An Ear For An Era: 1982

And...we're back! 1982. The last year before me. The world would forever change (for me) in just one short year. So what kind of music was coming out? Lots of kinds at this point. Some great oddities, some of the biggest pop albums of all time, and some of my favorite albums of all time. It was a big year.

Let's start with the pop because my goodness was this album huge. I don't know if you've heard of Thriller, by young up-and-comer Michael Jackson, but it came out in 1982. I don't think much needs to be said about this. "The Girl is Mine" is pretty cheesy but besides that this album is just so full of gigantic pop anthems it's kind of ridiculous. "Thriller" is followed up immediately by "Beat It" and then "Billie Jean?" But it doesn't feel like it's all stuffed together because there are only 9 tracks and the hits just keep hitting? That's right, person with theoretical questions. That's right.

The king and the Prince. Both put out crazy big pop albums in 1982. Prince's 1999 is significant to me mostly because they played the crap out of that song on NYE 1998 and 1999 I think, both of those New Years Eves. But it's got other big awesome hits like "Little Red Corvette" and Prince's trademark sexiness in songs like "Let's Pretend We're Married."

How do I get from pop to punk? Billy Idol will do fine as a bridge here. His self-titled debut album is pretty hit-and-miss, but the hits are quite good. There's a certain musk to how he presents himself, it brings me back to my dancin' days of the early-to-mid aughts. Those 80s dance nights were a place to listen to "Dancing With Myself" and dance with a few people and show off the debauchery we were capable of, our flexibility, and whatnot. It was a big time for my social life and it was songs like this that made it happen (and people like Enoch; I miss you so much buddy!). As a wallflower, unable to talk to people I didn't already know, this is the music that allowed me to be social because I didn't have to talk.

Is this getting too personal? Too bad, pretty soon this blog is going to be focused on my personal experience with music instead of just a way to carry through the old stuff that happens to also tie me to a certain time/place in my life.

Punk continued to push forward on both coasts. I think I've already discussed how great the early 80s were for punk, but 1982 saw some big debuts and otherwise huge albums. There was The Vandals, whose EP Peace Thru Vandalism showed a band refusing to take itself seriously. Flipper brought all the attitude to punk rock but changed the approach by playing really slow/brooding songs. The Misfits used a lot of whoa-oh-ohs that would go on to be such an integral part of punk rock, and while I wasn't into them so much in high school I feel like if I had gotten this album back then it would have been pretty high in rotation. And then there was Bad Brains, one of the most ferocious punk bands when they played punk. Then one of the most soulful reggae bands to be heard outside of Jamaica when they played reggae. They played up that dichotomy in much more black-and-white terms than others that combined them.

The Clash blurred that line quite a bit with Combat Rock. Actually, they blurred it their whole career. I just figured this would make a good transition. I'm going to miss The Clash popping up here, because this is the last I'll be hearing from them. This is their poppiest album, their most successful financially, and includes such hits as "Should I Stay Or Should I Go" and "Rock The Casbah." Confession time: I never got this album until just a few years ago. I got to the point where I was embarrassed to pick it up because I didn't want people to know I didn't already own it. So I'm not as familiar with it as their other work, but I do like opener "Know Your Rights," and obviously I am a big fan of "Straight to Hell" (to later be sampled on a certain hugely successful M.I.A. song). That song and having a contribution from Allen Ginsberg keeps the cred here even if it sounds like they were starting to pursue that larger audience they were picking up. Still a worthy addition to The Clash's discography, and that's a pretty big compliment you can give an album.

And now we're really getting into the stuff that I have loved for years and years.

The Descendents' debut album (I just realized I missed their "Fat EP" here because I only have it on vinyl! D'oh!) Milo Goes to College might be my favorite punk rock album of all time. Or pop punk if that's the correct term. Back when pop punk wasn't an embarrassing term because all the "pop" meant was catchy. They sang about being kids. They perfectly encapsulated that time for me. I listened to some punk in high school but I wasn't a punk. I was just a "square going nowhere." They weren't afraid of singing about girls and even marriage in a genre that was mostly tough guys and political posturing. I got this album in my stocking one year for Christmas and I listened to it over and over again immediately that morning. Before this, I'd only heard their "new" stuff, Everything Sucks from 1996. This was so much rawer but so engaging...I don't think any initial listening of an album has stuck with me for so long, the experience of hearing these songs for the first time was ingrained into my being and this album will always be such a significant part of me. Every time I hear it, I'm taken back there, to those simpler times. I have to play the opening track because that's the first thing I heard that morning and even though I love all the tracks, this exemplifies the spirit: There's no reason for you to quit just because we try harder!

Descendents "Myage"

The Violent Femmes' self-titled debut is another one that, front to back, has always been a favorite. The lowest rated song on the album for me is "Blister in the Sun," their one big hit. It's okay. But when they really get going, when they express the personal so effectively through the combination of incredibly heartfelt lyrics and catchiness and a circus of sound coming out of a very simple setup (acoustic guitar, bass, a couple drums, maybe a xylophone or violin here and there) that builds and rises (and RISES AND RISES) and falls again, when all of it comes together, it hits you hard. Or me. I can't say what it does to you. I think next time I do karaoke, and if they have something besides "Blister in the Sun," I will have to sing some Violent Femmes. Here I 'd probably play "Confessions" or "Add it Up" to exemplify what I've described if I could, but I can't resist playing the closer. It shuts me down anytime I hear it, that's for sure. The circus isn't here but it's the prettiest ballad with some of my favorite lyrics ever: "laughing at the sunrise like he's been up all night." Everything that that implies, just puts me in a place that has been a long night that you didn't want to end and you're so tired...so simply put together in a few words.

Violent Femmes "Good Feeling"

Speaking of ballads, those are the reason that Imperial Bedroom is my third favorite Elvis Costello (and the Attractions) album. Actually 2nd favorite with the Attractions, because one of the other two is not an Attractions one. Where was I? Oh yeah, ballads. And Imperial Bedroom. The songs are just so personal and sad. With a couple strains of hope strung along throughout. The way "The Long Honeymoon" tells the tale of a wife freaking out about her husband being out late, the burdensome side of a line like "she never thought her love could ever be as strong as this" (on a bed of the most lovely piano playing by Steve Nieve) transitions into some brutal power chords and screaming that just jolts you into the song "Man Out of Time" that didn't really need that jolt, it's just a way to keep you on your toes (the song itself is again piano based, pretty light, just bookended by these power chords), taking you back down to "Almost Blue," another gorgeous soft ballad...it's a roller coaster but it's consistent. It goes like this for the full album. Lots of songs from women's perspectives, music that goes up and down (mostly down). It's a great showcase of Elvis' lyrics and Steve's virtuoso piano playing. (The Audrey Hepburn montage is just bonus).

