Albums of my Years – 1987

The oddest thing about the entry for this year is that as 1987 was welcomed by the world I, having been born in October, was a few months past my sixth birthday so I’m sitting here knocking words into shape about the year in which I was the same age as my son is now.

Given how precious little I can now remember from that time, I’ll admit I’m a bit saddened at the prospect that all of these memories I hold dear with him, he may not. But it may just be that my own memory is shit – I can’t remember what was said in a meeting last week let alone what happened in 1987.

It also means that I know he’s absorbing music in much the same way I would have done but is probably exposed to a lot more variety as he enjoys listening to both music played in my car and on the radio in my wife’s – who listens to a much more contemporary station. Which would explain why he knows what ‘Bad Guy’ by Billie Eilish sounds like and can ask Alexa for something called Dance Monkey, amongst others…. when he’s not using it to set fart timers.

That he’s referenced the orange tub of turd in charge of America and the shaggy-headed fucktard* currently residing at 10 Downing Street makes me think that by ’87 I was probably paying attention to the news and the world beyond He-Man and Thundercats. Shit, just by typing those words I’ve opened a floodgate of memories which give me hope. Still, at the time, those big songs on the radio that might have been perverting my young brain included the future-meme that was Rick Astley’s ‘Never Gonna Give You Up’ and Whitney Houston’s ‘I Wanna Dance With Somebody’. In fact I do have a distinct memory of being in the car with my Dad at one point this year as Ms Houston was being interviewed by Steve Wright on BBC Radio One (how’s that for a flasback) – I remember this as my Dad found it amusing and frustrating in equal measure how she would add ‘you know?’ to every other sentence.

1987 must have been a mega year for hairspray manufacturers. Bon Jovi’s ‘Livin’ On A Prayer’ topped the US charts and was the year’s biggest selling single, Def Leppard (what’s got nine arms and sucks?) released Hysteria – apparently the longest rock album ever on a single LP at just over an hour – and Axl Rose welcomed everyone to the jungle with a weird shimmy dance as Appetite for Destruction dropped in July ’87. It would go on to become the best selling debut of all time, having shifted something daft like 30 million copies. That’s a lot of Mr Brownstone. It’s a safe wager that all these poodle-perms and teased-dos were assisted in their rise by MTV – MTV Europe launched in ’87 too, the first video played was Dire Straits’ ‘Money for Nothing’ the animation of which was probably already out of date.

Still there were a lot of great records released in 1987 too, many of which fall right into this blog’s arena and my collection. Not counting Bruce Willis’ The Return of Bruno for very obvious reasons.

Hüsker Dü released their final album Warehouse: Songs and Stories and broke up following the tour to support it, which I’m sure cheesed of Warner Bros. as it was only their second album for the label. Prince returned to form with Sign o’ the Times and Sonic Youth delivered the near-perfect Sister in June, weighing in at very healthy ten tracks that shifted their experimentation further from their no-wave origins and closer to traditional song-structures.

Sonic Youth’s SST label-mates, and another big name in my record shelves, Dinosaur Jr released their unimpeachable You’re Living All Over Me in 1987 and fellow Massachusettsians(?) and one of Boston’s finist, The Pixies released their first – the mini-lp Come On Pilgrim – which I always say in the style of John Wayne.

Meanwhile Boston’s Bad Boys decided ’87 was the time to kick-off their comeback proper. Fresh from rehab (though opener ‘Hearts Done Time’ was crafted by Perry and Desmond Child while Steven Tyler was still ‘in’) and feeling a lust for life and health, Aerosmith shifted direction a little – a glossier sound thanks to the production of Bruce Fairbairn and, at the suggestion of  A&R man John Kalodner, written with outside songwriters such as Desmond Child, Jim Vallance and Holly Knight. All names that would be associated with the likes of Bryan Adams, Bon Jovi, Tina Turner and a certain flavour of 80’s American ROCK. Still, with sales in the millions, a volley of hit singles and videos that reintroduced to the group to the charts and introduced them to a whole new audience, the formula clearly worked. For my money, though, it’s the lesser of their ‘comeback’ albums and the best songs are the least ‘buffed’:

The Go-Betweens released their fifth album, Tallulah, in ’87 and Midnight Oil’s Diesel and Dust arrived in  August of the same year – often cited as the best Australian album and home to ‘Beds Are Burning’ which did Top Ten / Twenty business around the globe. R.E.M released Document in this year, it was their last for I.R.S and their first with producer Scott Litt – with whom they’d work with through to New Adventures In Hi-Fi. George Harrison released Cloud Nine in 1987 – while it followed a five year hiatus it would actually be the last of his studio albums released in his lifetime, we miss you George. Massively well-received it also give him a Number One single:

Having been declared a spent force creatively in 1985, Pink Floyd proved it was anything but having gotten rid of its “dog in the manger”.  Having begun work on the next band album in November ’86, David Gilmour put together the musicians he wanted involved and wisely took the call from Richard Wright’s wife when it came to the keyboards. While both Nick Mason and Wright were a little too rusty following both an extensive lay-off and years of Waters’ bullying respectively to play much on the album, the presence of both on the album gave the now Gilmour-led project the stamp of credibility it needed as legal battling and bitching between the Floyd and Waters camp continued throughout – at one point the band relocated to L.A for recording both as part of the arrangement to allow producer Bob Ezrin time with his family (Ezrin chose working on a new Gilmour-led Pink Floyd album vs Waters’s solo record based on his memories of The Wall sessions with Roger) and so that the time delay would reduce calls from solicitors. While A Momentary Lapse of Reason is far from a great Pink Floyd album, it’s pretty fucking good and has plenty of songs on it that stand up to repeated listens and the recent remixes for The Later Years shows just that.

Meanwhile the tour to support it began before the album was released.  Roger Waters threatened to sue promoters if they used the Pink Floyd name, which many decided to say ‘fuck you’ to – helping some shift 60,000 tickets within hours of release. Gilmour and Mason funded the start-up costs themselves and the tour became the year’s most successful – beating box office records everywhere it went. Which probably helped Mason buy back the Ferrari 250GTO he’d had to sell to raise funds. I seem to recall reading that it grossed more than the next two best-selling tours of the year combined.

