (1983) • Swans (1988) • Opium Den (1995) • Simple Minds (2001) • New Order (2002) • Fall Out Boy (2004) • Nouvelle Vague (2004)  

Other key track: Shadowplay (1979)

I have often thought to myself that this is probably my favourite song ever. I can’t even really pinpoint why. It is the perfect amalgamation of noise, and tune, and vocal delivery, and lyrics. Just everything melds into three and a half minutes of a song that blows me away every time I hear it. I’m not even the hugest Joy Division fan – I like them, but there are many other bands I like more – yet this rises above so many other songs to be right at the top of my list. I think the lyrics worked for me the most at a certain point in life, the idea of the perils of love, and it has never been dislodged. That it explored his relationship with his wife as they rocketed (potentially) towards a divorce, and that it came a month before he killed himself, just makes things all the more…poetic? Tragic? Whatever word works.

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542.      

‘Wardance’, Killing Joke (1980)

Influenced by: Electric Funeral • Black Sabbath (1970)   

Influence on: On the Beach • The Comsat Angels (1980)   

Covered by: The Mad Capsule Markets (2001)   

Other key tracks: The Wait (1980) • Requiem (1980)

Killing Joke are definitely a band I feel I should have heard more of over the years. I vaguely recall a brief return in the late 90s or possibly early 00s, but I’ve listened to nothing else that I know of. It has felt like a while on the list since a step up in terms of the sheer noise being created by a band, so welcome Killing Joke. This is music thrown into a threshing machine, razor blade vocals and all. Fundamentally, for me at least, there is a catchiness within the maelstrom – primarily from the percussion - that makes it a good song, though mileage may vary.

543.      

‘Ace of Spades’, Motorhead (1980).

No duh, ‘Ace of Spades’ is a brilliant song. Therefore, I’ll tell you a brief story about my attempts to do rock and roll karaoke when I lived in Brighton. I’m not a natural singer, but I liked the idea of going up with a live backing band and had drunk enough to have a go. I chose ‘Smells Like Teen Spirit’ by Nirvana, and a friend of a friend also signed up as a support as much as anything. I didn’t realise he was a lead singer in a band and he went up to do ‘Ace of Spades’ and absolutely crushed it. While I was perfectly fine, he pretty much blew me off the stage before I’d even got on there. Yeah. ‘Ace of Spades’ is brilliant. Listen to it.

544.      

‘Start!’, The Jam (1980)

Apparently, this song bares more than a passing resemblance to ‘Taxman’ by The Beatles, a song that I vaguely recall but not well enough to be able to substantiate one way or the other. This feels like a very different side to the Jam as they still have the angular guitars adding dynamism to the sound, yet the overall tone is one that is less angry and all about the momentum. I’ve not listened to a lot of Weller’s stuff over the years – the odd song here and there – but I do like him as a lead vocalist. The voice is pleasant, with enough character to not just fall into the background while the instruments do all the work.

545.      

‘Once in a Lifetime’, Talking Heads (1980)

Influenced by: Oh Lord Give Us More Money • Holger Czukay (1979)   

Influence on: Don’t Scandalize Mine • Sugar Bear (1988)   

Covered by: Big Daddy (1991) • Phoebe One (1998) • Phish (2002) • The Exies (2007)

The biggest ‘miss’ so far on the list was the lack of ‘Psycho Killer’. There. That’s out of the way. This is an interesting departure from what Talking Heads were known for, inspired according to David Byrne by a mixture of African tribal music and the rhythm of evangelical preaching. What I can say is that there is a lot going on in this song with a lot of layers of music all doing vaguely different things. At heart, this is a catchy pop song, yet the waves of additional noise, from the drums to the guitars, take it up a notch to create a fully formed great piece of music. It might not be for all, but I certainly enjoyed it.

546.      