Elvis Costello & The Attractions "Almost Blue"

Another rock artist that put out a ballady collection was Bruce Springsteen. I can't claim a huge personal connection to this, but do you know how often Nebraska comes up when interviewing bands about their influences? Half of indie rock was influenced by this album! This is the side of Bruce that justifies all the hoopla he gets for his rock songs. It's the heart. It's just not disguised by synths and distorted guitars and stadiums. Stories of real people's real lives. Stripped down Bruce is the way to go.

Hip hop (that which I have in my collection at least) continued to be something of a novelty, as exemplified by this track from that Third Unheard comp I've discussed in the past. Willie Brown & Woodie recorded a track called "Ventriloquist Rap," because Woodie is a puppet. Of course. Dang it, I can't find it on youtube. Ask me to play it for you sometime because it's something else. Afrika Bambaataa had some great jams with Soulsonic Force. "Looking For The Perfect Beat" is good enough that it's the title to the collection of singles that I have. But "Don't Stop...Planet Rock" is just the song I have to put here. I just have to. It's officially a party here for the next 6 1/2 minutes.

Afrika Bambaataa & Soulsonic Force "Don't Stop...Planet Rock"

Now for the weirder stuff.

I don't remember how I first discovered Carmel, a jazzy soul band with one of the most unique and beautiful voices I've heard. I do know that it's hard to find anything by them anywhere, so any song I can pick up I will. I have a cover of "Tracks of My Tears" which is a great way to experience the voice in a somewhat familiar context (it's jazzy but it's the Smokey Robinson song) but just as a showcase of what I'm talking about here's the other song I have of theirs from 1982.

Carmel "Storm"

My dad introduced me to art rock. It was my dad. I've talked about how he got me into Nilsson and Kristofferson, but that wasn't enough. He introduced me to really really weird music. Music that is now on display at MoMA. I saw the video there as an art installation! Us kids really liked it when Dad put on this tape. Of weird talking and wolf howling. Have you guessed yet? Laurie Anderson! Big Science! It made us laugh at times, it was terrifying at others (and sometimes the same time), and we couldn't get enough. "I no longer love the way you hold your pen...and pen...cil." "We are all going down...put your head in your hands, put your hands on your hips, haha..." I bet this makes no sense to you if you haven't heard this album. You should listen to it. I can't really do it justice. Here's a taste, but really, hear the whole thing. Preferably in a small truck with your siblings and your dad.

Laurie Anderson "Sweaters"

And of course if I played Laurie Anderson now I have to talk about her husband Lou Reed. You may have heard of him. When he passed away last year I wasn't sure if I should try to write about him on this blog. But I didn't think I had the perspective needed to do anything of importance; other tributes were written beautifully so I didn't have anything to contribute. So I just put a few words on Facebook, knowing I'd soon get to some more Lou Reed on this here project.  The Blue Mask is a very good Reed album. It was just weird trying to listen to it subjectively because it's the first time he's come up in this since then. The weirdest thing about this was that the last couple tracks on here are pretty death-obsessed. "The Day John Kennedy Died" and "Heavenly Arms." I remember looking for a fitting song to play after his death and couldn't find a suitable one from Berlin. But this will be a good way to say goodbye (not really goodbye though, I have some more stuff because he did a lot between 1982 and 2013).

Lou Reed, "Heavenly Arms"

Other things to say things about/Other things about which to say things:

• How about other random pop songs that everybody knows and loves? Maneater by Hall & Oates? And "Sexual Healing" by Marvin Gaye?
• Or what about the quintessential 80s/new wave/whatever jams that, yes, everybody knows and loves? "Come on Eileen" by Dexy's Midnight Runners, "Rio" by Duran Duran, and "She Blinded Me With Science" by Thomas Dolby. Is that enough of that?
• Speaking of Duran Duran, I also have the song "The Chauffer" thanks to the Greenberg soundtrack, and it is really something!
• Daniel Johnston put out some more greatness; I quite enjoy the song "Story of an Artist."
• Right now Sonic Youth will be in this miscellaneous category. The fact that they are part of the lexicon now changes everything, but I'll be writing about them a lot in the future. Their self-titled debut shows hints of what's to come but they weren't quite there yet. I like it but don't love it. It takes a bit more than an EP to change music forever.
• Queen fully embraced the 80s with Hot Space, a very poppy album from a band previously known for its emphasis on rock & roll and guitar solos. Lots of dance tunes here, including the always beloved "Under Pressure" featuring David Bowie. They do dance/pop well, it turns out.
• I'm not a big metalhead, but Iron Maiden's The Number of The Beast is very great. The title track is my go-to if I ever find myself in an air guitar solo competition. Love that solo.
• I didn't have a ton of two tone era ska from 1982 other than a Bad Manners album Forging Ahead (such an 80s sounding ska album!) and some Madness tracks including their big hit "Our House." It's good stuff.
• Remember that old Volkswagen commercial and that "Da Da Da" song? It's by a German band called Trio and that song came out in 1982. When the commercial was big my buddy really wanted the album that song came off of, and I ended up finding an import after much searching. There was a German version and an English version and the English version sounded goofy because I don't think they knew English that well. Anyway, it's the German version I have in my collection now.
• Always turn it up for a couple more Minor Threat songs. "12XU" is a cover but it's still one of my favorites.

Next Time...

The year that bore me! I'll totally remember picking up all these albums at the record store on release day from here on out because that's how with it I am. Ever since birth. Or not. But here's what's in store (alphabetical order). Billy Joel at his cheesy best, a full Daniel Johnston album, Bowie says Let's Dance! Duran Duran, Elvis Costello as usual, a Minor Threat album, Minutemen, New Order, Pulp (already??), R.E.M. (seriously??), Talking Heads Speak in Tongues, They Might Be Giants have some Early Stuff To Share Already, Tom Waits' crazy circus finally comes around in full with the brilliant Swordfishtrombones, and We Are Now Officially In The Era Of "Weird Al" Yankovic So Watch Out!