But… it’s not my featured album of 1987. I mean Bruce Springsteen also released an album this year – one of his finest; Tunnel of Love. Yet I’ve already waxed lyrical on that and rules are rules. So, let’s talk about…

The Replacements – Pleased to Meet Me

““How can the Replacements be the best band of the 80s when I’ve never even heard of them?” Jon Bon Jovi

That’s easy, Jon. Pull up a chair, tuck back your hair and open your ears a mo… The Replacements were the band that should have been, but never were. Their own worst enemies, they were a band that, across the course of the decade, punched out six albums that charted Westerberg’s development into a songwriter par-excellence, stuffed to gills with gems and killer hooks that saw them develop from their start in Minneapolis’ punk scene to making one-last gasp at the stardom that forever eluded them before falling apart as the nineties started.

Own worst enemies you say? That’s right, Jon Bongiovi – their history was no Bed of Roses. For all their  great tunes, they couldn’t quite seem to let go of the punk / silly stuff. So for every ‘I Will Dare’ or ‘Unsatisfied’ there would be a ‘Gary’s Got A Boner’ or ‘Lay It Down Clown’ that, while delighting their already devoted fanbase when wheeled out live, wouldn’t give them the consistently ‘great / solid’ album that would transfer to mainstream sales. They’d also handicap their success with their on-and-off stage behaviour and ramshackle live performances that often ended with songs being abandoned half-way through after a flubbed line or riff. Whether they really didn’t care or wanted to look like they didn’t care…. “I don’t know”.

I came to The Replacements far too late – not that it’s ever too late to discover a band, but they’d long since ceased to be when I got into them and even Paul Westerberg had stopped releasing albums proper when I finally decided to check out the band that I’d read about and seen cited as important and influential seemingly everywhere.

Pleased to Meet Me was released in 1987. You probably didn’t hear it, JBJ, because you were giving love a bad name around the world. It’s the band’s fifth album – and their first and only album as a trio after founding member Bob Stinson left / was asked to gtfo in ’86. I’ve read somewhere that, in fact, his departure is a stain on Westerberg’s character: having completed court-mandated rehab less than a month earlier, a clean and sober Stinson was told to ‘either take a drink, motherfucker, or get off my stage.’ Stinson died in 1995 of organ failure after years of drug and alcohol abuse.

This was also their second major-label album and, likely, one for which Sire were starting to wonder if they’d ever take it seriously enough to give them a product that would break the band in the way Westerberg’s songs deserved.

For my money Pleased To Meet Me is as close as they’d get to perfect. The songs on their next, Don’t Tell A Soul were still good albeit written looking for an ‘anthem’,  but it was two years away – during which it would become clear it wasn’t really going to happen – and would be killed by poor production.

Pleased To Meet Me was produced by Jim Dickinson – I’ve no doubt chosen as he produced Big Star’s Thrid and it Paul Westerberg would “never travel far, without a little Big Star.”

It’s their best-sounding album thanks to the production choice. It’s big, punchy and strong where it needs to be but still remains rough enough round the edges to keep its charm and the band’s sense of humour and ethos intact. Rolling Stone called it “an album alive with the crackle of conflicting emotions and kamikaze rock & roll fire.”

It’s got great Replacements songs all over it, from ‘Alex Chilton’ to ‘The Ledge’ for which a video was made but quickly banned by MTV as it dealt with suicide. They didn’t really do videos in general so it wasn’t a shocker. No flying across the crowd in a harness or looking wistfully out of the windows of a jet liner for them, Jon. Their only real video to this point was a black-and-white video that didn’t even  show the band, just a loudspeaker vibrating to the music. No wonder you hadn’t heard of em.

And while they weren’t quite ready to play it straight, the token ‘silly’ track ‘I Don’t Know’ comes across more as a bluesy, jam feeling workshop that’s more self-mocking than it is juvenile: ‘one foot in the door, the other one in the gutter’, ‘Do we give it up? (I don’t know)….. Can I borrow your hairspray?’ Yeah, I know, Jon, they used hairspray too, but when they sang ‘why don’t you get a haircut, sister?’ at Paul it didn’t make the news. Meanwhile the saxophone featured would also drip over into next track ‘Nightclub Jitters’ which continued Hootenanny‘s genre experiments with aplomb.

Oh, and speaking of horns, it’s also got the final recording run at ‘Can’t Hardly Wait’, easily one of their best tunes – I love the one-liner “Jesus rides beside me, he never buys any smokes” – all nagging riff and catchy beat, albeit without the earlier version’s ’till it’s over’:

But I jumped ahead to the final track there, sorry. ‘Can’t Hardly Wait’ is preceded by another Westerberg classic, one that he once called the first good song he’d written. It’s a simple love song about a couple who never got to meet (something which Westerberg’s solo songs would come back to a few times over the years to come) – a man keeps seeing a woman up in the skyway “wonderin’ if we’ll meet out in the street” only, when he finally sees her out in the street – where he usually catches his ride, he’s in the skyway: “there wasn’t a damn thing I could do or say.” It’s simple, yet perfect. Yes, Jon, it’s fucking streets away from ‘Never Say Goodbye’, ok? Don’t even try…

Allmusic’s summary of this one sums it up: it was the last time the band “could still shoot for the stars and seem like their scrappy selves and, in many ways, it was the last true Replacements album”. Pleased To Meet Me is my favourite Replacements album. As I worked my way back through their catalogue after getting Don’t You Know Who I Think I Was it’s the album that I’d play through the most, so it’s only fitting that it sits here as my choice of 1987’s releases.

On to 1988… and no, New Jersey isn’t there, Jon. No laying your hands on this list.

*definitely not his words

Albums of my Years – 1986

No 2019 roundup here – if I manage to keep to schedule  on these that one should arrive in late October.  Instead we roll past the halfway mark of my first decade: 1986.

It’s an odd year for music this one. I have vivid memory of the songs of this time – given that radio still plays a lot of them it’s no real surprise. I also have a clear memory of a walk home from school (we lived about 10 minutes’ walk from my primary school) and seeing a smashed cassette on the ground and having, at the time no idea who Bon Jovi were or why someone would have stomped on Slippery When Wet (my guess, now, is that they couldn’t hear ‘Without Love’ one more time without going loco).

Jon and his hairspray-loving mates didn’t really kick in over here in the same way as the US.  ‘Livin’ On A Prayer’ did hit the top ten later in the year but here the radio was ruled by songs like Madonna’s ‘Papa Don’t Preach’ (True Blue was released in June and went on to bonkers numbers in sales) and Surivor’s ‘Burning Heart’ or, even worse Diana Ross’ ‘Chain Reaction’ and Boris Gardiner’s ‘I Wanna Wake Up with You’ that still haunts my brain. The Communards’ take on  ‘Don’t Leave Me This Way’ saw off the horrors of Chris De Burgh’s ‘Lady in Red’ and Berlin’s ‘Take My Breath Away’ for the title of biggest single. Dark times on the radio.

