“Wall of Voodoo being one of the first uniquely post-1970s outfits I ever threw in with — tight, unafraid of new technology, a little nasty, full of film noir shadows and surprises, even some laughs. And they could deliver live. Which is what happened in Vancouver’s Luv Affair, early 1982, one of the great shows of that or any year. They opened strong with a cover of Johnny Cash’s Ring of Fire, and it all peaked maybe an hour later with Back In Flesh – a song about what happens when your arm gets smashed and your salary gets cut and the corporation’s boiling over … and everything else. Yeah, it sounds a bit like the B52s, I suppose, but what the hell’s wrong with that?” (Philip Random)
It’s 1981 and, after a seven year hiatus, Robert Fripp has decided to reboot the monster known as King Crimson. The new album is called Discipline and it’s clear from the opening seconds of the first track Elephant Talk that it’s all for the good. Tight and modern as the album title suggests, but also dangerous and beautiful in a primal, wild animal sort of way. Special thanks to new guy Adrian Belew‘s guitar athletics. And his vocals aren’t bad either. Not exactly rapping on Elephant Talk. Not singing either. Just arguing, agreeing, babbling, bantering, ballyhooing, chattering, chit-chatting, diatribing … and so on. Which is rather what the world sounded like in those days. As it still does.
(photo found at Youtube)
Erotic City delivers as its title suggests. One of the dirtiest b-sides to ever make it onto a mega million selling single, and being the 1980s, that meant there was an extended option, almost eight minutes of groove and horniness and all night f***ing. The A-side was Let’s Go Crazy (all hail the Lord God in Heaven) making perhaps for the single release that encapsulates all that was transcendent, rude, euphoric, essential of the artist formerly known as the artist formerly known as Prince.
(original photo found at 1000mistakes)
“Springtime, 1989, the year I ended up in London somehow. It’s a long story, which only matters here because that’s where I found Talk Talk’s Spirit of Eden. Lonely, very low on cash, wandering through the big HMV near Piccadilly and there it was on cassette, remaindered, dead cheap. What I knew of Talk Talk was that they were a better than average synth-pop outfit. What I was completely unprepared for was the deep and spacious and ultimately gobsmackingly epic first side of Spirit of Eden – three titles (The Rainbow, Eden + Desire) but all seamless song to my ears, and exactly what I needed to set my soul free and get my thinking straight toward sorting out the problem of the rest of my life. I left town the next day.” (Philip Random)
“I guess Melanie was always at least a little suspect, too maudlin, skin deep – even for the 1960s. But man, if she didn’t find something in Dylan’s Tambourine Man that nobody else has. Particularly when she gets to dancing beneath the diamond sky with one hand waving free – silhouetted by the sea, circled by the circus sands – with all memory and fate driven deep beneath the waves. Yeah, it’s chewing some sonic scenery, but it’s also freedom itself, captured in sorrow, like an old snapshot, taken at sunset somewhere, all is calm and everybody’s beautiful, but there’s a great storm brewing in the distance.” (Philip Random)
Second of two in a row from 1972’s Ziggy Stardust + The Spiders From Mars. Soul Love makes the list if only because Five Years doesn’t sound right without it following immediately afterward. And it’s proof in advertising, a groovy nugget of soul and love, and a solid hint of where the alien Jones (aka Bowie) might be headed once he shed that Ziggy skin.
Soul Love is the second of two in a row from 1972’s Ziggy Stardust + The Spiders From Mars, making the list if only because Five Years doesn’t sound quite right without it following immediately afterward. And it’s proof in advertising, a groovy nugget of soul and love, and a solid hint of where the alien Bowie might be headed once he shed his Ziggy skin.
“At first I wasn’t even going to include anything from Ziggy Stardust on this list. It just seemed inconceivable that there was anybody who hadn’t already heard it all perhaps way too many times. But then Five Years popped up on an old mix tape and young Tracy (who isn’t even that young) said, is this John Lennon? Five Years being the 1972 song in which David Bowie accurately predicted the end of the world in 1977. Which I realize is a confusing fact to lay down, particularly to those born since 1977. Just trust me, it’s true. This is not the same world as before. Something very odd happened in 1977 and we’ve all been spinning in weird gravity ever since.” (Philip Random)
“Three tracks from Sheer Heart Attack, Queen’s third album, that all flow seamlessly together, so it’s tempting to think of them as all just one epic piece. But take a look at the lyrics (and the overall shifts in tone) and it’s clear there are three distinctly different things going on here. Tenement Funster‘s a raw piece of ‘kitchen sink’ glam. Call it drama. Flick of the Wrist is like a flick of a TV channel to something suddenly quite bitchy with operatic moments and not just a little malevolence. Call it melodrama. And Lily of the Valley‘s just a lovely bit of epic love. Call it romance. Thus we are reminded of how Queen always had more ideas and angles going than any nine other bands, and the chops to do everything full justice. When this stuff landed in the various teenage rec-rooms of suburbia circa 1974/75, let’s just say a great hunger was sated – one we weren’t even fully aware we had. Something to do with a need for passion and fun delivered with a fierce raunch that was only slightly under control.” (Philip Random)