The Favorites Series: Blog 1 - "The 1980's"

This is the first blog post in a new series that I will do for the blog looking at some of my favorite albums from different decades, genres, periods of music, etc. At the same time, I will attempt to pick albums which often get overlooked in the best of the decade lists, or best of all time lists, I guess just because some of my favorites will be all too obvious from each period, or theme I focus on.  

Post One: The 1980's

Yeah so I was born in the 80's, the late-80's if you must know and I am proud of it. And, although many people are quick to turn their noses up at the decade for its fashion, and for its politics, there was some great music produced and indeed some great albums.

So here are some of my favorites from the decade

The Clash – Sandinista – 1980

This album is an eclectic mix of all different styles, from hip hop to new wave to reggae to dub. It has everything, and amazingly is a triple album, something that is quite ambitious for most music acts, let alone a punk band. The Clash were at their very best during this period both musically and stylistically and this album catches this fact in a big way.

Key tracks – Hitsville UK, Lose This Skin, The Magnificent Seven.

The Jam – Sound Affects – 1980

This is pop art set to music and is also the moment where The Jam came full circle musically. There’s funk influences emerging on this album, with Off the Wall a definite influence, while the Beatles homage is still there. This is The Jam’s Revolver, with Weller’s lyrics also exploring more the state of British society as Thatcher settled into no.9.

Key tracks – Pretty Green, Set The House Ablaze, Start.

Queen - Hot Space – 1982

This album has been panned by everyone, while the surviving members of Queen paint it as being a blip on their radar and a “Freddie creation” mainly. It is this universal hatred of an album that explores disco, funk and new wave which makes me like it even more. In comparison to some of Queen’s other 80's releases which to me are quite dull in places, this album stacks up and is definitely of its time. Hot Space also happens to be the one genuine Queen album you can really dance to. To be fair, I have never quite understood why it is so hated as an album.

Key tracks – Staying Power, Back Chat, Cool Cat.

Dexys Midnight Runners – Searching for the Young Soul Rebels – 1982

Soul had begun to go out of fashion by the 80's and in the States it was meshing into modern R&B with mixed results. Here though, the Dexys produce a raw sounding, proper soul record complete with a full horn section and some thumping rhythms.

Key tracks – Burn it Down, The Teams that Meet in Caffs, Seven Days Too Long.

Talking Heads – Stop Making Sense – 1984

This is the soundtrack to the great film from 1984, you know the one where David Byrne moves around the stage in an over sized suit? The music is good to, in fact I have always though Talking Heads music was so well suited to being played live and this album shows that. It is a pity they are no longer around today, as even now I am sure they would sell out arenas all over the world.

Key tracks – Girlfriend Is Better, Life During Wartime, Once in a Lifetime.

The Smiths – The Queen is Dead – 1986

Many people just think of The Smith as a singles band. But, in fact, they released some stunning albums and this one is their best. Lyrically and musically it is perfect, with Morrissey’s lyrical genius dotted throughout, while Marr’s guitar is as jangly as ever. An indie classic if ever there was one.

Key tracks – Frankly Mr Shankly, Big Mouth Strikes Again, There Is a Light That Never Goes Out.

Gipsy Kings – Gipsy Kings – 1987

These guys were part of the so-called world music explosion which began in the 80s. They play a style of Spanish rumba flamenco music of which during some stages of the album there are six Spanish guitars being played at once. An outstanding album to entertain to, to drink to, well… to do anything to. These guys brought Flamenco to the western masses and they did in style and indeed with passion.  

Key tracks – Bamboleo, Bem, Bem Maria, Djobi Djoba.

The Pogues – If I Should Fall from Grace with God – 1988

This is Celtic punk/folk at its raw best. McGowan is one of the most underrated songwriters of all time, while the instrumental talents of his fellow Pogues is undeniable and it shows on this fantastic album. This folk punk album was completely before its time and proceeded the various folk revivals which followed in its wake.

Key tracks – Turkish Song of the Damned, Lullaby of London, Fiesta.

New Order - Technique – 1989

This is synth pop/dance pop at its finest and New Order were pretty good at it. These songs on their own are good pop songs both melody-wise and lyrically, but when you add in the synths and the funky beats they also become perfect dance tracks. Part of a blueprint which would prove successful for future dance and house acts, and as an album helped contribute to the creation of entirely new genres within the dance scene. A great 80's album, as the sun set on the decade.

Key tracks – All the Way, Love Less, Guilty Partner. 

- Sam 

Unknown Mortal Orchestra - Multi-Love (2015)

Unknown Mortal Orchestra, ex-Mint Chicks front man Ruban Nielson’s offshoot project are quickly generating a strong musical cannon, and with it a large following, as they continue to make diverse and interesting sounding indie and psychedelic pop. The band’s first two albums “Unknown Mortal Orchestra” and “Unknown Mortal Orchestra II” were two solid first up efforts, however, their latest release “Multi-Love” trumps both of these as they explore new sounds in the form of funk, jazz and soul.

“Multi-Love” has quite an old-school authentic vibe to it both in terms of its sound and instrumentation. It has a very strong rhythmic feel in the drums and bass, while the added addition of horns and keyboards means this album has quite a poppy, almost Motown feel to it in places. This is a different path for the band, as previously their music held firm to that indie pop/dreamy psychedelic line, which I might add they did very effectively. But this new direction they have taken on this album is so damn catchy and sound so, so good. This is a late-60s/early-70s sound to my ears, but produced in a very contemporary fashion, I guess also highlighting Nielson’s skills as a producer more than anything and his strong ability to get the right sound for each song he composes.

