Day 0517 - Pyromania

Def Leppard "Pyromania" (1983)

The book tries to claim that the only thing that's dated about this album is the cover (showing sniper sights on a burning building, which probably wouldn't go down well in these days of modern terrorism) but I'd disagree.  This music sounds about as 80s as it possibly could; from the shiny production to the programmed drums, that apparently annoyed drummer Rick Allen so much that he threw a drum stick at the wall, where it embedded itself.

This is a big slab of glossy 80s stadium rock with all the epic-scale reverb the music could handle, flashy lead guitar breaks, and wailing harmonised vocals.  I can understand the sentiment of the guy saying it hasn't aged, because to me, most the albums of my youth still sound as fresh to me as they did when I first heard them... though I can still hear all of the hallmarks of their (usually) 1960s and 1990s backgrounds.

Day 0516 - Duck Rock

Malcolm McLaren "Duck Rock" (1983)

Having become well known through his involvement in the punk scene (in particular, his management of the Sex Pistols); McLaren was keen to translate that notoriety into pop stardom for himself.

McLaren teamed up with producer Trevor Horn, who was given a reasonable amount of creative control due to McLaren's lack of musicality and specific direction for how the album should be.  The book states that such was McLaren's lack of musical ability that he had to have Horn slapping him in time to the beat of the music to keep his vocal delivery in time.

Music from various nationalities was brought into the mix along with McLaren's interest in the nascent hip-hop and turntablism scene.  The resulting tracks could be seen as a precursor to the world music craze that would later arise.

Day 0515 - The Violent Femmes

The Violent Femmes "The Violent Femmes" (1982)

The band were discovered while busking.  That stripped-down 'playing on the street' sound remained relatively untouched by studio gloss on this album.  Sticking largely to Victor DLorenzo's minimal drum kit, Brian Ritchie's upright bass and Gordon Gano's guitar and vaguely strung out vocals, the Femmes' sound came pretty fully-formed.

There seems like a pretty straight line between the Velvet Underground and the Femmes, though the Femmes seem potentially a bit lighter.  Less heroin and BDSM, and more run-of-the-mill sexual desperation.

The album would go on to sell over a million copies but never troubled the charts too much in the process, as it took them a gradual 4 years to amass those numbers.

Day 0514 - Rio

Duran Duran "Rio" (1982)

Perhaps the band that most typified the vibe of the 80s pop scene: synth-heavy new-romanticism with a touch of white-boy funk; glossy, high-production music videos in high rotation on MTV, depicting the band as sophisticated, jet-setting young men with the world at their feet.

I have a Duran Duran greatest hits album and half of these tracks are on it, which to my mind suggests that this is a solid album.  I would say that something like "Save a prayer" even though it's steeped in 80s-ness still sounds quite contemporary.  Likewise, the last track "The Chauffeur" is a nice gradual piece that wouldn't sound out of place on the radio today.

Day 0513 - The Number of the Beast

Iron Maiden "The Number of the Beast" (1982)

As I said with the last Iron Maiden album on this list; I quite liked the band with singer Paul Di'Anno.  He offset their virtuosic music with his more limited, and at times punky vocals.  Here Dickinson earns his nickname 'the air raid siren' (originally given by a disgruntled fan who preferred Di'Anno), wailing operatically through much of the album. 

I'm sure that the band were happy to have a singer whose control of his instrument equalled their own, and this album has gone on to be one of the most successful in their canon, and I do enjoy it well enough, but it's just not my favourite.  "Run to the hills" though... pretty damned solid track!

Day 0512 - Sulk

Associates "Sulk" (1982)

Another smorgasbord of 80s pop sounds, with minimal guitars and a heady dose of synths.  The synths are tastefully used though, with nicely orchestrated sounds that signposted the more new-wave sounds of bands like Duran Duran.  The singer has kind of an odd voice, but it sits well enough in these tunes.

Not too much else to say about the one.