The Rock and Roll Hall of Fame held its first induction ceremony in January ’86. The ceremony took place in New York and first inductees included Elvis Presley, Chuck Berry (inducted by Chuck devotee Keith Richards) along with The Everly Brothers, Buddy Holly, Jerry Lee Lewis, Little Richard and record producer Sam Phillips.

Bob Geldof picked up an award in ’86, he was awarded an Honorary Knighthood for his Band Aid / Live Aid work, though as he’s not a citizen of the Commonwealth he can never be Sir Bob…

In August, guitarist Bob Stinson was out of The Replacements, the group he founded, with the old ‘creative and personal differences’ explanation being wheeled out. Stinson preferred the faster, louder sound of the band’s earlier songs while Paul Westerberg’s growth as a songwriter was taking him down the quieter, introspective route with songs like ‘Here Comes a Regular’. Bob’s drug and alcohol abuse only made the situation worse.

Late September, Metallica were on tour in Sweden promoting Master of Puppets and members drew cards to determine which bunks on the tour bus they would sleep in. Bass player Cliff Burton won and chose to sleep in Kirk Hammett’s bunk. Next morning, as the sun rose, the driver lost control and the bus skidded and rolled over several times. The rest of the band were ok but Burton was thrown out of the window. The bus fell on him, pinning him  to the ground and killing him. While detectives would point to the lack of ice and the skid marks being exactly like ones seen when drivers fall asleep at the wheel, the driver was cleared of any fault. Burton would be replaced by Jason Newstead who would remain with the band until 2001.

It was goodnight from The Clash in ’86 as what was left of the band disbanded as did Men At Work, ELO and The Firm, the short-lived Paul Rodgers and Jimmy Page supergroup. However, The Afghan Whigs, Band of Susans, Boards of Canada, Manic Street Preachers, Slint, and two of Boston’s finest – The Pixies and Buffalo Tom all formed in 1986, putting the scales firmly in the positive.

There were a lot of album releases in 1986 but, in terms of what would fall in my listening orbit, it’s a slim entry of a year. Metallica’s Master of Puppets which contained not only the stonking title track but ‘Battery’ and ‘Orion’ arrived in March and Van Halen, now fronted by an actual singer called Sammy Hagar, dropped 5150 a couple of weeks later – it was the first of their run of four albums with Hagar, all of which would hit Number 1 on the charts. The glorified strip-club MC that previously fronted their band dropped his own debut Eat ‘Em and Smile in July.  While Dickhead Dave had Steve Vai, there’s no comparing to EVH, even when he’s in ballad-mode, the guy drips riffs and tricks:

In a similar arena-bound genre, Bon Jovi unleashed Slippery When Wet in ’86 with it going on to shift something like 30 million copies.  Meanwhile debuts this year came from Bruce Hornsby and the Range who, just for fun, said ‘get a job’, Big Black, Steve Earle and Crowded House whose strong, eponymous first album featured some absolute great tunes and one of their biggest singles to date:

Having dropped two belters in 1985 you’d be forgiven for expecting Hüsker Dü to take a breather but, instead they released Candy Apple Grey via their new major label Warner Bros. and shifted ever so-slightly enough from their hardcore punk sound to create what could be considered one of the first college-rock records. Former SST label-mates Sonic Youth released EVOL in 1986. It’s a real favourite of mine, possibly in the Top 5 of their albums – it’s their first with Steve Shelley on the drum stool and marks the turning point from the whole ‘no-wave’ to the sound they’d perfect over the next few years (1988 is pretty much a done-deal).

Bruce Springsteen topped the charts toward the end of 1986 with Live 1975 – 85. This (until then) career-documenting box set broke records for pre-orders and remains an absolute must in terms of both Springsteen’s catalogue and live records.. I mean I could feature this as it wasn’t covered in the Least to Most series but going for a live album would open up the ability to include compilations and … well I don’t think it can count. So, that leave:

Lifes Rich Pageant – REM

I got into R.E.M around the release of ‘E-Bow the Letter’ single in 1996. By that time it was impossible not to know who they were, this was after ‘Everybody Hurts’ and ‘What’s The Frequency, Kenneth?’ etc had been riding the airwaves for a few years but it was that song that properly hooked me when I heard it on the car radio one day.  From there, as with so many other bands, I went back and scouring and collecting the back catalogue and discovering R.E.M’s IRS albums was almost like finding the work of a different band.

My second-favourite R.E.M album behind New AdventuresLifes Rich Pageant was the band’s fourth and strips away the murky sound of Fables of  the Reconstruction for something dramatically more direct and punchy sounding – well, certainly in terms of early R.E.M.

The choice of Don Gheman as producer is an odd one – the dude was known for his work with John Mellencamp and you’d be hard-pushed to listen to ‘Jack and Diane’ and think ‘this is the sound those dudes who did Harborcoat need’ – but it works, even if they didn’t work together again. Songs like ‘Just a Touch’ and ‘Begin the Begin’ are the clearest beneficiaries and were the hardest the band had sounded at that point, paving the way for future tracks like ‘Drive’ and Accelerate:

Stripping away the deliberate cloud in the sound and opting for a crisper approach may have been down to the fact that Stipe was becoming increasingly confident as a singer and as a songwriter with lyrics that were now taking on political and environmental / ecological themes like the one-two punch of greatness that make up ‘Fall on Me’ and ‘Cuyahoga’, which are underpinned by Mike Mills’ harmonies and rolling bass lines:

For me this is the album where R.E.M step away from the fog and sound both contemporary and forward-thinking. While it sounds very much of the time it isn’t bound by it either. It’s riddled with the sounds and hallmarks of what would soon be pegged as the R.E.M sound but still sounds fresh and exciting some three decades plus later and when you listen to the great live albums the band have made, some of the biggest cheers are reserved for songs from early albums like Lifes Rich Pageant – because they’re brilliantly crafted nuggets written before all the weight of expectation that would soon greet every R.E.M album and remain highlights in a catalogue stuffed with great tunes.

My only issue with this album isn’t the apostrophe. It’s the fact that the track listing on the back of the album isn’t correct. It’s never been and has never been corrected either, it drove me bonkers at first and it still gets me each time I listen to it.