An Ear For An Era: 1980

Hey it's the decade that made me! And lots of people. And lots of odd choices.

1980 specifically though, had some hardcore punk rock, some innovative uses of different genres by punk rock outsiders (including much ska from the UK), more super fun party rap, and some cheesy stuff by lots of people.

So let's go in that order.

The Cramps' first actual album Songs The Lord Taught Us is such a great introduction to not giving a damn. Sloppy, ugly, and yet fun and original and pure energy. Zombie Dance, I'm Cramped, Sunglasses After Dark, I Was A Teenage Werewolf, it's all just like lightning. Lightning that zapped a corpse, reanimating it. And continued to zap it, making it dance. Zapping at its feet. You know?

Dead Kennedys on the other hand did give a damn. They gave a lot of a damn. Their actual debut album Fresh Fruit for Rotting Vegetables is one of the most fiercely political, satirical, pissed off albums I own. In high school a guy that was oh so punk rock had a Dead Kennedys jacket he wore all the time and that was around the time I got into punk rock. This was an intimidating introduction to the real stuff. Singing about killing children? Ok that one is obviously satirical, playing on parents' fears of these punk rock fiends, but lynching the landlord and chemical warfare? There is some real anger in here and a lot of information about where said anger comes from.

Dead Kennedys "When Ya Get Drafted"

Other great punk bands had songs that I only have one song from. One of my favorites is Stiff Little Fingers' "Tin Solders," a song later covered by the Mighty Mighty Bosstones. This era is going to prove to be hugely influential on mid 90s punk, of course. I also got excited to get my first song by The Ex, a super amazing Dutch punk band that has been evolving since then and still blows my mind with every passing release. They were pretty standard punk rock back in 1980, but were already showing their restlessness with the limitations that they would soon destroy.

The Ex "The Sky Is Blue Again"

Now time to kind of detour into post punk. Joy Division was really starting to get interesting and then Ian Curtis died. This is going to be a theme here. Great bands that showed endless promise get cut short by a tragedy. The only album of theirs I have (other than the singles collection) is Closer. The world may associate the band with the oft-covered "Love Will Tear Us Apart" (not of this album but of this year) but something about the driving beat of this song really gets me going, the emptiness created by the echo, it's everything the good side of the 80s comes from. Rest in peace Mr. Curtis.

Joy Division "Twenty Four Hours"

Am I going to post a video for everything? Not sure yet. Either that or I just mention my favorite or most noteworthy track off each album I talk about here.

How about The Clash?? Sandinista! is quite the undertaking. It just keeps going! And it goes dub on several occasions! Part of me agrees with some of the critics of that time saying it would have made for a great single-disc album. But no, they had to go triple! Of course my favorite tracks are the more classically Clash sounding ones (the ska punk of London Calling, the few straightforward punk rock tracks). I applaud their ambition, and the ambition of anyone who sits down and listens to this whole thing front to back. Check out "Washington Bullets" for a great political song in the vein of London Calling or "Police on My Back" for the most early Clash sounding song. Oh whatever, I'm going to post that one. It was quite invigorating when it came up because I'd gotten exhausted (it's right at the halfway point in the experience) and it's a shot of energy and catchiness and not dub.

The Clash "Police On My Back"

Not quite as ambitious but still ambitious was Elvis Costello & The Attractions' Get Happy!! 20 tracks that were all jammed to fit on one single record! Lots of songs under 2 minutes but he didn't go in the direction of punk rock (that would have been quite interesting). It was more influenced by the 60s and soul and the simplicity of Buddy Holly and yet lots of diversity. "Motel Matches" is the most ballady song and probably my favorite. "New Amsterdam" introduces one of my favorite styles of Elvis Costello song (a certain type of folky one he would revisit on King of America). "Human Touch" is ska.

Speaking of Elvis Costello and ska, did you know he produced the The Specials' self-titled debut? Did you know I had it labeled as 1980 but it seemed to have come out in 1980? Damnit!  This is the big one  when it comes to the two tone era. It epitomizes the unity and the black and white checkers and has tons of classic tracks. But I missed my chance to talk about it (that's how this works, right?). I only have one song from the 1980 follow-up More Specials, but I like it a lot. It's a cover of an old song but I always want to play it at parties.

The Specials "Enjoy Yourself (It's Later Than You Think)"

What other ska was there, you ask? Well, one of my favorite ska records is The English Beat's I Just Can't Stop It. It's very 80s. It's a mix of different styles of ska and covers lots of other influences like rock & roll and soul. It's almost as much a new wave record as it is a ska record. Covers of songs like "Tears of a Clown" and "Can't Get Used to Losing You" bring in the soul in a way that makes it so intimate and then "Ranking Full Stop" is a full on party song.

I saw The English Beat live in concert once as an 80s throwback lineup with A Flock of Seagulls and Devo. This is about Devo, not A Flock of Seagulls. I think I overlook Freedom of Choice because of the overplayed curse that is "Whip It." Aside from that song it's a really great album, one of their best even. And anything for a chance to post another Devo music video!

Devo "Freedom of Choice"

Now let's change to hip hop a bit. Just for a quick paragraph. After this blog series' introduction to the genre last time with "Rapper's Delight" we already have a bit of an explosion. I've long had Kurtis Blow's "The Breaks" as a representative old hip hop song in my collection. It used to bore me because of how long and repetitive it was. But in context with this other stuff it's more enjoyable. Afrika Bambaataa Nation funk it up very awesomely on "Zulu Nation Throwdown," and I'll probably have more on Afrika Bambaataa soon. But surprisingly (?) my favorite 1980 hip hop came from a collection called The Third Unheard: Connecticut Hip Hop 1979-1983. They were apparently partying pretty hard in Connecticut and making their own hip hop innovations. Rappermatical 5 had a great jam called "Party People," The Outlaw Four had a pretty silly song called "Million Dollar Legs," and someone named Mr. Magic had this super awesome party time song. Listening to it I can kind of picture the role of the MC...he's not the star here, he's letting the DJ do his thing for this mostly instrumental track, and peppering it with some rhymes.

