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‘.

 

Albums of my Years – 1980

What’s this then?

Well: this year will feature my last birthday with a 3 at the start. So, I figured that, given my average posting frequency and to allow a post every week or so, I’d pick an album from each of the years I’ve been on this ride in the theory that this would leave me enough time to complete a 40 post series just as I hit 40.

I’ll be picking one album from each year that’s either a favourite, one that means something to me and has not been covered in these ‘pages’ thus far.

Sound alright? I am, of course, always happy to get feedback or recommendations for anything that I may have missed along the way – especially in those years when I hadn’t yet mastered walking.

So, let’s start from the top…

1980 saw a fair bit going on in the music world:

Paul McCartney kicked off his 1980 in jail in Japan when he was caught with some marijuana on him – they’d kick him out of the country two weeks later.

Don Henley also got in a bit of bother with the rozzers and drugs, albeit some harder substances when police hit the motherload in his house after a naked 16-year-old prostitute(!) had drug-related seizures and they found another 15-year-old girl(!!) tripping balls. He ended up with all kinds of charges which, oddly enough, didn’t end up as lyrical fodder for ‘Boys of Summer’…. ‘you got ya hair combed back and those quaaludes are kickin in, baby.’

Led Zepplin’s powerhouse drummer John Bonham’s wholehearted embrace of the rock ‘n’ roll lifestyle of excess reached its inevitable conclusion and he was found dead by bandmate John Paul Jones – the drummer having choked on his own vomit after downing several pubs worth of vodka. The band would disband a month or two later.

Back to Fab – John Lennon and Yoko Ono got busy recording Double Fantasy which dropped in November. But, just one month later, Lennon was entering the Dakota building when he noticed Mark Chapman standing nearby and nodded at him – presumably recognising him after Chapman had requested Lennon’s autograph earlier in the day. Moments later Chapman fired five shots at John Lennon’s back, from about ten feet away and 1980 drew to a close with 100,000 mourners holding a public vigil in Central Park for the murdered John Lennon.

Bit of an odd one to be born into, really. In terms of album’s released in 1980, it’s slim pickings from my wheelhouse.

Split Enz released the phenomenal True Colours (home to ‘I Got You’ and ‘Nobody Takes Me Seriously’ and a buttload of other crackers)…. The Police’s Zenyatta Mondatta dropped in October and it, too, is stuffed with corkers.

The Joe Perry Project released their first album Let the Music Do the Talking which included the stonking title track and a good dose of riff-heavy tunes and some fella from New Jersey released an ep called The River... and a group of young lads from Ireland dropped their debut Boy and promptly vanished into obscurity.

BUT: I can’t choose The River as the ‘1980’ album. As much as it’s my favourite release of the year I’ve already talked about it at length and I don’t want to repeat myself. So.. what does that leave? Scary Monsters? Meh. Sandinista! ? Nah… though ‘Police On My Back’ is a fucking belter!

How about:

Dire Straits –Making Movies

Knopfler and co’s third album, Making Movies dropped on October 17th 1980. The same day as Bruce Springsteen’s The River and just 11 days before I did.

Dire Straits actually ‘borrowed’ both Roy Bittan and Jimmy Iovine from Springsteen for Making Movies. Knoplfer had wanted Iovine as producer after hearing Patti Smith’s ‘Because The Night’ and Iovine helped get The Professor involved. Probably helped that they were pretty much next door – Making Movies was recorded at New York’s The Power Station at the same time as work on The River was wrapping up. – I’ve pondered before if the seeds for, or at least the title of, the Boss’ Tunnel of Love song were planted here, there’s no way he’d not listen to what his producer and piano player had been moonlighting on.. or even listened through the wall with a wine glass?

That oft-maligned trade rag Rolling Stone has this to say of Making Movies: 

“Making Movies is the record on which Mark Knopfler comes out from behind his influences and Dire Straits come out from behind Mark Knopfler. The combination of the star’s lyrical script, his intense vocal performances and the band’s cutting-edge rock & roll soundtrack is breathtaking—everything the first two albums should have been but weren’t. If Making Movies really were a film, it might win a flock of Academy Awards.”