Albums of my Years -1985

1985…. I started school in ’85 and have some vague memories that break through the dust. Not many, mind. I know the year’s big film releases that would wind their way into heavy rotation in my VHS / DVD collections in years to come – Back to the Future, Fletch, The Goonies, Spies Like Us, Fletch and the amazing Subway – were fighting what was the year of Stallone at the Box Office as he flexed his way through Rocky IV and Rambo: First Blood Part II (doesn’t that make it Second Blood, or Still Bleeding?) just as Arnie’s biceps dominated Commando and Red Sonja and Bruce Springsteen’s guns were shown off across stadiums as Bossmania took hold and the tour promoting Born In The USA moved from arenas to stadiums as it went on to becoming the year’s biggest selling album.

Meanwhile as I was starting my reading journey with a book called ‘Look’ (I vividly remember this one; ‘look’ repeated throughout and with increasing frequency) I was no doubt singing along to whatever was playing on my Dad’s car radio – if my own son’s behaviour is a guide – which, in 1985 England meant Tears for Fears’ ‘Head Over Heals’, Paul Young’s ‘Every Time You Go Away’, maybe Madonna’s ‘Crazy for You’ and, undoubtedly, Dire Straits’ ‘Money for Nothing’ or ‘Walk of Life’* as they dropped their game-changer Brothers In Arms in 1985. Aside from catapulting the band to a new level, it was the first album to sell more copies on CD than vinyl, its high sound quality suiting the format having been recording entirely digitally.

Pretty sure that Paul Hardcastle’s ’19’ must have featured heavily on the radio that year, or ‘Top of the Pops’ as it’s stuck in my head like a MAGA hat on a redneck and I’m confident I wouldn’t have looked it out for myself:

‘Diamond’ or, as I like to call him, ‘Dickhead’ David Lee Roth decided his vaudeville style twattery and ego were best suited to a solo career and quit Van Halen in April of `85. Another ego to decide he was better off without a phenomenal guitarist was Roger ‘don’t call me easy-going’ Waters, who announced that Pink Floyd was “a spent force creatively” and would, upon realising that when driven by Gilmour it was anything but, spend many a year in legal battles for control of the band’s name (turns out it wasn’t his after all) and whatever else he felt he could bitch about.

After 1984’s ‘Do They Know It’s Christmas’ single questioned meteorological facts, Band Aid expanded into the massive Live Aid concerts in July 1985 with concerts at Wembley – for which, somehow, U2 managed to sneak their way onto the performer list – and Philadelphia. Presumably because if one crowd had been forced to suffer, it was only fair for the Yanks to endure too,  Phil Collins decided he needed to be at both, carbon emissions and jet fuel be damned, and used Concorde to get across the pond to help Led Zeppelin play their first show since Bonham’s death in what Page would later call a  “pretty shambolic” performance marred by more than a slap-head drummer.

Zeppelin were sued in 1985 by American blues singer Willie Dixon – he believed their ‘Whole Lotta Love’ was a little too similar to his ‘You Need Love’. It was settled out of court and the credits for that song on my copy of Led Zeppelin II are for Page, Plant, Bonham, Jones, Dixon.

On one side of the Atlantic, a bloke called Axl Rose and his mate Izzy Stradlin formed a new band called Guns ‘n’ Roses and found a guy from Hampstead, London in a top hat shop and decided he should play too. On the other side of the Atlantic – at a school in Abingdon, Oxford to be precise – five friends formed a band called On A Friday. The band was named after the day they got together to rehearse each week in their school’s music room. A few years later, still together and now with label interest, they decided to take a new name from a song ‘Radio Head’ on a Talking Heads album. I think it’s clear which of 1985’s new bands would make the better contribution to music.

Aside from the aforementioned Brothers In Arms – and I can’t give Dire Straits a third feature, 1985 gave birth to a number of sterling albums that would sit right in this blog’s wheelhouse. Tom Waits’ Rain Dogs dropped toward the end of the year and threw about every style Tom Waits could muster at the listener, continuing the direction he’d moved to with Swordfishtrombones.

The tail end of 1985 saw Aerosmith release their first album since the previous  year’s return of Perry and Whitford and their first for Geffen, the much overlooked Done With Mirrors. In hindsight this one gets a bum deal. It’s real strong album, perhaps their best since Rocks and their first since then – and their last – written without any outside songwriters. It’s got the same wise-cracking lyrics and riff-heavy tuneage as Permanent Vacation but without the Bruce Fairbairn polish that buffed that album into a mega-seller. Instead, Aerosmith turned to Ted Templeman to produce Done With Mirrors as the Van Halen producer wanted to capture the band’s  “out of control freight train” sound. He didn’t quite succeed though and poor packaging, interest and commercial returns meant many thought the writing was on the wall for the band…  rehab and a massive comeback lay head instead but there’s still a lot of good on Done With Mirrors.

Jesus and Mary Chain’s debut Psychocandy also appeared in November, with the absolute classic ‘Just Like Honey’ destined to be a heavy player on future playlists. Hüsker Dü managed to pop out two gems in 1985 which meant New Day Rising and Flip Your Wig gave us 29 cracking tunes like ‘New Day Rising’, ‘Celebrated Summer’ and ‘Makes No Sense at All’ – of the two I still spin New Day Rising more.

Another rising album from ’85 that could easily sit as the featured album for the year -Sonic Youth released their second album Bad Moon Rising in 1985. Still more noise than tune oriented, it’s a huge leap forward from Confusion Is Sex and it’s hear you can find, in the segues between songs and in the structures, the sound and style that would be (de)tuned to perfection across their next three albums onward. The Replacements Tim could so easily sit at the top of this list too. It’s a HUGE leap for the band and a fucking great album, easily a 4 1/2 out of 5 for me. The only duff moments for me are ‘Lay It Down Clown’ and I really don’t like ‘Dose Of Thunder’ but these are but fleeting, easily skipped down points on an album otherwise choking with gold like ‘Bastards of Young’ ‘Kiss Me On The Bus’ and ‘Left of the Dial’ to name but a few.

So where do we go from here for my ‘featured’ album of 1985, the one I’ve listened to most and associate so strongly with that mid-point of the decade? It might be a surprise, a bit of a curve ball from left field (is that the right phrase?) given the above but it’s…

Hounds of Love – Kate Bush

Kate Bush’s fifth album is, to me, the album of the year. It’s the one I’ve listened to most over the years and one I continually revisit.