Mr. Magic "Potential 1980"

Now to the kinda cheesy part of things. Not that hip hop wasn't cheesy. But for a while there I was listening to all this stuff wondering if 1980 was the cheesiest year for music. One Queen album wasn't particularly cheesy but I don't know where else to put it. The Game is one of their better albums with classics like "Another One Bites The Dust," "Crazy Little Thing Called Love," and the title track. But they also had another album from 1980: The Flash Gordon soundtrack! It includes lots of little snippets of dialog from the movie and it seems to be such a splendidly campy affair. And the electric guitar playing the wedding march is just so inspired and cheesy I hope someone I know someday walks down the aisle to that song. At least a grocery aisle. I hope they play that song at the grocery store.

But for real, 1980 was full of cheesy cheese by people like Diana Ross ("I'm Coming Out"), Leon Huff (Here to Create Music is a super 80s sounding soul album...it's pretty good but pretty cheesy too), Hall & Oates (enough said), Roberta Flack & Donny Hathaway (I really miss late 60s Roberta Flack), and surprisingly enough John Lennon. Now, don't misunderstand me. I'm just comparing 1980 John Lennon to early 70s John Lennon. Or even the Beatle. My opinion may be skewed because this is the last I have before he died, but this cheesiness comes more from him being happy with his life, at peace, or that's what I like to imagine. He was killed way before his time was up, but the songs I have of his from 1980 all kind of show him at peace. A love song for his kid, for crying out loud. But he really spells it out in this song and I think it's the perfect last word from him (except some posthumous stuff came out in 1984 and then those "new" Beatles songs in the 90s).

"I just had to let it go..."

John Lennon "Watching The Wheels"

Etc stuff:

• Bowie was still being awesome. Scary Monsters (and Super Creeps) is a good harder rockin' side of the chameleon.
• Emmylou Harris' Roses in the Snow shows that she was still in her prime, and includes a nice cover of Simon & Garfunkel and a song with Johnny Cash.
• Judas Priest made their way into the rotation with "Breaking The Law." I don't have to tell you how awesome it was when that came up.
• I may have been sorely missing Black Sabbath as I went through the 70s but this is the 80s so now we've got solo Ozzy and the jam "Crazy Train." That's almost as good, right?
• What I like about The Romantics' "What I Like About You" is how well it captures the 60s in the 80s. I used to think it was an old Kinks song!
• Even Rush was getting into the ska thing as there was a brief ska section in "The Spirit of Radio." Talk about undercover s.k.a.!
• Only one Tom Waits song off Heartattack And Vine. But "Jersey Girl" is a very lovely song.
• Apparently a highly influential year on Skankin' Pickle as well. Their final album (not out until the 90s, don't worry) was half cover songs and many of them were from this year: Bad Manners' "Special Brew," Devo's "Gates of Steel," Oingo Boingo's "Violent Love." Those would all have been good choices of songs to play.
• I forgot to put Talking Heads in here! Remain In Light is the album with their signature song (as far as I'm concerned) "Once in a Lifetime." 

On The Next Installment Time Following This...

Reagan means rock & roll got better...thanks Reagan! For what it's worth! Angry music rules 1981 (AC/DC, The Birthday Party, Black Flag, The Cramps, Minor Threat, ), and more hip hop (Afrika Bambaataa continues, "Cuzz Band" and others from that Connecticut compilation keep it going in CT), New Wave is obviously just getting warmed up (Depeche Mode, Soft Cell, The Human League), Elvis Costello goes country, and cool indie outsider Daniel Johnston gets started.

But before I get to that it'll be a while. I just procured the complete (Freddy Mercury era) Queen discography and I have some backlog to listen through (i.e. pretty much everything they recorded in the 70s). So you might not hear from me in a while. Cheers! And thanks Andrew!

An Ear For An Era: 1979

That is going to do it for the 70s. That wasn't so bad, now was it?

Punk went postal, funk got poppier, pop got funkier, and I'm pretty sure a dance party with all 1979 music would be amazing.

Oh yeah, and something else has emerged. Something...else.

But we'll get to that in a minute. Let's talk about punk rock. I didn't realize how quickly things escalated here. I was aware that post punk was pretty much on the heels of the pop punk established by Ramones, but I didn't realize that hardcore punk was also champing at the bit at the same time. But here it was, the Dead Kennedys' early recordings. West Coast punk rock is here to burn everything up. To make The Ramones and Buzzcocks sound quaint. "California Uber Alles" was a single in 1979 and I also have some early live performances from the Give Me Convenience or Give Me Death compilation.  Here, a template is established that defines much of my high school music attention span and countless punk rock bands of the next 30 or so years.

The Dead Kennedys "Short Songs" (live)

The Cramps were also getting dirty and doing the horror-surf-punk thing so much better than The Misfits in my opinion. They epitomized this era of punk to me, just not caring about sounding polished, just banging their instruments together to create such energy...their cover of kindred spirits The Trashmen really stood out for me from their 1979 debut EP Gravest Hits.

The Cramps "Surfin' Bird"

So that was one side of punk rock that is really going to expand greatly as we get into the 80s. The other side was pushed forward by The Clash. Expansion, incorporation of ska, and oh yeah, the Most Important Album Of All Time. Right? London Calling was their masterpiece and I don't even know what to say here. I'm gonna blow it. It's all 3-5 star songs (I think the highest average rating for any album in my collection despite sprawling over 19 tracks). The ska part of this managed to make it more revolutionary than anything else, incorporating the Jamaican history of music and revolution into the revolutionary nature of punk in the late 70s, it just changed everything. This is what would be imitated for decades, get popular in the 90s in time for me to discover the ska punk genre at the peak time in my life (high school, feeling like an outcast) to show me what it means to rebel, to have something that drives that state of mind. When I finally discovered this album in particular it was a revelation. Everything else became irrelevant. Music follows an evolutionary path but this is such a high point that nothing has managed to effectively evolve from it (but I am looking forward to dissecting its kin on this very blog regardless). The energy, the words, the world it opened up, I know I've used this word a lot in this paragraph but it's what it is in the truest sense of the word (musically at least): Revolution.

The Clash "Revolution Rock"

Another band that did something very similar to The Clash but in its own unique was was Gang of Four. Their debut album Entertainment! establishes some other rhythmic identities that would be similarly imitated decades later. The main difference is the sparse arrangements. The funky rhythms though! There's actual skill and musicianship on the part of the drummer and bassist that was not particularly valued in punk rock at the time and it's pretty refreshing to have the energy, highly politicized lyrics and revolutionary spirit presented in such a groove.