To say I grew up with Dire Straits and Making Movies on in the background would be an understatement. Their love of the band was something that bonded my father and his best friend (my ‘Dutch uncle’) and it was continually played to the point that now, thirty some years later I still know every word on the majority of this album and still enjoy spinning it.

It’s the album that helped the band break out to a wider audience with ‘Romeo and Juliet’ did the business on radio. On yet another Springsteen connection (I know, I know) that beautiful guitar arpeggio? Go listen then go listen to ‘Jungleland‘ and the piano in the first verse. It wasn’t deliberate, Knopfler hit on it by pure chance while trying out a tuning with his National:

There’s nothing wrong with ‘Romeo and Juliet’ but my personal favourite is still the first tune on the album, the Tunnel of Love / Carousel Waltz combo. When you combine it with ‘Romeo and Juliet’ and ‘Skateaway’ I think you’ve got a pretty damn fine Side A there.

Side B isn’t too shabby. Granted ‘Les Boys’ wouldn’t be released today with it’s “Les Boys do cabaret, Les Boys are glad to be gay” lyrics but Knopfler’s guitar work is on form throughout, as with the tres-80s titled ‘Expresso Love’ and the charming ‘Hand in Hand’ which, for my money, points at sounds that would surface more on their next album Love Over Gold:

Still, what saves the album isn’t just what’s on it but what isn’t: ‘Twisting by the Pool’ was recorded during these sessions but was, thankfully, left off.

 

 

 

Bruce Springsteen – LA Sports Arena, California 1988

Just when I thought I was out… they pull me back in!

How? Well with a facebook post announcing that as it’s Mother’s Day in the US, Springsteen’s live archive series was available for half price – I’m still not sure I see the connection with the two but what the hell, I’d toyed with the idea of downloading one for a while and while the £ to $ ratio is a bit up and down depending on Maggie May or Putin’s Cock Holder, it still meant the idea of downloading a full concert for less than £4 was too good an opportunity to miss.

Which means that after something of a Bruce diet I found myself scrolling through the available shows and settling upon one from 1988 – from the Los Angeles Sports Arena, April 23rd to be precise. A 31 song setlist for less for around 10p a song.

Why this one, and not – say – the earlier peak-period concerts from, say ’75 or ’78? I reckon Hammersmith Odeon, London ’75 and the live concerts captured on The Promise: The Darkness on the Edge of Town Story, not to mention Live/1975–85 do a pretty good job of covering that era while anything post re-union I fancy hearing is also well documented with the Live In New York City and Hyde Park releases. The thing about all of those post-Tunnel Of Love releases, though, is that not a single tune from that album is represented. Given that I believe these represent some of his best, most insightful songs of his career, getting a high-quality concert from that era seemed like a no-brainer for me.

So.. with that in mind; is it any good? First thing – the sound quality is spot on and I only plumped up for the basic MP3s. And, having spent a couple of days with it now I can tell you that yes, it bloody well is good. I wouldn’t call it an essential live album but it’s a fascinating and at times brilliant concert and I would call it essential listening for a Bruce fan.

I say fascinating because the Tunnel of Love Express Tour found Bruce in a transitional phase. He was seemingly tired of the E Street and Bruuuuuce of old and was trying – perhaps in an interest to keep himself interested as much as give the audience something different – to mix things up. The venues were smaller than the megadomes of Bossmania and songs that had been setlist staples were culled in place of obscure b-sides (opener ‘Tunnel of Love’ was followed not by a crowd-shaker like ‘Badlands’ but by the weaker* ‘Be True’) and covers, band members were shuffled into different places – Max Weinberg was moved from centre to the side and Patti Scialfa was bought to a more prominent position, becoming more of a foil than Clarence Clemons. The positioning and role of Patti Scialfa caused much conversation at the time for obvious reasons.

Oh and, in a further effort to distance the work and tour from his former music, Bruce added a horn section – The Horns of Love. Those horns aren’t something I enjoy listening to, I’ll be honest. They trample all over ‘Adam Raised A Cain’ and their toots and parps over ‘Dancing in the Dark’ and ‘Glory Days’ don’t do anything for me. I reckon it would be a while before Bruce really figured out how to add the extended horn section into his live set-up**.