I also get a kick out of the fact that, as it had been a good three years since her last album The Dreaming, which itself had failed to produce anything resembling a ‘hit’ single, Ms Bush had found herself subject to a ‘where are they now?’ style column just a week or two before she debuted the amazing ‘Running Up That Hill’:

Hounds of Love is an album of two halves. Side One is ‘Hounds of Love’ – a near-perfect ‘pop’ record (I use the ” because in ’85 pop veered from the sounds captured on Side One of this album to utter tosh, perhaps ‘grown up pop’ would b more accurate) while Side Two is ‘The Ninth Wave’ – a concept-piece  Ms Bush described as being about ” a person who is alone in the water for the night. It’s about their past, present and future coming to keep them awake, to stop them drowning, to stop them going to sleep until the morning comes.”

Now take a moment to consider just how perfect a collection of soon-to-be hits Side One is: ‘Cloudbusting’, ‘Hounds of Love’, ‘Big Sky’ and ‘Running Up That Hill (A Deal With God)’ would all be released as singles, all charting in the Top 40, three of them Top 20 and ‘Running…’ becoming her highest-charting single of the decade.

These were big, unabashed songs of drama and heart with the most sublime sound and production that, while very much of its time still sounds as evocative as it did 34 years ago. This is the wide-open panoramic sound that would be so wonderfully applied during this decade; pop sensibilities and sheen tied to songs of substance.

As for the second side… Just put the needle down and get absorbed. “The Ninth Wave was a film, that’s how I thought of it,” Kate would later tell BBC Radio 1 in 1992. Seven great tunes tied together by this concept that both work as a piece and individually:

The sound of Kate Bush loomed large in the 80’s. I know my Dad had a copy of The Whole Story – the compilation released in ’86 – which featured three songs from The Hounds of Love and it would get a lot of play, so these are sounds I absorbed and have stayed with me.

I got my copy of The Hounds of Love some years later. It’s an original pressing bought for less than a tenner somewhere before both the recent reissues and jump in record prices and I’ve spun the arse off it.

The now defunct Sounds magazine ran a review that summed it up: “dramatic, moving and wildly, unashamedly, beautifully romantic… If I were allowed to swear, I’d say that Hounds of Love is f***ing brilliant, but me mum won’t let me.”

It’s my blog and I can so I’ll say Hounds of Love is fucking brilliant – just pure bliss to listen to from start to finish. Yes, she may well have been (and could still well be) off her nut but that touch of crazy, wild abandon adds greatness to an album lush in sound and layers that just begs to have the needle dropped on it at each opportunity.

Albums of my years – 1984

Ah. Little behind here. Having just completed another rotation round the sun I realise I’ve now got approx 48 weeks to cover another 36 posts after this…. better get cracking then and crank these out with a little more regularity.

1984… I do have some memories; a walk to playgroup, some toys coming out of the murky mists of memory…. but I remember nothing of Once Upon A Time In America or The Terminator, Ghostbusters or even This is Spinal Tap. It would be many a year until I’d discover the year’s cinematic entries and how there is none, none more black.

While I’m pretty sure I would’ve seen or heard the news at some point that year, I can’t say I had any idea what it mean Elton John got married in February ’84… to a woman named Renate Blauel – though I’m sure it must’ve received plenty of press in the UK. Chrissie Hynde also got married in 1984, to Simple Minds singer Jim Kerr, they’d divorce in 1990, 2 years after Elton John.

Meanwhile in 1984, Frankie Goes To Hollywood’s ‘Relax’ topped the charts, despite it being banned on the BBC here, and began to infect American radio too and ‘The Power of Love’ would infest the charts before the year was out. Mick Fleetwood, presumably having snorted most of his money up his nose, declared bankruptcy in ’84. In October – just as I was gearing up to blow out a cake with four candles (one of the greatest comedy sketches ever) – a special report on Ethioipia’s famine was aired on the BBC. Bob Geldof was watching and was inspired to start up Band Aid and would put out “Do They Know It’s Christmas”,  within two months, it quickly became the fastest- selling single of all time in the UK despite it’s monstrous errors and condescension (it’s heart was in the right place). It would be respun three times over the coming decades and also be the basis for 1985’s Live Aid concerts.

In February of 1984 , Joe Perry and Brad Whitford attended an Aerosmith concert – oddly enough at Boston’s Orpheum Theatre. Perry had left the band in ’79 and Whitford in ’81. Their own solo careers having failed to ignite and Aerosmith itself in a downward spiral, the two would rejoin a few months later and the band would tentatively begin the process toward its comeback… though they’d have to stop a few bad habits first.

It wasn’t a good year for Rick Allen – well, it may have been a good year but New Year’s Eve was a bit shit: he lost control of his car, spun, hit a wall and was thrown from the vehicle, severing his left arm and giving rise to the joke ‘what’s got nine arms and sucks?’ The biggest bit of news, though, was likely the killing of Marvin Gaye at his father’s hand – with the unlicensed Smith & Wesson.38 special calibre pistol his son had given him for Christmas the previous year. It’s a really surreal and shocking story that’s worth reading up on.

Bands that called it a day included Jefferson Starship, Split Enz, King Crimson, Rainbow and Kansas. It was also fair well to Deep Wound, a hardcore band who’s members Lou Barlow and J Mascis would promptly form Dinosaur Jr – who joined Big Audio Dynamite, Bruce Hornsby & The Range, Live, Living Colour and one of the first ‘grunge’ bands Green River – which featured future Mother Love Bone, Pearl Jam and Mudhoney members-  in forming in 1984.

Van Halen kicked the year’s releases off in grand style with 1984 – easily the only time in which I can tolerate David Lee Roth for anything over 30 seconds. Bon Jovi released their self-titled debut with a cover photo which I’m sure still haunts all involved. David Gilmour dropped his second solo album About Face in 1984. I’ve heard it… it’s not going to be featured but if you’re curious what Mr Gilmour was up to after The Final Cut when he wasn’t shopping for snazzy blazers…

Stevie Ray Vaughan and Double Trouble’s second album Couldn’t Stand The Weather is a cracking collection as is Hüsker Dü’s Zen Arcade, also released this year. Metallica dropped their Ride The Lightning which featured the phenomenal ‘For Whom the Bell Tolls’ in 1984 and R.E.M dropped their stellar second album Reckoning:

Bryan Adams released Reckless in 1984 – it was the album that sent him into the massive sales category (for a while, at least). The album that contained ‘Summer of ’69’, ‘Run To You’, ‘Heaven’ and three further singles would go on to shift over 12 million  copies – one of which was the first CD I’d own some seven years later, given to me as either a birthday or Christmas present with a CD player in 1991 (I think it was ’91).

