The great Grant Hart and his first post-band stuff in this song, a kind of 80s classic, he wryly inserts the line "I'm using" repeatedly to address his heroin habit, defiantly, symbolically. Listen to how wildly musical this song is - amazing organ, sexy chick backup singers too - certainly doesn't sound like the mere punk drummer from "that" band. His solo career is wildly uneven but he could really write and he was always the most coolly beautiful dude in the room - RIP.
Nine Inch Nails, Pixies, Nirvana, Jane's Addiction were all bands getting big(ger) in '89 - all acts who just prior would have been far more limited commercially. So, of course you need a band who went the other way - that band, the very best American band in their era (imo) would have found that commercial potential simultaneously funny, weird and repellent. So slacker-ish they couldn't be bothered with recording technique at all - this buzzy lo-fi quality became their trademark - and couldn't even bother getting an album out for 2-3 years. In this song from '89, that feeling of ambivalence.....well it's in their song titles too (maybe).
The 80s were the era where most hard rock took a side and became either (mostly) metal or something else but there were less typical hard rock bands (the term actually kind of vanished for a time). But Thin Lizzy was basically the same they'd always been with yet another hotshot guitarist in this lineup (John Sykes who plays all over this song during verses, chorus, bridge......... all over it).
Post by Tommen_Saperstein on Mar 20, 2019 8:22:07 GMT
the rough cut, one per artist
01. "Walking on Sunshine" by Katrina & the Waves 02. "Gloria" by Laura Branigan 03. "Faith" by George Michael 04. "Once in a Lifetime" by Talking Heads 05. "The Winner Takes It All" by Abba 06. "All Through the Night" by Cyndi Lauper 07. "Smooth Criminal" by Michael Jackson 08. "I Wanna Dance with Somebody (Who Loves Me)" by Whitney Houston 09. "Don't Stop Believin" by Journey 10. "Total Eclipse of the Heart" by Bonnie Tyler 11. "Material Girl" by Madonna 12. "Express Yourself" by N.W.A. 13. "99 Red Balloons" by Nena 14. "Under Pressure" by Queen and David Bowie 15. "Here Comes Your Man" by Pixies 16. "Janie's Got a Gun" by Aerosmith 17. "The Rose" by Bette Midler 18. "Sweet Child O' Mine" by Guns N' Roses 19. "Invisible Touch" by Genesis 20. "I Think We're Alone Now" by Tiffany 21. "The Tide Is High" by Blondie 22. "Take On Me" by a-ha 23. "Orinoco Flow" by Enya 24. "Love My Way" by The Psychedelic Furs 25. "Running up that Hill" by Kate Bush
Following up on the #1 on Tommen_Saperstein 's list. The guitarist from Katrina and the Waves - Kimberly Rew - was something of a New Wave legend - sometime co-writer and guitarist with the mighty Robyn Hitchcock in The Soft Boys. Making far more money with "Walking On Sunshine" than the talented Hitchcock ever came close to, he's a weird detour - a followup "Pop" success story after being an obscure "Punk".
The Soft Boys are thought of as a one hit wonder now but they were much more than that and their greatish second album (Underwater Moonlight), where this "hit" is from would make a lot of peoples top 25 of the decade.
Always a good double shot withe Soft Boys - The Three O'Clock took much of their psychedelic schtick from Hitchcock's lyrics - and so did their whole movement "The Paisley Underground" early 80s sound.
A hilariously cheesy video for a crucial song - a synth-pop classic with vocals in English and French and swooping, pounding Synth line - that removes you largely from the song - you are not drawn into this music but rather are an observer, detached, outside looking in. Not only are you not understanding it, you like not understanding or comprehending it.......it's anti-Pop in a way.
For everyone who loves early REM before they lost the plot don't forget they were great even before Murmur - one of their greatest songs from Chronic Town and for Murmur they'd do this same song (sort of) on "West of the Fields" ....... more ominously to match this songs title ("the animals are strange" on West Of The Fields).
For artists of a previous decade, it's always hard to place them in the context of the next one.....such is the case with the baffling, perplexing and um overrated but at times brilliant David Bowie. He was the artist of the 70s .......even though he also wasn't simultaneously .....a guy who never really sustains it over a full album to me (ever), yet he was still capable of creating individual songs which could go as deep as any album could. This track, was one of his very best (and best vocals too) and a sad, eerie almost Bergmanesque video. One of 1980s most fascinating singles in a lot of ways.
The same year Bowie's idea found Robert Palmer too - a lesser artist but with the same concept and organically his own work - it's not a rip-off, it's rather part of the same zeigeist - he challenged himself and here similarly used pop song conventions/post-modern instruments and sounds to create a very similar "type" of song - and his best song actually.
A contender for best album (Tim) of the decade and here's the scary part - they were so great for the songs they didn't put out at all - even here. Great song, as American as any they ever did and hey which album is it from, well it was recorded for this one, but see they got distracted and ........oh look ...........there's beer.
Holly Vincent, a uniquely sexy Debbie Harry in waiting concocted her very own Rip Her To Shreds with this song in 1980 - insanely catchy, very bubblegum meets the Ramones, and borderline sociopathic , what's not to love, swoon........
Recommended for waterloobridge and Tommen_Saperstein who each had a lot of stuff that sort of circled this kind of pop in their picks in a way.......and Mattsby who I know is a big fan of The Primitives great 80s song "Crash" which has many of the same qualities.