Day 0511 - Nebraska

Bruce Springsteen "Nebraska"  (1982) - got it

Springsteen originally recorded the demos for this album at home on his 4-track.  He took the demos into the studio to record them with his E-Street Band.  But, once the tracks were down, Bruce and his team decided that the rootsy, stripped-down melancholy of the original demos was the sound that the songs needed and elected to just release Springsteen's demos.  The record company were less certain, but eventually allowed it.

The album remains (justifiably) critically acclaimed.  It is a morose and intimate portrait of struggling small town America.  Bruce moved to more radio-and-stadium-friendly fare for his next album "Born in the USA", but this one certainly adds an extra dimension to his oeuvre.

Day 0510 - Black Metal

Venom "Black Metal" (1982)

A bunch of Geordies having fun, playing speedy, punky metal and kind of having a bit of a laugh with it.  Yet they somehow manage to help create the genre of speed metal, and to spawn (or at least to help christen) a new, dark, twisted subgenre of metal that would go on to take itself and its church-burning far too seriously.

This album starts with the drummer cutting through a metal door with a chainsaw (according to the book... and it does sound like that's what's happening) and once the music gets going, the acoustics make it sound like it was recorded in a cave. All of this helps give the music on the album a special, feral charm.

Day 0509 - Junkyard

The Birthday Party "Junkyard" (1982)

The wild, rabid Aussie band had made the move to the UK.  Based on acts such as the Fall, they assumed that they would find a music scene full of kindred spirits; but instead found a country well in the grip of new-wave, new romanticism and various other 'news'.

They did find supporters in England for the turbulent last year or so of their existence (in an already turbulent life... the band used to take hard drugs, and steal cars, amongst other things).  Drugs, alcohol, in-fighting all the usual band noise plagued this punky, demented murder-blues band, before Nick Cave left to start up his new gothy murder-blues band.

The songs on this, their last album, are as buck-wild and bare-backed as anything they ever worked on, with the songs being clamorous enough in places that you could imagine that each member was working on a totally different song.  Working 'against' rather than 'with' each other, but  somehow still working.

Day 0508 - Thriller

Michael Jackson "Thriller" (1982)

The highest selling album of all time, sold a million copies per month for its first year of release, 6 of its 10 songs were hit singles.

What more could you really want from an album: it was produced by Quincy Jones with a seasoned collection of studio players (check out the videos of Michael's drummer playing some of the hits from this era, the groove is tight like you wouldn't believe), a guest vocal by Paul McCartney, a guitar solo by Eddie van Halen and even some backing vocals from his sister Janet.

I won't say that it doesn't sound dated, there are some production and instrument sounds here that are unmistakably 80s.  That being said, there are other sounds on here that have aged nicely and wouldn't be out of place in contemporary pop, particularly given the number of artists who Jacko has influenced directly or indirectly.

Day 0507 - Rip it up

Orange Juice "Rip it up" (1982)

A Scottish pop band, though from their sound they could just as easily have been from the US, England or anywhere else.  Their sound has hints of the new-wave-era Police, and a LARGE dose of Bowie's soul and dance sound (particularly in the vocals).

This is becoming a bit of a theme with some of these 80s pop albums but "polished whiteboy funk guitar, subtle horn parts, and synths abound".  As with something like Haircut One Hundred, this is pretty solid pop fare, and is totally enjoyable if you're in the mood for a bit of catchy gloss.

Day 0506 - The Dreaming

Kate Bush "The Dreaming" (1982)

Kate Bush was a hot property with the success of "Wuthering Heights"...unfortunately this album didn't do quite as well as that release.   It's a shame because this album pushes the boat out; presenting interesting and experimental music that still has a foot well and truly in the pop world.   If I was going to go past and future on this, it sounds like it's drawing on a little of the 70s-era Sparks, but also sounds as though it has gone on to influence artists as varied as Tori Amos, Camille, Florence and the Machine and Marina and the Diamonds... on top of that, it was also cited as an influence by Big Boi from Outkast, and Björk.

The album features a range of instrumentation that includes tribal percussion, Celtic fiddles, backwards vocals, drum machines and even a bazouki.  The music is quirky, interesting and varied, and the album rightfully gained prestige as the years passed.