In researching this I also discovered that that little band from Ireland, U2, also released another album in 1984. Weird, I guess they must have saved up some money from their day jobs and booked some time in a little studio somewhere. They called it The Unforgettable Fire which I’d wager is a bit weird as I’d bet everyone has forgotten it. Nobody will have forgotten 1984’s big release – Bruce Springsteen’s Born In The USA arrived in June and has since sold more than 30 million copies. It spawned SEVEN top ten singles and heralded the start of Bossmania. It would be a strong contender for featured album but I’ve already written on it here and am currently working up a series of posts around it so it’s disqualified.

The Replacements’ Let It Be arrived in 1984 and I do love that album. I mean – ‘I Will Dare’, ‘Androgynous’, ‘Unsatisfied’ and ‘Answering Machine’ on one album?! But then I don’t really dig the daft stuff on here and anything with a Kiss cover on it isn’t going to sit at the top of my list…

So that really only leaves:

Prince and the Revolution – Purple Rain

Of those albums released in 1984 that aren’t Born In The USA, this is the one I’ve listened to most frequently and consistently. It’s impossible to remember the first time you’re aware of Purple Rain – the title song is one of those songs that’s seeming embedded in everyone’s memory from birth. You probably hear it a lot less than you think but because it’s so well known it seems one of the most played tunes ever, like certain Beatles and Stones songs… it’s a classic.

I am fairly certain that the first time that I sat and listened to Purple Rain front to back it was on wax; I distinctly remember a break between ‘Darling Nikki’ and ‘When Doves Cry’.

A soundtrack to a film I’ve still not seen, Purple Rain was Prince’s sixth album and was such a push forward in the makeup of tunes and production values and really put the little purple fella on the map – 1999 was big and went Top Ten but Purple Rain hit the top spot, cleared more than 25 million sales to date and still appears in Best Album lists the world over. With due cause – from the opening explosion and powerhouse performance of ‘Let’s Go Crazy’ to the climax and ‘bring the house down’ final, and title, track ‘Purple Rain’ there’s not a duff moment on it…. well ‘Computer Blue’ ain’t great.

It was ages before I realised ‘Let’s Go Crazy’ is one of his preaching songs – the ‘de-elevator’ is the Devil and even the opening ‘the afterlife’ spiel just get washed away in the exuberance of the song and his performance and Princes two guitar solos… what a way to kick off an album:

Then pushing straight into ‘Take Me With You’… yes it sounds today very much 1984 with it’s synths and breathless urgency but it’s the good 1984. And what about ‘Darling Nikki’?! Come on… when did you hear a song this good about that?

Apparently even this song – with it’s ‘masturbating to a magazine’ – has some of Prince’s religious preaching in; there’s some reverse vocals in there at the end that, if played the right way point out the little guy was doing alright because he knew ‘that the Lord is coming soon’. I’ve heard – and seen – the Foo Fighters covering this and in anyone else’s hands (Grohl’s included) it doesn’t work. Nobody could perform like Prince.

Prince was a one-off. Sure there were some duff moments in his catalogue but it’s extremely hard (I’d say there’s not one example) to point out a great artist who hasn’t realised a turd of a song or five. His passing has left a big hole in the musical soundscape both in terms of his output and his enigma. Though it does mean I can now embed videos of this tracks here and find him on Spotify. Purple Rain remains, for me, his greatest album and it’s the one that shot him into the stratosphere. I’d go so far as to say it’s one of those essential albums for any collection. To quote Stereogum: … Purple Rain is “Prince’s grand pop exclamation, a near-perfect marriage of worldview and sonic construction….. No one has made a record like this, before or since.”

C’mon Stevie! Talk to em!

I don’t normally give much attention to this thing of ‘react’ videos… the whole thing of YouTube ‘stars’ making money from giving it some mouth on their camera leaves me cold and dubious about the state of civilisation in general and I can’t help but feel they’re not all that genuine.

That being said, somehow I stumbled on this and it makes me laugh each time. This dude seems genuine and – like anyone with their head screwed on right – is astounded by SRV, as proven in his later videos where he hunts for more and references back to Stevie as the greatest.

“My guy Stevie look like he got diarrhoea right here…”

I also checked out ‘No Life Shaq’ reacting to Eddie Van Halen which is worth it if only for the phrase “that guitar was innocent as shit three minutes ago!”

I don’t think my reaction to Stevie Ray Vaughan was quite as dramatic, it mainly just consisted of saying “Holy Fuck” a lot, but then I do that most times I listen to SRV.

Should you want to view the video featured above without commentary:

Albums of my Years – 1983

1983… A Merman I Should Turn to Be…

Man, I’m slipping with these already and I’m only three in… In 1983 the Empire was defeated, Superman split himself in two to fight with himself and Tom Cruise created a new visual that would henceforth be associated with Bob Seger’s ‘Old Time Rock and Roll’…  Not that I was able to catch any of this on screen at the tender age of two or three.

Nor did I have any awareness of the music world in 1983. I’m sure I heard many a radio hit of the day from The Eurythmics’ ‘Sweet Dreams (Are Made of This)’ to Billy Joel’s ‘Uptown Girl’ in one way or another but my recollections of them are as likely or valid as that Orange Clown’s tax returns.

1983 saw Michael Jackson’s Thriller – released the previous year – hit the top of the charts in the US. It would spend 37 weeks there eventually. During which time CDs went on sale in America where the Beach Boys were banned from the Fourth of July festivities in Washington – then Interior Secretary (which apparently doesn’t involve dictating wallpaper and furnishing choices) James G Watts stated that rock bands attracted “the wrong element”.  Turned out President Reagan felt a bit cheesed off by the decision as he was a Beach Boys fan – Watt apologised and received a gift from the Pres – a plaster foot with a hole in it.

The Rolling Stones were quids in – not that they were strapped for cash, mind – as they signed a $28 million contract with CBS, a then-largest recording contract ever. Money isn’t everything, though – Jagger and Richards were increasingly stroppy with each other and, the following year, Mick would sign a solo deal with CBS and while the band would drop Undercover in ’83, it would be another 3 years until their first album under their new label and contract.