‘Vienna’, Ultravox (1980)

Influenced by: ISI • NEU! (1975)   

Influence on: Guiding Light • Muse (2009)  

Covered by: Celestial Season (1995) • Clawfinger (2001) • Russell Watson (2000)   

Other key tracks: Sleepwalk (1980) • All Stood Still (1980)• Passing Strangers (1980)

This is the only song by Ultravox that I know and seemingly came after a chance of vocalist (Midge Ure becoming the singer) and a change of direction away from their glam rock stylings of the 70s. This is such an odd song because you have almost two very disparate parts as the choruses and the verse could conceivably be different songs completely. They were seeking to create something almost over-pompous and they nailed it with the iconic chorus, but suggestions that the song was too depressing and too slow might have nailed things for me, mainly for the latter accusation. The verse is enjoyable. The rest? Less so.

547.      

‘Caballa viejo’, Simon Diaz (1980)

It has felt like a while since I’ve had a song with a more Latin American touch to it. This is apparently a style of country music popular in Venezuela, while the song itself was written when Diaz became infatuated with a woman that was in a folk group he was filming. The most notable thing – sorry Simon – is that it formed the base for the song ‘Bamboleo’. Perfectly pleasant, if underwhelming.

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548.      

‘I Got You’, Split Enz (1980)

I love me some Crowded House and Neil Finn so this is right in my wheelhouse, at least potentially. This was during a time when Finn took over lead guitar, with his relative inexperience meaning the songs became simpler, yet more immediate. This is very of its time and a little odd, but there is a clear sense of the poppy sensibilities that meant that Crowded House eventually really took off under Finn’s helm. There’s a feeling of jerky paranoia caused by the synths that I like about the chorus in particular, though this doesn’t really hold a torch to what they’d go on to do.

549.      

‘It Must Be Love’, Madness (1981)

I think that some songs are just good. This is one of them. It doesn’t do anything particularly exciting or groundbreaking, but it is a really catchy song. It was actually a cover version, though Labi Siffre liked the version so much he appeared in the music video. I don’t have much else to add – it is a really good song that is pretty inoffensive in my opinion.

550.      

‘Tom Sawyer’, Rush (1981)

I always believe I should have heard more by Rush, but there has always been something that holds me back. I’m sure fans will hate me for this – I blame Geddy Lee’s vocals. They just aren’t what I want from my rock, metal, alternative, whatever type bands. They aren’t bad, they are not my preference….however, this is a good song. Rather than some of the wankery that you might expect from a prog band, this is tight and all the better for it. It also gets kudos for being used for Kerry Von Erich in World Class. The playing is all at a very high quality as you’d expect from a technical band and it isn’t hard to see why this was one of the songs the band produced that had real staying power amongst non-fans.

551.      

‘Girls on Film’, Duran Duran (1981)

Influenced by: Love Is the Drug • Roxy Music (1975)   

Influence on: Girls and Boys • Blur (1994)   

Covered by: The Living End (1999) • Billy Preston (2002) • Girls Aloud (2003)   Other key tracks: Careless Memories (1981) • Planet Earth (1981) • Night Boat (1981)

Duran Duran are so 80s. They are also involved in some of the best videos of the time period, all to accompany some really catchy pop tunes. They are are band that I always can understand why someone wouldn’t like them – they are so twee and kitsch – yet I do really enjoy their best songs. This wouldn’t be up near the top of my list, but it was their first top 5 song and basically encapsulated what you’d get from Duran Duran as the 80s continued: a catchy tune and a promo video that got people talking.

552.      

‘I Love Rock and Roll’, Joan Jett and the Blackhearts (1981)

Influenced by: Old Time Rock & Roll • Bob Seger & The Silver Bullet Band (1978)   

Influence on: Everybody Get Up • Five (1998)   

Covered by: Ghoti Hook (1998) • Britney Spears (2002) • Queen of Japan (2002) • Hayseed Dixie (2002) • Showaddywaddy (2006)

There are some songs that feel cliché and boring, primarily because they were so ‘on the nose’ that they became used everywhere, covered by everyone and wheeled out to try and embody a certain feeling in TV, film, adverts, etc. That describes this song to me. I don’t enjoy it as much as I feel I should because I’ve heard it way too much, but I’ve heard it way too much because it is an excellent tune. I shouldn’t really hate on a song for its popularity when it has quality as well, yet it falls lower down my list of interest than it really should. Jett feels legitimate throughout, while the drums and guitar are fun for all.

