The Best Music of 1980

April 24, 2009

All Music Guide recently posted their retrospective on the music of 1980. The further back these retrospectives go, the more albums that I missed or just never got around to purchasing are brought to my attention (I don’t own The River, for the love of Mike!). You may find some music to explore in the article as well, so read the whole thing, definitely including the comments.

I’ve made my own list, as I did with their 1993 retrospective. This time I’ll make a few comments.

Classic or Near-classic

The Clash – London Calling. Technically released at the tail end of 1979, but generally considered an ’80s album. There are more classics on this album than most albums have songs. A strong contender for greatest album ever made.

Joy Division – Closer. A perfectly realized masterpiece.

Blue Angel – Blue Angel. It’s easy to understand why this album landed Cyndi Lauper a solo contract. It’s not easy to understand why so few people have heard this terrific album. I plan a write-up on this in the near future.

Prince – Dirty Mind. Worst cover art in history, but a great album that includes the masterful “When You Were Mine,” later covered memorably by Cyndi Lauper. Plus, dude nails his sister! How fucked up is that?

Gang of Four – Entertainment! Technically 1979, but Rolling Stone had it in its top albums of the ’80s, so I’m guessing it didn’t come to the Colonies until then.

X – Los Angeles. Fucked-up rockabilly that sounds like nothing before or since (except for a couple other X albums).

AC/DC – Back in Black. Yes, I’m sick of it, too, but are you going tell me it doesn’t belong here? Are you going to tell Angus?

The Feelies – Crazy Rhythms. Would someone please get this record back in print?

Public Image Ltd.Metal Box/Second Edition. Again, I think 1979, but again, I think it was releases Stateside in 1980 as it was, again, in Rolling Stone‘s best of the 80s list.

Pretty Damned Great

Dire Straits – Making Movies. Just short of classic, with some classic songs. “Skateaway” gives me goosebumps.

Barbra Streisand – Guilty. The album has only her name on it, but that’s Barry Gibb standing next to her on the cover, and it’s just as much his album–he wrote it, produced it, duets on three songs, and (with his brothers) sings backup throughout. The gorgeous “Woman in Love” is just one of the expertly-crafted pop songs that fill this album.

Motörhead – Ace of Spades. The thundering title classic would be enough to get this album remembered, but it’s got a lot more where that one came from.

Teena Marie – Irons in the Fire. She has never gotten the respect she deserves as critics have mostly ignored the oddity of a white singer who sold a large percentage of her records to a black audience. On her third album, she asserts herself by writing and producing the whole thing for the first, but not last, time.

Honorable Mention

Warren Zevon – Stand in the Fire. Including a live album in the above sections didn’t seem quite right, but this rowdy set needed to be mentioned somewhere.

The Clash – Sandinista! This three-record mess has too much great material to leave out entirely.

The Cure – Boys Don’t Cry. I haven’t heard it in ages, but I know a lot of the songs by heart.

David Bowie – Scary Monsters. My copy was stolen and I haven’t replaced it yet. I recall loving a lot of it, being iffy on some. I’d like to hear it again before ranking it properly.

Below the fold!

A 1980 YouTube mixtape including some of the above. Just for you! ♥♥♥!

Read the rest of this entry »


“This is Where I Came In” by the Bee Gees

February 19, 2009

The creative streak the Bee Gees were on from the release of Main Course (“Jive Talkin’,” “Nights on Broadway”) in 1975 through shortly after Spirits Having Flown (“Tragedy,” “Too Much Heaven”) in 1979 ranks among the greatest in popular music. If it isn’t quite the Rolling Stones 1964-1972 or most of the Beatles’ career, it’s solidly in the second tier. Hell, they were so good they were regularly giving away smash hits to other artists, most notably Barbra Streisand (“Guilty,” “A Woman in Love”).

After that, the well dried up. They were far too talented to fade away completely, though, and tossed out the occasional winner in the ensuing years.

My favorite late-era Bee Gees song (in close competition with “You Win Again”) is  2001′s “This is Where I Came In,” the title track from their final album. American radio had long since passed them by, so this terrific pop song was not a hit, but in a just world it would have been.

So far as I know, they never wrote anything else that sounded like this. Too bad–it’s a very cool sound, with a slinky and sinister acoustic guitar that’s nothing like disco–in fact, it’s similar in some ways to Paisley Underground or similar mid-80s to early-90s psychedelic or power pop. The expected terrific vocals are there, of course, but there’s no falsetto, and it crams more hooks into one song than a lot of bands can manage on a whole album.

The one shot this unfortunately little-known song had of getting the exposure it deserved was when human beat box Blake Lewis performed it on American Idol on Brothers Gibb theme night during the show’s sixth season. I was excited when it was announced that he would be performing it, even though I didn’t care for Blake Lewis, because I hoped it would bring attention to the song. Unfortunately, Blake butchered it and left millions of people with the impression that the song was terrible. A damned shame, that.

If you’re in the mood for a train wreck, click below.

When are we going to get a proper Bee Gees box set? One that starts with their early Australian material and goes all the way through Robin’s death ending the band? It’s an injustice that one doesn’t exist. Rhino has been re-releasing their early albums, so maybe it won’t be too much longer.


Follow

Get every new post delivered to your Inbox.