Both Mick Jones (The Clash) and Dave Mustaine (Metallica) got their marching orders this year. Some decisions made in 1983 worked out well – such as agreeing with the management-employee that said “yeah, Johnny Electric is a shit name, just call the band Bon Jovi” (or words to that effect).  Others didn’t work out so well – like an off-his-tits on cocaine Marvin Gaye, convinced that there were multiple plots to kill him, gave his father an unlicensed Smith & Wesson.38 special calibre pistol for Christmas. Must have been an absolute sod to wrap that.

Simon and Garfunkal called it quits, again, in 1983, as did Sly and the Family Stone, Humble Pie and The Who.  Meanwhile Bon Jovi, The Flaming Lips, Guided by Voices, The La’s, Red Hot Chili Peppers, Noir Désir and Nick Cave and the Bad Seeds all formed in 1983.

Dire Straits, following the success of Love Over Gold, released ExtendedancEPlay, which contained the worst song they ever committed to tape in ‘Twisting by the Pool’. Sonic Youth dropped their debut full-length, Confusion Is Sex – though, as much as I love Sonic Youth, I wouldn’t call it essential. This one is unlikely to be known to many as it barely made a ripple and, much like the band themselves, sank without a trace shortly thereafter but… a band called U2 released their third album War in 1983, with songs celebrating New Year and pointing out just how frustrating Sundays can be:

I wonder what they’re up to these days. Maybe they found a trade and took an apprenticeship somewhere….

ZZ Top dropped Eliminator, which catapulted them to MTV stardom, in March of ’83 while Pink Floyd released Roger Waters’ rant The Final Cut – needless to say it’s not my pick of the year. Mark Knopfler stepped away from the Dire Straits name for the first time with his first solo and soundtrack album Local Hero:

Men at Work’s Cargo – which featured the classics ‘Overkill’ and ‘It’s a Mistake’ – also arrived in 1983 as did, keeping in this blog’s wheelhouse, albums from REM (their debut Murmur) and The Replacements with their brilliant Hootenany on which they really started pushing away from their early punk sound and hinted at what was to come:

I think it’s fair to say there were a lot of solid albums in ’83 that I could quite happily feature on these ‘pages’ – Billy Joel (who I don’t often tip a hat to) released the hit-stacked Innocent Man – which I remember picking up on cassette at some point in time, Bob Dylan dropped back into non-religious music with the brillian Infidels and, much to the frustration of produce Mark Knopfler (who was having a busy ’83) left ‘Blind Willie McTell’ from its track listing while Tom Waits started his journey into the abstract with Swordfishtrombones.  Having boosted David Bowie’s Let’s Dance to a different level with his guitar playing earlier in the year, Stevie Ray Vaughan released, with Double Trouble, his phenomenal debut Texas Flood:

So what gets my pick for my favourite album of 1983…. well, there’s been a couple of their tunes on the entries to date but this the last year in which they could possibly feature because….

The Police – Synchronicity

Released pretty much bang on halfway through the year on June 17th, Synchronicity spawned 5 singles, all of which hit the Top 20 in the UK with the ubiquitous ‘Every Breath You Take’ hitting the top spot here and across the pond. It gained near unanimous praise in the press, interrupted Thriller‘s stay at the Top of the US chart as it traded places to notch up 17 weeks at number 1, picked up a Grammy Award, continues to be named as one of the best albums of the 80s and pop up in Best Albums lists but would be the band’s last.

It was recorded by a band already pretty much falling apart, watch any documentary or interviews with the members and you get an idea of the tensions that drove The Police.  The band members would record from different parts of the studio – Stewart Copeland (fucking awesome drummer) would drum from the dining room, Andy Summers in the studio itself (it was recorded on the Caribbean island of Montserrat, it’s a hard life) with Sting recording from the control room. Any overdubs were done one member at a time.

And yet it never sounds disjointed. Synchronicity is the sound of a band at the peak of their powers. NME’s review from the time described it as “a mega-band playing off glittering experimentation…. the music fuses intuitive pop genius with willfully dense orchestration so powerfully dense it stuns.”

And that’s why I rank Synchronicity as their finest – The Police were masterful songwriters yet, like so many other, they almost fought against it as if it were wrong to create perfectly crafted melodies – they came up in the punk movement so tried to hitch a ride on that scene’s energy, then there was the insistence of trying to shove reggae into the mix, with Sting’s god awful forced accent. I agree with Elvis Costello’s statement at the time: ‘Somebody should clip (him) round the head and tell him to stop singing in that ridiculous Jamaican accent.”

So while I love a huge amount of The Police’s music, Synchronicity, where they finally ditch all that and create beautiful melodies and textures – is the album that I happily sit and listen to all the way through. I can’t recall when I first heard it -growing up after it was released it feels like ‘Every Breath You Take’ has always been there, but even after hearing it so many times it never bores:

Though my favourite on this album is ‘Synchronicity II”, I love the drive and energy of the song and the fact that it’s couple to those lyrics; “Another suburban family morning, Grandmother screaming at the wall. We have to shout above the din of our Rice Crispies..” I can’t think of another song that mentions Rice Crispies or take its inspiration from Carl Jung…. and then references the Loch Ness monster.

The videos….  I think they were all by Godley and Creme (ex 10CC). A duo whose first music video was for their own single ‘An Englishman in New York’ (funny, that) who directed so many pivotal music videos of the 80’s which all had a distinct feel that connects to memories of my youth so vitally that it’s impossible for me to listen to these songs – pretty much the entire second half of this album was released as a single – and not be transported back to that time.

I’ll finish with ‘Wrapped Around Your Finger’ – the video for which spawned one of my favourite Andy Summers quotes and points out just how clearly the writing was on the wall for the band. Godley & Creme filmed it a little unusually – the music was played fast and Sting – who  loves the video “It’s incredibly atmospheric, and I think the set design is brilliant” – mimed at high speed so that when played at normal speed it gives a weird slo motion affect. Andy Summers pointed out: “I was kind of pissed off about that one. I’ve never been much of a fan of that song, actually. Sting got to shoot his part last in that video and made a meal of knocking all the candles out. Fuck him.”

Albums of my Years – 1982

I actually have a memory from 1982 – and it can really only be 1982 or 83 -but it’s not music related. I can’t claim that I was sitting under a piano and singing Beatles songs in my second year on this planet.