553.      

‘Mickey’, Toni Basil (1981)

Influenced by: Kitty • Racey (1979)   

Influence on: Girlfriend • Avril Lavigne (2007)   

Covered by: “Weird Al” Yankovic (1983) • B*Witched (2000) • Zebrahead (2009)   

Other key track: You Gotta Problem (1982)

Sometimes songs are just dumb and fun. This is that. Enjoy it.

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Tsk tsk, Liam, Split Enz and Crowded House were separate bands. Crowed House formed after Split Enz broke up. They formed in Melbourne and were 2/3 Australian, so the Aussies stole them just like pavlova and Phar Lap. I'm kind of stupidly proud that a Split Enz song made the book, tbh. You won't find too many Kiwis who can't sing along to that chorus (and other Split Enz songs.) Neil was only 21 when he wrote it, but it's a piece of pop perfection. All those hooks and melody. I guess it sounds a bit like the Cars or Squeeze if you compare it to the year it was written. Now I feel kind of homesick. 

Edited by ohtani's jacket
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1980

First off, the good stuff -- Love Will Tear Us Apart and Once in a Lifetime are all-time great songs. Ace of Spades is up there too. Bowie's Ashes to Ashes and The Jam's Going Underground would probably make up my top 5 for the year.

Did anyone else expect Biggie to drop some rhymes during that Diana Ross song? Fun piece of pop trivia -- Ross thought she was singing a song about leaving Berry Gordy & Motown until a DJ told her what "coming out" means. Apparently, she ran back into the studio in tears accusing Nile Rodgers of ruining her career.

I thought the book handled Bob Marley in a strange way. I can easily imagine an alternate version of the book where he has more songs listed. I do like the effort they made to spotlight other reggae and dub artists, however. (The B-side to Redemption Song has a version with the Wailers, btw. I prefer the acoustic version, but the band version isn't band.)

There's too much bloody ABBA, Blondie and Stevie Wonder in this book, and they made some odd choices (what was up with that Gibb and Streisand duet and that Pete Townshend song?) None of them are bad artists, and I'm not saying I disliked the songs they chose, but they could have cut a few of their songs to feature other things you ought to listen to before you die.

Having said that, a lot of the best stuff from 1980 was by the same artists who were doing great stuff in the years prior and after. I'm going to try to avoid those artists and focus on the fringe.

Let's start with NWOBH. Everyone has their own tastes, but these would be my top 5 for the year:

Spoiler

747 Strangers in the Night, Saxon

Highway Rider, Black Axe

Name, Rank And Serial Number, Fist

Vice Versa, Samson

Don't Touch Me There,  Tygers of Pan Tang

 

It's a close call, but I'd probably go with the Saxon tune since the lyrics have always intrigued me. How many songs have you heard about imminent plane clashes?

 

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1980 Cont.

I am actually kind of surprised they haven't included Peter Gabriel yet. Games Without Frontiers would be a good choice. 

This John Foxx song is interesting as well. I guess they covered this sort of thing with Talking Heads, but still:

I'm gonna lump all the punk, post-punk, power pop, new wave stuff together. Some of this stuff is quirky, some of it is foreign and therefore cool. If I were to go into bat for any of it, it would be The Sound and Mission to Burma, whom I think they should have included on the list, and maybe Discharge. 

Spoiler

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I thought this cover of Chic was really interesting:

And my go to karaoke jam!

 

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1980 Fin.

I once did a deep dive of all the floor fillers from the early 80s. I am sure I am forgetting some of the best tracks, but here are best songs I can remember along with some other funk, soul and r&b:

Spoiler

Stomp, Brothers Johnson

When you were mine, Prince (Cyndi Lauper covered this later. One of my favorite Prince tracks.)