Day 0505 - Pelican West

Haircut One Hundred "Pelican West" (1982)

Another album that presents a certain familiar side of 80s pop.  Tame and glossy funk guitar licks, with smooth horns and roomy percussion hits.  Slightly melodramatic vocals sail over the top of it all to create something that feels polished and shiny, but with its emotional core as more of an act rather than something genuine.

If you're not too worried about earnestness in your music (it doesn't overly bother me), then this is an extremely well-constructed pop album, that even throws out some clever little musical left-turns every now and then.

Day 0504 - The Nightfly

Donald Fagen "The Nightfly" (1982)

Following the breakup of Steely Dan, Fagen set out to record this solo album.  The album dabbles in soul, funk and jazz, but the early digital recording equipment used (one of the first albums to be recorded entirely digitally, apparently) combined with its perfectionist engineers seemed to serve to suck out a lot of the spontaneity and humanity that those genres usually embody.

That being said: these do work just nicely as good catchy pop songs.

Day 0503 - the Rise and Fall

Madness "the Rise and Fall" (1982)

 
By this stage Madness had released 3 albums, a greatest hits collection, and (most importantly) had made the first of their two appearances on 'the Young Ones'.  Their fourth album is suitably sonically interesting.  Still working within their ska framework, but pushing that sound to its very limits with songs that alternatively bounce, cajole, swing, wallow, and reminisce.

'The Rise and Fall' was designed to be a concept album of sorts, looking at aspects of the band's childhood and upbringing, but that concept fell slightly by the wayside with tracks about New Delhi, and Margaret Thatcher ('Blue skinned beast') being included.  The latter of these two would signal a slightly more political bent in Madness' future albums.

At the moment I have a greatest hits album by Madness, but listening to this one has convinced me that I should probably explore their discography a bit more!

Day 0502 - New Gold Dream 81-82-83-84

Simple Minds "New Gold Dream 81-82-83-84 " (1982)

Not a lot to report on this one; a solid enough slice of synthy 80s pop.  It was the band's fifth album, and in spite of the loss of their drummer and the proliferation of drum machines on albums at the time, the band opted to hire 3 different drummers to contribute to the album.

Day 0501 - Too-Rye-Ay

Well that brings me officially over the halfway mark so...

Dexys Midnight Runners "Too-Rye-Ay" (1982) - got it

Following the relative success of "Searching for the Young Soul Rebels" subsequent singles failed to landand, and several of the band members left.  Kevin Rowland responded by taking on 3 violinists who specialised in Irish folk music and getting the horn section who were formerly his bandmates in as hired-hands.

The gutsy northern soul sound of the first album is still present to a certain extent, but with strings, folksy Celtic elements, the odd ballad, and even a sudden explosion of jazz in the middle of "Until I believe in my soul".

The album wasn't faring particularly well until the single "Come on Eileen" suddenly picked up steam and went on to be (deservingly) the biggest selling single of 1982 in the UK, even making headway on the US charts.

Day 0500 - Pornography

The Cure "Pornography" (1982)

 
It's almost like one of those cheesy billboards "Pornography!  Now that I've got your attention..."

The last of the 'early' Cure albums as the band was torn apart by in-fighting, drug use, and Smith working to cope with his depression.  From this point on, the band would move away from their gothy droney alt-rock sound for more of a gothy pop influence.

This album is all bass and drum grooves with synth and minimal guitars layered over the top, creating music-beds for Smith's desolate lyrics.

The final (title) track is an interesting sound collage.

Day 0499 - Imperial Bedroom

Elvis Costello and the Attractions "Imperial Bedroom" (1982)

Costello was up to the grand total of 6 albums in 5 years, including raw rock n roll with a punk energy, a country album and an album of keyboard-heavy pop.

With the Beatles' engineer Geoff Emerick on board as producer, Elvis and co set down a platter of lush pop here, with arrangements ranging from smokey jazz blues to full-on Sgt Peppers-esque bouncy baroque pop.  Sonically, the band throws in everything from backwards guitars to horn sections.

