Let’s Dance.
The sax-laden, funky bass enriched melodies, dripping with Stevie Ray Vaughan’s Texan blues guitar, on Bowie’s fifteenth (!?) album are really rather good. Owing much to the co-production by Chic’s Nile Rogers, Let’s Dance has a more accessible sound than is the case on some of Bowie’s other records, with “Modern Love”, “China Girl” and the title track “Let’s Dance” becoming pop anthems of the 1980’s, it’s no surprise that with 10.7 million copies sold this is Bowie’s best selling album. Some of the other tracks fall by the wayside, but the overall feeling is one of joyous, dance inducing optimism, a much needed distraction from the harsh reality of existence in 2020.
Depois do Fim.
As the story of Bacamarte’s magnum opus goes, the Brazilian progressive rock band recorded the album in 1978, only for de facto leader Mario Neto, wary of the popular disco scene, to sit on the recordings until 1982, with the album released in its entirety the following year. A second Bacamarte album was released in 1999, made up of material recorded in the 80’s, but is largely considered a Neto solo work. Depois do Fim is then their sole studio album, and is an enduring masterpiece of prog rock. Sonically reminiscent of prime Jethro Tull, owing to the heavy use of flute, while also maintaining a unique sound, this is, in my humble opinion, one of the great prog records. Essential listening for any fan of the genre.
Swordfishtrombones.
Tom Waits’ eighth album, the first he produced himself, features heavy use of unique instrumentation, such as various drums and bells, and abstract lyrics that would feature heavily in his later albums. Waits’ recognisable gravel voiced, jazzy blues and story-like lyricism are at their peak on Swordfishtrombones: from the shouty vocals and distinctive drum beat on “16 Shells From a 30.6” to the short, soft, tenderly sung piano ballad “Johnsburg, Illinois”, Waits experiments with genre and instrumentation to wonderful effect. A defining record in how music can be played. Tom Waits is a musical entrepreneur.
Murmur.
One year after their debut EP, Chronic Town, REM released this, their debut album, which is sonically different from later REM albums. Much of Murmur is bass driven, jangly guitar, indie-alternative rock, with Michael Stipe’s lyrics almost uninterpretable, as his vocals become lost in the powerful instrumentals. This adds a certain charm and mystery to the album, combined with the lack of rock music cliches REM were adamant about not including, produces a unique, somewhat introverted experience. Unlikely to satisfy partygoers, but would definitely recommend to any loners, freaks and weirdos. Like me.
Power, Corruption & Lies.
Following Ian Curtis’ suicide in 1980, the subsequent dissolution of Joy Division, the formation of New Order and their debut album, Movement, in 1981, comes their second record two years later in the summer of 83. While Movement stayed relatively true to the post-punk roots of Joy Division, Power, Corruption & Lies moved New Order into a new era of music; the heavy use of synthesisers giving a more electronic, experimental feel. While The Wombats famously celebrated the irony of dancing to Joy Division, the same could not be said of the synth-pop-alternative-post-punk sound of New Order’s second album, filled with danceable bangers (even without the inclusion of “Blue Monday”, since the single was not on the original vinyl release) such as “The Village” and “5, 8, 6”. Power, Corruption & Lies is the transition from Joy Division to New Order, from one of the most influential bands in post-punk to one of the most influential in music at large in the 1980’s. Elements of this album reverberate through artists for decades. A genuine classic.
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