More Bounce to the Ounce (Part I), Zapp

Burn Rubber (Why You Wanna Hurt Me). Gap Band

Don't Stop the Music, Yarbrough & Peoples

Love TKO, Teddy Pendergrass

Watching You, Slave

 

I've mentioned this song before, but this is an absolute belter:

 

Take Your Time (Do It Right), S.O.S Band (I fucking love this song)

This track would have blown the book into smithereens:

If I were an MMA fighter, that would definitely be my entrance. 

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I prefer "Red Lights" over "Highway Rider". Pretty sure it might be my favorite NWOBHM song ever. 

And speaking of which, Iron Maiden released their first album in '80. This would probably be the song from it to throw on the list. 

Since we're already on 1981, here's this. You can probably put any song off it on here but this is as good as any. 

 

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18 hours ago, ohtani's jacket said:

Tsk tsk, Liam, Split Enz and Crowded House were separate bands. Crowed House formed after Split Enz broke up.

I know all of this. My point was just that I like the Finns, I like Crowded House, so Split Enz were always liable to be a band I enjoyed due to the involvement of a lot of the same people. I've not actually heard a lot of their stuff to be quite honest, but have enjoyed what I've heard.

554.      

‘Computer Love’, Kraftwerk (1981)

Influenced by: Telemusik • Karlheinz Stockhausen (1966)   

Influence on: Computer Love (Sweet Dreams) • The Egyptian Lover (1984)   

Covered by: Balanescu Quartet (1992) • Camouflage (1992) • The Album Leaf (2001)

Yeah, I’ll be honest and say that I ‘knew’ this song, or at least the melody, from its use in Coldplay’s ‘Talk’. I will also be honest and say that I didn’t realise Coldplay had lifted it from anywhere, so shows how much I know. Apparently, Chris Martin asked permission by letter, receiving a one word reply – ‘Yes’. This thematically at least is ahead of its time as it aimed to explore ideas that predated what eventually became computer dating and all that entails. This isn’t the only theme that felt ahead of its time apparently as the album this came explored a wide variety of computer based moral and ethical issues. Though there may be a negative tone to the lyrics, the music does feel more upbeat than that which has already been on the list by Kraftwerk, helped by that chiming segment that Coldplay borrowed.

555.      

‘O Superman’, Laurie Anderson (1981)

Influenced by: Piece in the Shape of a Square • Philip Glass (1968)   

Influence on: Obsession • Army of Lovers (1991)

Covered by: David Bowie (1997) • MANDY vs Booka Shade (2008)   

Other key track: Sharkey’s Day (1984)

This is a very interesting addition, the one mainstream hit by the avant garde artist Laurie Anderson. The book states ‘“O Superman” was conceived as a cover of the aria “O Souverain, o juge, o père,” from Jules Massenet’s 1885 opera Le Cid’, so there you go. There is a weirdly hypnotic nature to the ‘song’, while it does also aim to pass some comment on the US involvement in Iran, so it came from a position of political engagement at least. Yeah, I’m a bit lost with this one – I’m not sure if I enjoyed it, but I definitely feel like I needed to hear it.

556.      

‘In The Air Tonight’, Phil Collins (1981)

My topic is clearly working within the zeitgeist as this entry comes mere days after this song – or the reaction to this song by two young music fans – went viral. Considering Collins is known for his chirpy, middle of the road pop tunes, this is all a lot eerier with a sound that came about by accident when the engineer opened the reverse talkback mic during a Genesis practice. They liked the sound and it was utilised in this song. The whole viral video thing focused on the reaction to the drums kicking in three minutes into the song and it isn’t surprising that that bit of music could still generate a reaction irrelevant of age or generation – it is a release that was built up masterfully throughout the song and still gives me goosebumps.

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557.      