So I have no memory of either hearing music or music news from 1982 such as that about the bloke from Birmingham , who’d already bitten the head off a dove in ’81, doing the same to a bat in January 1982. Of course he claimed he thought it was rubber but you’ve got to be fairly off your tits not to be able to tell the difference between a squeaky toy and a live mammal. 1982 wasn’t his year as he’d be arrested a couple of weeks later for taking a leak on something called The Alamo…

At the same BB King decided he didn’t need his record collection and donated the lot – some 7000 rare blues records. I suppose it saved money on IKEA Kallax units.

In March, Billy Joel came off his motorcycle and dinged himself up pretty good – he’d spend more than a month in hospital undergoing physio on his hand which must’ve gone well judging by the quality of The Nylon Curtain…

I don’t really care for Black Sabbath or Ozzy but he seems to have been dominated music headlines in ’82. His guitarist Randy Rhodes was killed when the plane he was in crashed after buzzing Osbourne’s tour bus. A few months later Ozzy would get married and, presumably, start bellowing “Sharon!”

Pink Floyd released the movie version of Waters’ diatribe The Wall which mixed the egos of Waters and director Alan Parker to mixed results.

My favourite bit of music trivia from 1982 though is the point at which, fearing poor ticket sales for a tour in support of Combat Rock, Joe Strummer was convinced to “disappear” – his manager suggested Strummer ‘vanish’ and stay in Texas for a couple of weeks. Instead, Strummer genuinely disappeared for a couple of months – choosing  to run the Paris marathon (he claimed his training consisted of drinking 10 pints of beer the night before) and “dick around” in France. The Clash were falling apart with tension – Topper Headon would be fired in ’82 thanks to his cocaine addiction – and Strummer would later say he regretted his vanishing act. Though he would later run the London marathon without any training too.

In 1982 it was goodnight from ABBA, Bad Company, The Blues Brothers (this was the year John Belushi died), The Jam and Blondie (until 1997 that is). Meanwhile American Music Club, A-Ha, James, Public Enemy, The Smiths, Swans and They Might Be Giants all formed in 1982.

So what dropped album wise in ’82? I’ve already mentioned a couple – The Clash dropped their best-selling album Combat Rock in July – it features their biggest singles too in ‘Rock the Casbah’ and the Stranger Things favourite ‘Should I Stay or Should I Go’ and the formidable ‘Know Your Rights’:

There were quite a few albums from artists that feature within this blog’s orbit in 1982 including the first Sonic Youth album and the debut EPs from both R.E.M and the Replacements – though neither could really, honestly, be called the band’s best work. Split Enz dropped Time and Tide in  April of ’82 and The Cure released Pornography shortly after. George Thorogood & The Destroyers released their fifth album, Bad to the Bone which continues to thrill me a considerable amount more than Thriller (also released in ’82) ever did. B-b-b-b-b-b-b-bad:

The year also saw the previously mentioned Nylon Curtain by Billy Joel which features one of my favourite tunes by the piano chap, ‘Goodnight Saigon’.

Kate Bush dropped her least commercial album, The Dreaming, which was full of highlights and served as the perfect bridge to The Hounds of Love… Prince released the extremely commercial and massive-selling 1999 while Neil Young pushed out Trans which was so noncommercial in its orientation that it was one of the albums used by his label Geffen in their lawsuit against him for producing wilfully unrepresentative and noncommercial material. Oh, and Aerosmith released the appropriately named Rock In A Hard Place. Well, I say ‘Aerosmith’… even Joey Kramer doesn’t consider it a proper entry in the band’s catalogue – “it’s just me, Steven, and Tom — with a fill-in guitar player.” It’s not entirely without merit – ‘Bolivian Ragamuffin’ has a real groove to get stuck on and both ‘Jailbait’ and ‘Lighting Strikes’ are decent tunes (the latter featuring Brad Whitford on guitar, presumably recording his rhythm parts on his walk to the door) but were I to tackle Aerosmith on a Least to Most… this would be the least.

Now in terms of albums that do feature high on my personal favourites list… Tom Petty and the Heartbreakers released Long After Dark which features ‘Straight into Darkness’, ‘ A Change of Heart’ and ‘You Got Lucky’.

And then there’s Nebraska. Once of Springsteen’s finest albums, his first ‘solo’ album and his most stark in terms of subject and sound…. it really, really should be the featured album on this list…. but I’ve written about it exhaustively as part of the Springsteen Least to Most series and rules are rules. So… it looks like a second entry on the list for one band:

Dire Straits – Love Over Gold

It’s fitting really. For a while I questioned whether this should be the choice for this year but there’s a number of factors that mean Knopfler and co’s fourth album sits here for ’82; It’s an album I heard a huge amount of in my youth and growing up thanks to my Dad’s penchant for the band. So much so that down to the fact that his record had a skip on the “I’ve seen desperation explode into flames and I don’t wanna see it again” in ‘Telegraph Road’* that I got so used to that I still expect the skip when listening on CD or online.

As part of my debating whether to go with this album for 1982 I listened to it in full, again, and realised that I didn’t need to be questioning it – it’s not only a bloody strong album but it’s one that resonates with me on so many levels and is part of what formed my tastes moving forward. ‘Private Investigations’ was one of the first things I set about learning on guitar and will still go to from time to time – especially if I pick up the old ‘classical’ guitar out of the garage. Combined with ‘Telegraph Road’ it makes for a faultless Side A:

Love Over Gold is, to me, the final ‘classsic’ Dire Straits album. There’s still a very quintessentially English element about it and it’s sound and writing are less direct and radio-ready than the Brothers In Arms era that would follow. It’s the final of those early albums before ‘Money for Nothing’ threw them into bigger venues and TV sets around the world and the scale that would lead to Knopfler walking away began to build.

The music and sound benefits from the addition of Alan Clarke on keyboards – wider and more intricate sounds that mark a natural and real development on that of Making Movies – just listen to the interplay between the two on ‘Love Over Gold’:

The sheer power and length of the two songs that make up Side A do mean that trio on Side B are often overlooked, much as the album itself – sitting between Making Movies and Brothers In Arms – can be. But the title track,  ‘Industrial Disease’ and ‘It Never Rains’ are far from filler.

As much as I understand Knoplfer’s reasons for not attending the Rock and Roll Hall of Fame ceremony and his disinterest in reforming – I do wish that this era of the band (before it became about headbands and filling the largest venues) could get the revisit and attention it deserves.

*Side note/ pub quiz / music trivia point: Jon Bon Jovi, of all people, is also a Dire Straits fan – he was working at his cousin’s record studio (The Power Plant) when Making Movies – and has admitted to ripping off ‘Telegraph Road’ with ‘Dry County‘.