Post-punk-but-soon-to-be-new-wave band The Cure made their debut with Boys Don't Cry in 1979 as well. It fits well with Gang of Four in that it's highly rhythmic (but much poppier) and has spare arrangements, particularly when contrasted with what the band would become in the 80s. Of course the title track was/is a giant hit among new wave fans, but the rest is pure post punk deconstruction.

David Bowie was back in 1979 to finish his "Berlin Trilogy" with Brian Eno with The Lodger. This album was very dark and very appropriate to listen to around Halloween time. I keep waiting for when Bowie becomes "difficult" but I'm not sure it's going to happen. Here he's dark but it's still easy to listen to.

David Bowie "Repetition"

Another artist with a fruitful relationship with Brian Eno was of course Talking Heads. Fear Of Music was their 1979 release. I have this one on vinyl and it's got a super cool texture on the sleeve. I missed out on More Songs About Buildings And Food (for which I apologize, I'm not sure how I neglected to pick it up every time I've been to record stores) so this is a giant leap from their debut. It's no longer just white people funk, it's got lots of different textures and rhythms and experiments. It retains the high level of energy and rhythm and benefits a lot from Eno's influence.

One more quick new wave hit! This is one that dominated my personal charts in the early aughts, mostly because they played it at all the cool dance clubs as a throwback smash. And I have memories of crazy nights centered on this particular jam.

B-52s "Rock Lobster"

I'm pretty sure that's the extent of the B-52s that will EVER appear on this blog. So I hope you enjoyed it.

Hey you know how I talked about The Clash and ska and such? I finally have some official Two Tone era ska! Just a couple songs from Madness. "My Girl" is a favorite mostly because Mike Park has a cover of it that I quite enjoy. I sang it in karaoke once on my birthday. And then this one, it's honest-to-goodness ska!

Madness "(They Call It) Madness"

Lots more ska coming your way soon!

Now let's talk about Elvis Costello & The Attractions, shall we? I'm pretty sure I'll have something to say about him in most years as we get through the 80s, into the 90s, etc. Armed Forces was his best album at the time of release. I know lots of fans consider it his best overall, but I have some others I prefer later down the line. But it establishes The Attractions as more than just a rockin' band to back up Elvis' great lyrics and singing. They are a force here, incorporating more intimately with Mr. Costello as a functional unit. And his writing hits a high point, showing a fearlessness, his vocals have that sneer that I always associate with him. Listen to this song, the "she'll be the one" part toward the end is one of my favorite sections of any Elvis Costello song, an early climax on the album, putting it on a high that carries through the album before exploding onto the closing track "(What's So Funny 'Bout) Peace Love & Understanding." You know that song is amazing but here's the song I tried to tell you to listen to in the last sentence but got off track. Here:

Elvis Costello & The Attractions "Big Boys"

Okay now's a good time as any to transition over to pop music. Now I'm not sure how it happened but I started warming up more and more to disco as this went on. I think a lot of it is due to the fact that I minimized how much is in my collection so I can't get sick of it. But some of these artists really stepped it up artistically as the decade wore on, and I also like this track because Feist did a cover of it and I really love her version. But here's the original:

Bee Gees "Love You Inside Out"

Okay now that's out of the way. Let's move on to the king of pop, who really asserted himself in 1979 with Off The Wall. Considered by many critics and snobs to be Michael Jackson's best album, I think I have to agree. Incorporating elements of disco and funk, along with some ballads, into a new signature sound that can be described simply as pop, this album is pure fire, front to back. The pop of the 80s, the one existing outside the world of new wave, is in full force from the opening track "Don't Stop 'Till You Get Enough." Of course that is the most well known song on that album and for a good reason. But there is absolutely no filler in this fire, it's a hot burning flame that is completely solid. My metaphors are starting to get confused. But Quincy & Michael struck gold...flaming gold...with this one. Of course all these fire metaphors mean I have to share this song.

Michael Jackson "Burn This Disco Out"

Of course where there's a king, there is also a Prince! The other king of pop in the same exact era! His  self-titled album was apparently his second one so it ain't no debut. But it's our debut here so that counts for something. Lots of similar sounds to Off The Wall but more diverse. I do like when he whips out the guitar for some rock & roll incorporated soul-funk-pop like on the song "Bambi." But I also think his best is yet to come at this point. Did you know that when you wikipedia "Prince" it returns some stupid entry about royalty? I say we petition wikipedia to make him the default entry for the word prince!

According to wikipedia, Prince opened for Rick James on tour around this time. Rick James was super awesome in 1979 pushing the funk train forward with songs like this.

Rick James "High On Your Love Suite: One Mo Hit (Of Your Love)"

You know what genre Rick James really influenced and continues to influence to this day? It was funny, it actually came up early in the shuffle but I had to end this entry on it. That's right, The Sugarhill Gang had a certain song that exploded in popularity and taught the masses about a brand new genre of music. Yeah, you know what I'm talking about. I didn't realize how dirty this song was considering how relatively clean hip hop seemed to be in its early days. But yeah. Game changer. That means the framework for everything I have coming up for the rest of this journey has now been established. It's all just a matter of evolution from here.

The Sugarhill Gang, "Rapper's Delight"

Other blah blah worth something

• Sun Ra's Strange Celestial Road was interesting, a good moody driving record.
• I wasn't sure where to put Pink Floyd's The Wall so it's delegated to here. Sorry. I know it's epic and deserves many paragraphs.
• Delta 5's "Mind Your Own Business" was yet another post punk funky gem.
• Just a couple years after changing the world, the only Ramones track I have from 1979 is "Rock 'N' Roll High School," a nice novelty song to go with the novelty movie they were in.
• I didn't realize I was missing a crucial Devo album from my digital collection! "Secret Agent Man" is the only evidence I have that Duty Now For The Future exists. Big omission there.
• In high school I picked up the album I Am by Earth Wind & Fire because we played a couple of their songs in marching band (my marching band was better than your marching band). We played "In The Stone" from this album and it was super fun. The album itself reminds me of Off The Wall but without the benefit of Michael Jackson. "Boogie Wonderland" would go well on that theoretical 1979 dance party though.
• Joy Division was quickly evolving from raw punk rock to smoothed out post punk dance suites like "Transmission."

Next Time...

Like, totally, you know? Whatever! The 80s means new wave and hardcore punk and early hip hop and stuff. 1980 specifically means Afrika Bambaataa & Kurtis Blow, Bad Manners, English Beat, and The Specials, Exclamation marked albums like Sandinista! and Get Happy!!, more Cramps, more Dead Kennedys, Devo, Talking Heads, Joy Division, and the end of John Lennon. And more!!