As with previous Costello albums, I keep thinking that his prolific output is going to offer up a few duds, or at least 'middle of the road' fare... if it is, it's yet to show up, because this is a great album!

Day 0498 - The Message

Grandmaster Flash and the Furious Five "The Message" (1982)

 
One of the first 'rap' albums, though this is packed with everything from funk, soul and almost krautrock grooves with robot voices over it. 

It's similar to a few of the early hip hop records, both in its socially conscious (if sometimes mildly homophobic and misogynist) lyrics, and its magpie-like approach to creating musical tracks.

Day 0497 - 1999

Prince "1999" (1982)

Though Prince's next album "Purple Rain" would contribute to the parental advisory stickers being added to albums, this one is also pretty full-on (in typical Prince fashion).  It includes the ad-libbed line "I sincerely want to fuck the taste out of your mouth".

Barry White, Isaac Hayes and Marvin Gaye may have been masters of the bedroom groove that gave you the aural equivalent of being laid down on satin sheets, but I daresay Prince was king of the 'fuck-groove'.  The pull your panties down in the backseat and get buck-wild vibe.  "Lady Cab Driver" and "International lover" are pretty overt with this with Prince's ecstatic squeals and hard funk grooves, but the whole album has touches of the erotic.

Combining the warm grooves of Funkadelic with the machine-like rhythms of Kraftwerk, Prince was the future.

Day 0496 - The Lexicon of Love

ABC "The Lexicon of Love" (1982) - got it

 


ABC formed in Sheffield, initially under the name Vice Versa.  By the time they'd teamed up with producer Trevor Horn for this album, they'd developed a mix of post-punk and funk.  Horn had toured with Yes and acted as producer for a string of glossy pop hits.

The two parties opened each other up to their respective musical worlds with the band introducing Horn to bands like Defunkt, and Horn introducing the band to the possibilities of the studio, telling them "if you want a pizza; I'll get you a pizza.  If you want a string section; I'll get you a string section".  The band built many of the songs using sequencers and drum machines and then went back and replaced those tracks with their own playing, leading to tight, almost mechanised grooves.

A polished, new-wave funk masterpiece.  The bonus jazz reworking of single "Poison Arrow" is brilliant and shows how strong the song is, regardless of genre/arrangement.

Day 0495 - The Visitors

ABBA "The Visitors" (1981)

 
I'm a bit of an ABBA fan but I don't actually own this album.  The album feels like a bit of ABBA past/present/future in that there are sounds that they'd already made famous: the catchy songs with luscious harmonies such as on "one of us", but many of the songs dip into (for the time) the 'now' sounds of modern synthesizer.  There are hints of the future too, both in songs like "I let the music speak" which hints at the musical theatre avenues that Benny and Bjorn would explore post-ABBA; and just with a track like "the Visitors" which with its swirling soundscapes and middle-eastern flavour almost sounds like the start of a Chemical Brothers' track.

The divorces of the two couples in ABBA (and subsequent breakup of the group) render this in a slightly more sombre collection of tracks than previous albums... and to be honest, I kind of feel like the darker undertone works well to offset their natural cheesiness and naivety. 

Day 0494 - Moving Pictures

Rush "Moving Pictures" (1981)

 
I love that all of the articles or reviews I've read about this album go out of their way to mention its cheesy play-on-words title/album cover combo... which in some ways short-changes the quality music inside.

I've never been hugely fussed on Rush one way or the other, but this is a great album.  It combines the musicality of their prog background with an adoption of the poppier new-wave sound that was rising in popularity, with the last track "vital signs" even having a vaguely Police-esque sound to it.

Even something like the radio-friendly "Tom Sawyer" mixes groovy keyboards, catchy melody with tricky drum fills and odd time signatures.  I listened to the album about 4 times in a row and would happily listen to it again.

Day 0493 - Tom Tom Club

Tom Tom Club "Tom Tom Club" (1981)

Tina Weymouth and Chris Franz showing that David Byrne wasn't the only member of Talking Heads who could follow his artistic muse outside of the 'home' band.

