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 

2015 Update

So far, 2015 as a year for music is the gift that keeps on giving. As we come up to the mid-point of the year, there has already been some fantastic albums released with the promise of more good music to come. The key word here is albums, with some great long players emerging in an age where many people keep saying the album is dying. Well based on some of these releases, I beg to differ.

The albums that have impressed me the most in 2015 at this point have been

Alabama Shakes – Sound & Colour – A very new direction for the band, bringing in Curtis Mayfield psychedelic soul and a harder edge overall to their sound. Very interesting album musically, while Brittney’s vocals are still top-notch.

Blur – The Magic Whip – One of my albums of the year. A fantastic return for the British band in what is one of their best ever albums. This album has a very diverse sound musically and includes a lot of things which you would not immediately think would appear on a Blur record. Here, Albarn and Coxon again prove why they are two of the great musicians of their generation.

Noel Gallagher – Chasing Yesterday – All this talk about an Oasis reunion is nonsense. Noel is far better on his own and this album proves it. Here, he brings in other influences such as soul and even jazz on one of the best songs he has written “The Right Stuff”. I really dig this album, and is is great just having the man in the media as he gives some of the best interviews in music.

Paul Weller – Saturn’s Pattern – This one has just been released and I have to say I was pleasantly surprised as I wasn't expecting much as Weller’s last two albums for me have been patchy. But this album is quite brilliant and easily his best in years. Full of psychedelic and electronic influences in what is actually quite a trippy album, although the melody and soul you expect with Weller is still there.

Albums to come in 2015 which are wetting my appetite

Unknown Mortal Orchestra – Multi Love – the songs I have heard so far are very promising

Tame Impala – Currents – Expecting more neo-psychedelic brilliance from these Aussies.

Florence + The Machine – How Big, How Blue, How Beautiful – It’s Florence so it will be good.

St Germain – St Germain – This was a surprise announcement as there has not been an album in 15 years. Will be interesting to see what this one sounds like. 

- Sam 

The Age of the Reissue (2014)

Right now we seem to be living in the age of the reissue, the re-release, the deluxe edition, the box set. What do I mean when I say this you might ask, well I am referring to albums from years, and even decades gone by being re-packaged, re-mastered and ultimately re-released for our twenty-first consumption, often complete with fancy packaging, bonus tracks and long lost demos. But why is this happening? Is this a good thing? And what does this mean in terms of the music industry itself, and ultimately the artists themselves?

The year 2014 much like the last few years has witnessed a suave of reissues arrive both online and in stores, well when I mean stores that is those that still exist, which incidentally is not many. Bob Dylan’s Basement Tapes, the complete version, and Paul McCartney’s Wings at the Speed of Sound are just two recent examples. These reissues, or re-releases are usually marketed to celebrate some historical milestone such as twenty years since this happened, or whatever, while people are encouraged to buy albums they already own by being promised much nicer, re-mastered versions of songs they have already heard, as well as somehow undiscovered b-sides and demo recordings which ultimately, on the most part are crap and poor quality. To use a horribly overused cliché at the end of the day these songs and demos remained unreleased for a reason, they were shit then, and time probably has not done them any favours either meaning I would not hold my breath for a remarkable career defining moment amidst these particular “new” tracks.

Interestingly enough also, another phenomenon is emerging along with the reissues plague, and that is classic bands using the album format to promote a handful of supposedly new material and making fans fork out money for a full album just so they can hear three new songs. Queen are guilty of this and are about to release an album of largely old material to promote three new songs, while Pink Floyd has used the idea of a “new” album, as well as declaring it their last to promote what is actually old left over material from their 1994 Division Bell sessions on their to be released “The Endless River”, with their really only being one “new” song “Louder than Words” on it. Incidentally early reviews of this album have been mixed.

So what does this all mean? Well, there are a probably a number reasons why such exercises to take place. Firstly, the music labels themselves seemingly drive this, forcing bands and artists to release material as part of long-standing record contracts, even if it involves reissuing old material. So essentially a last cash cow from music dinosaurs within a dying industry. It can also be put down to the artists themselves, many of whom are striving for relevance and in need of making a quick buck before the well truly goes dry. Album releases are getting more and more gimmicky, even for actual “new” material, and it is fair to say that U2’s decision to release their “new” album for free on iTunes was an unmitigated PR disaster, with the group gaining criticism from within and outside the industry.

Whatever the reasoning, the question remains is this a good thing? Well I would say overall yes, to a certain degree. If there is meaning given behind such releases whether it be historical in terms of canonisation, or creativity then such re-issues and re-releases have a place. But if it is all just about milking the cash cow like we have seen somewhat unfortunately with dead musicians in particular, Michael Jackson and Jimi Hendrix come to mind immediately, then I remain sceptical and cynical. I think it also comes back to quality. Are fans getting value for money in paying for a re-issue of an album they already own? Are the demos, and bonus tracks of varying quality worth it? Some of the time it is. The Beatles re-mastered albums were truly spectacular and superior sound-wise anyway to the original horrible 80s CDs, while 2013s bootleg re-release of Bob Dylan’s “Self Portrait” sessions was full of quality un-released tracks and demo versions of old material, so in the end, it can be done well.

This situation also raises some interesting thoughts around the future of music distribution, and especially when you consider more and more shall I say “older” artists are going to pass-on, and/or retire. With physical music sales in decline, and other formats such as streaming and digital radio taking off, without such re-issues, will music from the past go out of print, and heaven forbid subscribe many artists to the dustbins of history. In time, re-issues and re-releases of old material from the past might yet serve a purpose given the changing times of the music industry and music distribution in keeping music from the past alive and help to introduce subsequent generations to that music. I guess we can only wait and see, trusting that the powers that make the decisions around such things are making them for the right reasons and for historical preservation. However, given the nature of the music industry, I do have my doubts as to whether this is the case. 

- Sam