An Ear For An Era: 1978

You're going to have to bear with me. I usually try to write these as quickly as I can after I finish listening to something, so I remember the thoughts I had, what I'd wanted to write, etc. But in this case I was trying to get done before a vacation, successfully finished listening to 1978 the night before, but had to pack and such and could not find time during the vacation to write it out. You know, I was busy exploring castles and cliffs, visiting whiskey distilleries and seeing the beauty of the world in general. Ireland is beautiful. I hope I can remember enough to make this a good write-up for you.

1978 was the year my older sister came from. It also featured music. A continuation of 1977 really, with expanding landscapes of punk and new wave and crappy rock and disco as well. I would also like to mention that to this point I have been including videos that are usually fan-created photo montages or whatever to the songs. Music videos were a thing now though, and the majority of the videos I've posted in this entry are actual music videos. So enjoy those!

We'll start with the fairly corporate. I didn't like Queen's (singles) output of 1977 but 1978 had three of my favorite songs of theirs. "Don't Stop Me Now" used to get me pumped up (I'd listen to it before going out when in college. Vinyl.) and then was used in Shaun of the Dead to great effect so now it makes me visualize that scene. "Bicycle Race" is my historical favorite Queen song. "Fat Bottomed Girls" is the companion piece to that.

I think this is the end of the line (for this project) for the Rolling Stones.  Some Girls was a decent album, I quite like "Beast of Burden" and "Lies." But I always just kind of think of this album as the one with "Miss You," their attempt at disco.

So while corporate rock dinosaurs were resorting to cheap ploys at relevance like disco songs, the exciting, envelope-pushing new bands like Blondie were innovating with their use of disparate genres like disco. But before I get to that, they had TWO albums out this year. Plastic Letters kind of makes me think of how much fun it would have been to see them in these days at CBGB. Deborah Harry bringing tons of attitude, the band going all over the place with jazz tunes and punk rock. And then Parallel Lines just took it further. The classic pop stylings, robotic rhythms, and yes, disco, that the band is best known for.  And a Buddy Holly cover! I like this album a lot. Here is of one of my favorite styles Blondie did, the sunny pop song.

Blondie "Picture This"

And of course I have to move on to the other big CBGB band, The Ramones. Road to Ruin is kind of their last "classic" album. After this I have a lesser album from 1983 and some various singles (and a live show from '95). They continued their blitz with fast hard songs, including the hit "I Wanna Be Sedated" but some of the songs remind me of that Blondie track above. A little bit slower, while keeping the trademark catchiness they so owned. Here is probably the most blatant version of that. I wonder if the punks were as pissed about this as they were about "Heart of Glass."

Ramones "Needles and Pins"

You know what punk band wasn't slowing down: Buzzcocks! I have Operators Manual, a collection of early singles, and the bulk of it is from 1978. Of all the 1978 examples I have, I feel like the Buzzcocks were the most like the coming-up-generation-of-punk, the focus on playing short fast songs. But the way they did it was still catchy like the Ramones. I get songs like "Noise Annoys," "What Do I Get," "Ever Fallen In Love," and "Fast Cars" stuck in my head all the time.

And The Greatest Punk Band Scratch That The Greatest Band The Clash had an album too, the somewhat unsung Give 'Em Enough Rope. It gets overlooked for not being their debut or their greatest album (London Calling) or their most experimental (Sandinista!) or their most popular (Combat Rock). But I kind of like that about this one. It's got the same energy level as their debut, is still primarily focused on punk over experiments, but it has just enough of that special edge to be interesting. It's the album that sounds like The Clash but has not been overplayed (by me at least).

OK how about new wave though? Devo made their debut with Q: Are We Not Men? A: We Are Devo! Now this is punk. Completely outside the realm of what rock and roll should be expected to do, yet it's rocking. More of those robot rhythms. Completely deconstructing a rock & roll classic ("(I Can't Get No) Satisfaction"), turning everything into machines including the act of prayer. The idea of this band was de-evolution. In that mindset this is the band at its most evolved. And it has to be their best album (we'll see if I take that back next time they come up here!). I've heard people talk about "nerd rock," and crediting Buddy Holly with starting that. I don't think that's accurate. Buddy Holly was super cool, he just wore glasses. Devo gave the nerds something they could understand. In a way that I think had been overlooked by the rock & roll machine up until now. The middle track is the most quintessential Devo song, the most rhythmic, and the one that includes the album title. Please note that the version below is not the one from the album (it's much slower) but this video is so amazing I have to share it. Devo was also streets ahead in regards to music videos.

Devo "Jocko Homo"

You know who else was nerdy? They Might Be Giants. Of course, they weren't around quite yet but The Residents probably were an influence on them...

The Residents "Constantinople"

Elvis Costello is still my favorite artist. Not too nerdy despite the glasses. This year he put out This Year's Model, which showed a shift towards more fast-and-loose rock and roll. The Attractions probably had a lot to do with that. But classics like "Pump It Up" and "Radio Radio" kind of define this early era of his career and they are just full of energy and spit. I also have the live album Live At The El Mocambo, which was a recent release BUT it's a performance from 1978 so I include it here. I mention that because it demonstrates the power of Elvis Costello & The Attractions as a force of nature, rolling through tracks with reckless abandon. I'm not sure if this live video is specifically The El Mocambo but it has the same energy.

Elvis Costello & The Attractions "Lipstick Vogue" (Live)

I feel a little bad for Nick Lowe. Sure, he's great and has continued his music career to this day so he has to be doing just fine, but I always just think of him as the lesser version of Elvis Costello. He produced a bunch of his records, he wrote "Peace Love & Understanding," and he put out new wavy records not too different from those of Elvis Costello's. They just don't hit the same highs for me. Jesus of Cool comes the closest though. He went a somewhat more pop route (the American title for this record was Pure Pop For Now People, which I think is an appropriate title), while undercutting everything with a cynical edge.

I don't know where else to talk about Tom Waits. Blue Valentine is yet another step toward his more experimental side, but it could still be considered part of the early period of his career. Dominated by the same coolness, jazz, and his distinctive vocals that continue to work toward what we now know. "Christmas Card From A Hooker in Minneapolis" is odd in that I have it on my Christmas music playlist but the song really has nothing to do with Christmas. Just a sad tale. I have one song from his 1980 album Heartattack and Vine and then my next Tom Waits album is Swordfishtrombones so...this is going to be the most "normal" he'll be. Next time I write about him it'll be absolutely gushing though.