The album kicks off with the title track “Multi-Love”. This is quite a poppy song and in the opening vocals has shades of early Queen, while that piano riff which drives the whole song is so effective, indicating also straight off the bat the funkier direction this album will head down. This is followed by “Like Acid Rain” which takes a more lo-fi direction, and as a track is very similar to their previous work. Next are two of the catchier tunes on the album in the form of “Ur Life One Night” and “Can’t Keep Checking My Phone”. These two tracks are perfect for the dance floor and I can see clubs going off to these with their dance-heavy beats, funk grooves and pop melodies. At this midway point of the album, things change direction again with the alternative jazz of “Extreme Wealth and Casual Cruelty”. This is a great track which shuffles along nicely before suddenly out of nowhere the jazz horns come in and you are instantly hit by their infectiousness. This is UMO doing their take on 80s sophisti-pop, where saxophones reigned supreme, and although some might accuse Neilson of sax crimes here, I think the added presence of horns shows how Nielson is willing to try new sounds and experiment when the song demands it. This is followed by “The World is Crowded”, a track with a pounding funky bass line, and what I would call the weakest track on the album “Stage or Screen”. The album then winds down with the psychedelic funk of the fantastically good “Necessary Evil”, one of the best tracks on the album, and finally album closer “Puzzles”, another track which resembles more closely the sound of their past material.

“Multi-Love” is a fantastic record and I congratulate Nielson for again evolving UMO’s sound and experimenting on this album. There are some seriously good tunes here which might even attract the band some new followers, while I am pretty sure these new songs will be great when performed live. UMO seem to be getting better with each new release they put out and “Multi-Love” proves this yet again in what is one of the catchiest pop/funk/soul/jazz/psychedelia albums you will hear all year. Listen to it now, you will not be disappointed.

A

- Sam  

Blur - The Magic Whip (2015)

Band reunions are a thing these days, and if they don’t actually happen, every week some rumor or another pops up about the potentiality of a reunion happening. What you do not often see though, is new material, usually it’s just artists living off past glories and churning out greatest hits sets left, right and center. Why, well usually any new material is never as good, while also when artists try and pimp their new material in concert, people inevitably cue for more beer or relieve themselves in the washer rooms. Somehow, I do not think this will be the case with Blur though as they prepare to tour their first album of new material featuring all members in sixteen years.

Yes, Blur have a new album out and it is called “The Magic Whip” and yes it is very, very good, so good in fact I would say it ranks up there with their best work from the 90s. The story behind this album is also quite interesting, as it started life as a series of jam sessions in between concerts on a tour to South East Asia, after an initial gig was cancelled. The band ended up in Hong Kong in a small back ally studio and played around with their instruments for a few days, not knowing the results would yield an album a couple of years later. The influence of the big city is seen lyrically and sound-wise throughout the album, with themes of over-population, urban life, crowded streets and being lost in the city coming through strongly in the songs. While musically, the band takes the opportunity to experiment with some different sounds not seen in their previous work. Despite new sounds such as reggae, experimental, soul and folk influences coming through in many of the tracks, this album does, however, have a sense of familiarity about it and one can certainly here Blur, Gorillaz and even Damon Albarn influences in its overall sound and feel. So I guess, it’s not entirely a complete departure, but more a varied and eclectic mix of the old and the new.

So for the songs themselves. Well the album kicks off strongly with the very “Great Escape” sounding “Lonesome Street”. This is classic Blur and bounces along with driving guitar and bass, while featuring a nice homage to Syd Barrett with Graham Coxon’s mid-song vocal. This track is followed by the Damon Albarnesque “New World Towers” which takes in the urban feel of Hong Kong in what is quite a melancholy explorative track. “Go Out” harks back to the “Blur” album with its distorted guitar driven lo-fi vibe, while “Ice-Cream Man” lyrically is quite Gorillaz-like with lines such as “here comes the ice-cream man” and “with a swish of his magic whip”. “Thought I Was a Spaceman” is one of the best songs on the album and one of the band’s best tracks overall I feel. In this spacey Bowie-sounding song, it starts off with just Damon singing, classical guitar and a drum machine loop before the band kicks and it turns in to this atmospheric driving pop track. Again, like on “Lonesome Street” Coxon wrote himself a little bit in the middle in what is a very effective and quite innocent vocal line “thought I was a spaceman digging out my heart”. This track is followed by another driving guitar track “I Broadcast”, while “My Terracotta Heart is Albarn’s melancholic take on his and Coxon’s friendship. From here, things diversify even more with the 80s new wave of “There Are Too Many of Us” which is full of synths and a marching drum beat, and the fantastic “Ghost Ship”, a reggae-sounding funk track which is another album highlight and probably the most out of the ordinary Blur song ever. The album then winds down with the gorgeous “Pyongyang” about Albarn’s trip to North Korea, the happy go lucky anthem “Ong Ong” and the country twang of Mirrrorball which closes out the album.

So in conclusion, “The Magic Whip” is a great return for Blur. It is their most diverse sounding album yet and musically is very interesting as they explore new things, while at the same time retain some of the classic Blur sounds. All band members are on fine form and you can really tell the guys are enjoying being back playing new music together. The band have already previewed the album live with some promotional gigs, including a great performance in New York, and as they kick off their official tour in the next few weeks watch for these songs to be well-received live. So all up, a great edition to the Blur cannon, and if this does end up being their last album, then “The Magic Whip” will be a fantastic way for them to go out on. 

A+

- Sam