The couple had been hanging out with famed reggae rhythm section Sly and Robbie and enlisted reggae legend Lee Scratch Perry to produce the album... but he never showed  up, so they did it themselves.

With the songs, built on rhythmic grooves, throwing different genres at the wall to see what sticks, messing around with  synthesisers and choirs, they generally took an "anyone can get involved" ideology.  Perhaps this was them kicking against the restraints of David Byrne this could be seen as something of a precursor to the first Gorillaz album (which the Tom Toms were apparently also involved with).   The album also features multi-instrumentalist Adrian Belew who has recorded with King Crimson, David Bowie, Frank Zappa, Cyndi Lauper and a range of others.

This is an important album for the burgeoning rap scene as well, the  TTC grooves being sampled by artists ranging from Tupac, Grandmaster Flash, Puffy Daddily Diddily, Mariah Carey and others.

Tina Weymouth's rapping "Wordy Rappinghood" seems like somehow childlike, but also fun.

Day 0492 - The Poet

Bobby Womack "The Poet" (1981)

This is so funky it is painful!  According to the book, Bobby had had a bit of a decline in his popularity towards the later 70s and needed a win (seems to be a recurring theme for a lot of the albums here..  'one last roll of the dice that ends up paying off').  Towards the end of the 70s he had wound up on a much smaller record label, he had suffered issues with drugs, he had even tragically lost his infant son.

Bobby comes on strong with this album; the first track "So many sides of you" has an almost reggae feel but with a solid funk base.  The rest of the tracks move between hard funk grooves and Barry White-esque bedroom vibes.... plus, can this man rock a lavender suit, or what!

Day 0491 - Mask

Bauhaus "Mask" (1981)

 
I don't know if I'm maybe not in the mood, but this one seems just 'okay'.  On the face of it it seems like something that I'd be into; a gothy post-punk offering that mixes skittish whiteboy funk, electronic elements, gothic backing vocals and a number of other elements.  I enjoyed all of it and really wanted to LOVE it, but it just wasn't happening.

This was viewed as being Bauhaus' more poppy accessible album.  They released 2 more albums before going their separate ways with all the members pursuing separate music projects (testament to the combined creativity contained within the band).   They reunited and released an album in the 00s.  

Day 0490 - Fire of Love

The Gun Club "Fire of Love" (1981)

Another album that I'd listened to when I first read through the 1001 albums book a few years ago.  I'd judged it by its cover and thought it was going to be something like "Dr John the nighttripper", a bit of voodoo-laced New Orleans rhythm and blues.  Much like the Cramps and X though, this is more of a rockabilly-meets-punk stripped down sound.  This album takes the stripped-down thing a bit further with the music being laid almost bare, with very little studio trickery to airbrush it.

The lyrics are occasionally in-your-face and uncomfortable with racial slurs and lines like  "I will fuck you till you die" thrown in to the mix.... possibly delivered with a sense of humour, but it's hard to tell.

Day 0489 - Dare

The Human League "Dare" (19881) - got it

The Human League had lost two of its founding members Maryn Ware and Ian Craig Marsh who were busy getting Heaven 17 up and running.

Lead singer Philip Oakley recruited two teenage girls as dancers/backing vocalists and set about making the 80s-est 80s album to ever 80s.  The band's previous, more experimental sound is given the odd nod, particularly in selected tracks on side B, but mostly this album is stripped-down, catchy synth-pop finery.

Track "Don't you want me" is one of those big 80s hits that most people know.

Day 0488 - Talk Talk Talk

The Psychedelic Furs "Talk Talk Talk" (1981)

An 80s band that managed to bridge the gap between the mainstream and underground pop scenes.  Melding melodic guitar lines and catchy saxophone, with a bit of punk directness showing up on some track.  The vocals seem to run somewhere between the ragged drawl of Shane McGowan and the snarl of Lou Reed.   The lyrics are anti-love and more focussed on sex for sex's sake, with penultimate track "I wanna sleep with you" feeling particularly aurally 'climactic'.

The track "Pretty in pink" had something of a resurgence in popularity after John Hughes used it in his film of the same name.