Is that good enough? I think so.

Other stuff to say something about:

• I like "Baker Street" by Gerry Rafferty because of The Simpsons.
• Rick James, dude! I dig the song "You And I."
• I have but one early track by The Mekons, who are still going strong. This was when they were still straightforward punk..."Never Been In A Riot"
• Journey served as a fascinating way to see the terribleness that was going on in the mainstream at this time. Why do I keep it on my hard drive though?
• Willie Nelson put his trademark style on standards with the quite enjoyable Stardust.
• Marvin Gaye started emo? Maybe not, but Here My Dear is definitely a precursor to the oversharing overpresent in that genre. Unsurprisingly my favorite parts of the album are the less personal parts, such as "A Funky Space Reincarnation," which is a cool take on Mothership-style funk.
• The Cars' self-titled album to me felt like the start of the 80s. I associate them so closely with the 80s that it was weird hearing them come up, even though I also associate Devo with the 80s. The beginning of the (long drawn out) end for new wave?
• Warren Zevon's Excitable Boy is a good enjoyable album.

On The Next Installment...

The end of the 70s as we know it! I will have made it! What treasures do the rest of the 70s hold for me? How about London Calling?? Yeah. What else could I possibly need? Maybe The Cure?? The Cramps? Dead Kennedys (already!?)? Armed Forces is one of those consensus-favorite Elvis Costello albums so I'll have words about that one. Gang of Four! Michael Jackson's Off The Wall!?! And Pink Floyd's The Wall?? Weird I didn't know those were the same year! And Prince! And Talking Heads' Fear of Music. Lots of giant albums to look forward to here. Mostly London Calling though.

An Ear For An Era: 1977

Now that's a turning point. For 1967 I got excited that that "element" would now be present, that I'd have something from the fringe/art/punk/whatever to look forward to with each year I'd listen to. Now in 1977 it is officially the focus. Those '7 years, huh? They seem to be significant. Like, if each decade were a story the '7 would be the climax leading to the denouement of the last couple years. Maybe each decade has a movement in music that reaches its creative prowess at 7 before it becomes commercialized and a bastardized "pop" version of itself (particularly in the early years of the next decade). Just think about '67, and then 1970. Now 1977. The start of new wave before it became lame. Does this make any sense?

I just don't want to screw this entry up. Punk rock turned my life around when I was in high school, it got me started on this journey, it gave me the necessary mindset of rebellion and fighting back and questioning everything, and it "began" here. I know I've been talking about a bunch of different bands in this blog that show the beginning of punk. I know there was already a Ramones album in 1976. But those were the spark and the fuse. This is the ignition. Everything else is going to the "also worth mentioning" section in this post.

Of course, the stuff I include as part of the punk movement will include new wave, post-punk, and whatever other associated styles I feel like including. Such as David Bowie.

Two Bowie albums in one year? You bet! And he's part of this. He worked with Iggy Pop, after all. He's an enigma really. Or just complicated. The first album in his "Berlin trilogy" with Brian Eno was Low, whose first half was full of short, fast songs. Just listen to this. It fits perfectly into 1977.

David Bowie "What In The World"

The second side of the album is a little more of what I would have expected from a Bowie/Eno collaboration with longer, slower, more instrumental songs. The next album in the Berlin Trilogy was "Heroes," one of the few times it is correct to put the name of an album in quotation marks. I think more artists should do that when an album shares its name with one of the songs. Or does he mean the other use of quotation marks, implying the "heroes" that we can be are not real heroes? "Heroes" is a great album though, everyone knows that song is one of his best. The rest of the album is quite great as well. It has a similar layout to Low in that the more song-oriented songs were at the front half with some experimental/instrumental/more-Eno-influenced tracks on the back end. "Sense of Doubt" is a very creepy track that would do well in a suspense movie.

So I feel like I am using the word "punk" way too much here but I don't know how else to go through this. But I'd just like to apologize for that. The godfather of punk Iggy Pop should have been right at home in 1977, because what his band had created was now exploding, but while The Stooges could have had a big payday (I'm sure they did when they finally did reunite recently) if they'd stuck together or got back together for this and played CBGB, instead he went solo, working with David Bowie, and exploring new territory. I think the only way the term "post punk" is valid is because it was what Iggy Pop did post punk. Because besides that, it really came up at the same exact time as punk. 1977 was the landmark year for both genres. But ok, Iggy Pop put out two solo albums in 1977. The Idiot was what I theoretically should like more because it's darker and more artsy. And I do quite like it. But I actually prefer Lust For Life, despite some misgivings about the title track. It's a fun song, it's good to dance to, but it's been played on too many commercials and is too repetitive and long for me to enjoy. But once you're past that song it's post-punk brilliance. His vocals have the same urgency as they did in the Stooges but the bed they ride on is all over the map, from ballads to rhythmic exercises.

Iggy Pop "Some Weird Sin"

And there was Elvis Costello's debut! My Aim Is True! And what a wonderful debut. Not much related to punk in sound, but in attitude and everywhere that matters it is pure and true. "Alison" remains one of my favorite songs of all time. Who can't relate to that one? But what I really love are the bonus tracks that came with the Rhino reissue. A bunch of old demos. I don't know of any other versions of some of these songs, such an early display of absolute brilliance from one of rock's best songwriters. Just him and a guitar. And poetry. Here is one of my favorites but before I "play it for you," let me also mention that when Elvis Costello was on Colbert a while back he was having voice issues and Colbert said he'd sing a song with him. Elvis challenged him with this song, such a rare deep cut, and Colbert knew all the words and nailed it. I didn't know there would be a way for me to like Colbert more, but then he pulled that off.

Elvis Costello "Cheap Reward"

Just remember you'll only be the boss so long as you pay my wage...

Another highly prolific artist is David Byrne and of course he got his start in a little band called the Talking Heads. Their debut, aptly titled Talking Heads: 77 is a very impressive debut. They are already so well established in their sound of African rhythms, funk, and yet something still very caucasian. I think I'll have more on them as we get into their catalog with Eno, but the first album already had the brilliant hit song (still persisting today) "Psycho Killer." But the song that closes the album is one of my favorites, as it keeps some of the funk rhythm but incorporates more of the CBGB rock influence and energy, perhaps as a preview of what the band would go on to accomplish.

