227. she’s lost control

“I had heard of Joy Division before the big deal suicide – I just hadn’t heard any of the music (sound traveling much slower before the internet). And meanwhile, I was dealing with a close personal suicide of my own, ex-friend James. So I was abundantly clear on one thing: suicide wasn’t cool, wasn’t romantic, wasn’t meaningful, wasn’t anything but a dire, miserable fact. So when word came down that the lead singer of this cool new band had offed himself, I just wasn’t interested, particularly as a sort of cult grew around him. ‘Badfinger had two suicides, so they’re twice as cool,’ I was guilty of saying. And guilt’s the word, because I was wrong. Not about the romanticizing of suicide, but about shrugging off the fierce grace of Joy Division‘s music. Nothing could negate that. Ever.” (Philip Random)

JoyDivision-1979-live

261. under heavy manners

“It’s credited to Robert Fripp and comes from his 1980 album God Save the Queen/Under Heavy Manners, but Under Heavy Manners (the song) is as much a David Byrne track, the main Talking Head in truly fierce (if geeky) form, as he enunciates out complicated words over straight disco beat and Frippertronicized guitar. Resplendent in divergence indeed. Has sacerdotalism ever cracked another lyric sheet? I think not. And you can dance to it.” (Philip Random)

robertfripp-underheavy-1980

275. death disco

There’s no shortage of rage in the Johnny Rotten (aka Lydon) discography, but nowhere else does so much sorrow show itself than in Death Disco (aka Swan Lake because it cops a bit of the Tchaikovsky melody), a track recorded immediately after the death of his mother (she requested some disco for her funeral). It actually hurts to listen to it, but in a good way (not that the whole album doesn’t lean that way) — the punk is revealed as all too human, just in case there was any doubt.

PIL-1980-Bandstand

276. that’s entertainment

“Call me agnostic on The Jam. Don’t hate them, just never really joined the fan club. Which is not to say they didn’t nail it every now and then. Like with That’s Entertainment, hitting like a scene from a movie that never got made, the one where the mod punk sort of new wave guy puts down his electric guitar, grabs his acoustic and gets to hard strumming, spitting out his disgust at all the ugliness getting passed off as beauty, all the villains getting sold as heroes, all the nightmares with laugh tracks. Just smile, folks, call it entertainment, and don’t mind the rotating knives.” (Philip Random)

Jam-1980-streetpose

290. dreams of leaving

Before their absurdly huge pop success, Human League had two albums of just being a cool outfit mucking around with synthesizers, drum machines, other weird gear, exploring all the mysterious regions that the new technology was opening up. Dreams of Leaving, found on their second album Travelogue, gets downright epic before it’s done, something to do with closed borders, grudges, maybe just paranoia. It was 1980. There was a lot to worry about.

HumanLeague-1980

291. Searching for Mr. Right

“I’m pretty sure the first time I heard the term Young Marble Giant was that night friend-of-a-friend Carl Johnson, wasted on alcohol and who knows what else, stepped onto a busy Seymour Street, threw his arms wide, and declared ‘I Am A Young Marble Giant’. Horns honked, tires squealed, people called him asshole, but nothing hit him. Jump ahead maybe twenty years and Carl had become an investment banker, gotten stupidly rich. Meanwhile, I’d gotten around to picking up Colossal Youth, the only album by the group known as Young Marble Giants. Call it monolithic in its subtlety, restraint, and ultimate timelessness. But worth dying for?” (Philip Random)

YoungMarbleGiants-1980