‘Edge of Seventeen’, Stevie Nicks (1981)

Yeah, I didn’t think I knew this song, but the moment the guitar intro kicked in, I realised I at least knew that much. It is another strange song as I don’t really remember ever hearing all of it, yet I do remember the introduction including Nicks’ initial vocals (thus you can’t blame it just on ‘Bootylicious’ by Destiny Child). With lyrics that were designed to initially celebrate the love between Tom Petty and his wife, Jane, yet with John Lennon’s death alongside that of a close family member, they shifted towards a look at mortality in general. There is a part of me that feels you need to have a pretty good voice as a woman to stand out in rock music at this time, and that is what Nicks definitely offers. The strength of the guitar line, even with it being so simple, shows that you don’t always have to overthink things to create a very catchy tune, working as a very effective backbone to everything that happens around it.

558.      

‘Via con me’, Paulo Conte (1981)

This feels like an addition to encapsulate a career and a style of music rather than for the quality of the song itself. Not to say it is bad by any means, just that it wouldn’t be making a list I made. When the most notable thing is the interestingly utilised English lyrics (‘chips, chips’), it doesn’t speak the most highly for what was on offer. I’m sure if you like this style – canzone d’autore, according to the book – this might do more for you, plus the backing music is pleasantly swinging, but there has been a lot better.

559.      

‘Under Pressure’, Queen and David Bowie (1981)

This is a song I’ve always loved, yet have never had to think too much about why. It helps that I do like Queen a lot, and don’t mind Bowie either. It is the mix of their two voices, coupled with the bass hook, that works best for me. Mercury on his own could be a little overwhelming, yet Bowie offers – for the most part – a grounded alternative. However, he does give as good as he gets as the song progresses, which I think really helps it as everything builds to a crescendo, both musically and vocally. Outside of the introduction, the Bowie-led part around three minutes into the song is probably the high point for me.

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560.      

‘Our Lips Are Sealed’, The Go-Go’s (1981)

‘We Got The Beat’ is the only song I’ve ever heard by the Go-Go’s. It doesn’t surprise me to hear that they came from a heavier background, as they mix a nice amount of oomph underneath the fun poppier delivery of the vocals. Interestingly, this is actually a song about real-life infidelity, something that wouldn’t necessarily be clear if you focused just on the overall tone which seems pretty positive for the most part. Perhaps it is because there aren’t as many out there in prominent positions, but I do like a female rock band; by the very nature of them, they just sound different from a lot of the copy and paste stuff that is out there.

561.      

‘Genius of Love’, Tom Tom Club (1981)

It is completely outside of my remit when it comes to musical fandom, so it probably isn’t a surprise that I had no idea that ‘Fantasy’ by Mariah Carey basically….re-did this song in the closest way you can without doing a cover, or so it feels. I quite like ‘Fantasy’ for what it is, but this is probably more in my wheelhouse in the grander scheme of things. Tina Weymouth and Chris Frantz from Talking Heads formed the group when unhappy with things in their day-job band, roping in some other musicians and creating sounds such as this very song. There’s a lazy groove to everything which I like, though I’d say that the melody and music is vastly more notable than the vocals and lyrics that go with them.

562.      

‘Ghosts’, Japan (1981)

Influenced by: Art Decade • David Bowie (1977)   

Influence on: Mad World • Tears for Fears (1983)  

Covered by: Mathilde Santing (2008)   

Other key tracks: Adolescent Sex (1977) • Life in Tokyo (1979) • Gentlemen Take Polaroids (1980) • Cantonese Boy (1981)

Well, this is very different. Eerie and sparse in terms of the instrumentals, though with some futuristic bleeps and bloops to very much position it in the 80s, this is all about David Sylvian’s lyrics and vocals. A song that uses ghosts as a metaphor for anxieties, the vocal delivery is very strong in my opinion. It needs to be when it is so central to what is going on, so fair play for that. I believe that a less-80s version of the song – if that makes sense – would be better, one that removed some of the more computerised sounds as they don’t add much for me.

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