Talking Heads "Pulled Up"

Does anyone else think Television singer Tom Verlaine sounds a lot like Gordon Gano? What? There are other amazing things about their debut album Marquee Moon? Such as EVERYTHING ABOUT IT? The sense of rhythm, the technical prowess of the entire band, it really is a direct influence of what would one day become math rock. The way the guitars interweave into an odd combination of driving the rhythm and disrupting it with noise, it also reminds me a lot of Joey Santiago's work in the Pixies. Here is a song that emphasizes that as well as the Gordon Gano-ness of the vocals (yes I do realize that Gano sounds like Verlaine and not the other way around).

Television "Friction"

When I picked up the Joy Division collection Substance 1977-1980 it was because I was a fan of their post-punk-ish/new-wave-ish songs like "Love Will Tear Us Apart" and "Transmission." Stuff that was good to dance to. Because at the time I was big on stuff I could dance to. Don't judge. So even though I had my fully developed love of punk rock, I somehow wrote off and did not appreciate the early tracks included in the collection when they were really pretty much just a punk band. Listening again in the context of this project, I was shocked that I had given all these 1977 tracks two star ratings in itunes. Just kind of goes to show you that 1) context is huge and 2) itunes ratings are dangerous because they last until you hear the song again and change your mind, and a low rating may prevent you from hearing the song again for quite some time. So let me say that while this is rhythmic (so therefore post-punk?) it is raw as hell, punk as hell, and I gave this track a revised four star rating.

Joy Division "No Love Lost"

That's a good transition into the "real punk rock" as opposed to all the post-punk stuff. The Buzzcocks showed up briefly here with their single "Orgasm Addict." Maybe the fastest song yet encountered here. Or maybe it was Johnny Thunders' "Get Off The Phone."

And immediately after that came The Sex Pistols' Nevermind The Bollocks, Here's The Sex Pistols. I got this in high school, of course, and loved it for a while, but in the years since have come to regard it as overrated. Hugely important record, one of the most important ones leading up to another certain other record with "Nevermind" in its title (ahem), but not that great within the context of all this other stuff I've been talking about. Johnny Rotten was willing to sing in a, uh, rotten way, and they were revolutionary in the way they went out of their way to offend people, cashing in on the anger and frustrations of the lower class at the time (and they certainly lived the lifestyle as well, I'm not going to doubt that stories of their final American tour are any less shocking and mindblowing as they are made out to be). There was just better British punk rock at the time.

Yep, The Clash. The Only Band That Matters. One thing that annoys me is American versions of British albums. Particularly with this project. I was ready to talk about their self-titled album's "(White Man) In Hammersmith Palais" but that song didn't actually come out until 1978. I was all excited that ska-punk was as old as punk itself! But instead it's just nearly as old. Stupid American version of the album, being put out after their second album! Still, "London's Burning" could be considered a ska-punk song so still valid. Once I saw some punk band at a tiny bar and they covered "White Riot." Something was wrong with everyone else and they didn't seem to know the song. But I went crazy over it and got the mic in my face a few times for that one. Great memory. It's hard to believe this isn't the greatest Clash album, because it's one of the greatest albums and probably the best of all these 1977 albums I'm talking about. Not that I've heard the original British version...

And I'll close it out with the same band I closed it out with last time: The Ramones! Two 1977 albums. Leave Home is the first, and I'm a little less familiar with that one. I just got it actually. It all kind of blurs together. They were very true to their sound, to say the least.

Ramones "Pinhead"

Gabba Gabba 

We accept you 

We accept you 

One of us! 

They certainly were inclusive as well. A trait of punk rock that persisted and helped me feel accepted by something at last when I discovered it in high school. And then of course Rocket To Russia, the monster of a punk rock classic that includes so many anthems, goes over so easy, ends so fast, that you gotta just turn it up while it lasts. "Cretin Hop." "Rockaway Beach." "I Don't Care." "Sheena Is A Punk Rocker." "Teenage Lobotomy." To name a few.

ONE TWO THREE FOUR!

(you fill in the rest.)

Other Highlights Worth Mentioning Because Apparently Other Stuff Came Out Too:

• Dennis Wilson's only (official) solo album Pacific Ocean Blue was quite nice, a very different beast that I can't even try to associate with the punk movement. I think it kind of sounds like Bon Iver. Gorgeous.
• In contrast to most R&B of this time, Curtis Mayfield was still quite great on the album Short Eyes. 
• Kraftwerk! I can't say too much about Kraftwerk but Trans Europe Express is pretty great and is officially the first electronic album I've encountered here.
• My only actual Bob Marley album is Exodus. I can see that it is very good but the association with annoying people is too strong for me to want to listen to much.
• I have most of Billy Joel's The Stranger. Kind of a guilty pleasure but not as bad as his 80s work.
• The Bee Gees in full effect! "Stayin' Alive," one of the biggest hits in all of disco, both exemplifies everything that was wrong with popular music at the time and is one of the greatest dance songs of all time. I can hate disco and still love one of the biggest disco hits, right?
• I got a collection of Hall & Oates songs because it was cheap for a lot of songs. And then I realized I kind of hated most of them. But I still can enjoy "Rich Girl."
• There was a VERY brief overlap of the two Elvises! My last Elvis Presley song (except a 2002 remix) was "Way Down." Rest in Peace, king!
• And Queen...well I have some more from them coming up. But all I had for 1977 are their two biggest hits and two of my least favorite Queen songs. Of course, those are "We Will Rock You" and "We Are The Champions."
• Speaking of Queen, The Queens Of Noise had THREE albums in 1977! I'm talking about The Runaways. It got a little tired to me after a while. They are best in smaller doses I think. But their level of rebellion, while a bit quaint next to the punk rock superheroes, was enjoyable and I can see it stirring the kids up.

On The Next Installment...

Punk/post-punk/etc: Blondie, lots more Buzzcocks, more The Clash, more Elvis Costello, Nick Lowe debuts (solo-ly), more Ramones, The 80s arrive early (The Cars! Devo!), a lost Dennis Wilson album, Marvin Gaye returns with an uncomfortably personal album, more of my favorite Queen songs, my last Rolling Stones album, Tom Waits is still great, Warren Zevon, and Willie Nelson does a standards album. Cool!