The shows on this tour were also stripped of on-stage spontaneity and the setlists were much more rigid. There’s also some strange moments – very rehearsed and repeated nightly – that make for odd listening. Whereas Live 1975/1985 featured the “Bruce’s Vietnam Dodge” story or tales about his relationship with his father, LA Sports Arena, California 1988 features a surreal 8-minute long ‘caper’ with Bruce and Clarence sitting on a park bench talking about ‘adult’ subjects such as marriage and kids in the build up to a horn-addled  All That Heaven Will Allow’. In fact the video below shows just that scene as well as the fact that it’s the same routine every night***.

But but but. Do not get me wrong. This is still a great live show. It’s fucking Springsteen after all and even with the sense of drama and fascinating confusion that shadow it this set is bloody good. Just check out the track listing:

Set One
“Tunnel of Love”
“Be True”
“Adam Raised a Cain”
“Two Faces”
“All That Heaven Will Allow”
“Seeds”
“Roulette”
“Cover Me”
“Brilliant Disguise”
“Spare Parts”
“War ”
“Born in the U.S.A.”

Set Two
“Tougher Than the Rest”
“Ain’t Got You”
“She’s the One”
“You Can Look (But You Better Not Touch)”
“I’m a Coward”
“I’m on Fire”
“One Step Up”
“Part Man, Part Monkey”
“Backstreets
“Dancing in the Dark”
“Light of Day”

First Encore
“Happy Birthday to Roy Orbison”
“Born to Run”
“Hungry Heart”
“Glory Days”
“Rosalita (Come Out Tonight)”

Second Encore
“Have Love, Will Travel”
“Tenth Avenue Freeze Out”
“Sweet Soul Music”
“Raise Your Hand”

Yes; that is ‘Roulette’ sitting in there rubbing shoulders with a searing version of ‘Seeds’. Yes; that’s 8 songs from Tunnel of Love and they all hold their ground with some of the heavy weights of Bruce’s catalogue, specifically the meld of ‘Ain’t Got You’ into ‘She’s the One’. Video again taken from another night but…

There’s no ‘Thunder Road’ or ‘Badlands’ and ‘Born To Run’ is the acoustic recasting that would also feature on the Chimes of Freedom EP later that year but, with his desire to present his newer music in a more serious, less Bruuuuce light seemingly sated toward the end of the second set, Springsteen’s classics deliver in the same crowd delighting way they always did and will – ‘Backstreets’ is dedicated to the fans and they react accordingly and when ‘Rosalita’ kicks in the roof is torn off (Bruce making a point by singing “you don’t have to call me lieutenant Rosie.. But. Don’t. Call. Me. BOSS”). The songs from Tunnel of Love were already well known to the audience – the album had been out a good six months by now – and cuts such as ‘Brilliant Disguise’, ‘One Step Up’ and even ‘Two Faces’  are met by rapturous applause and, with the band now well broken in on the tunes and their roles (this was still only Scialfa and Nils Lofgren’s second tour), delivered as strong as the deeper cuts. ‘Spare Parts’, once its oh-so-80s piano intro is done, rips along like the scorcher it is on record.

Tunnel of Love was a near-perfect album that captured Bruce at his most insightful and human. The tour that followed marked not only the live casting of these songs but an artist trying to recast himself too. This tour would be the last time he would play with the E Street Band until 1999, he would shortly divorce his wife and begin a lasting relationship with Patti Scialfa, spend time attending to his personal life and his inner turmoil, taking a five year break from his career in the process. As such LA Sports Arena, California 1988 makes for a fascinating and captivating listen capturing the end of an era, the closing of the first chapter of Bruce Springsteen and the E Street Band. I’ll be listening again for sure, £4 well spent.

*In comparison to the wealth of B-Sides he could’ve chosen but then I believe it was part of the ‘relationships’ theme of the show.

**I still don’t think they’re necessary. Live the E Street Band is one of the unstoppable, unbeatable things that doesn’t need padding out. It tears the roof off when in no-frills mode.

***Again, nothing that new, I read a piece in Rolling Stone from the Magic tour rehearsals that detailed that all of the gestures and interactions are pre-rehearsed rather than ad-libbed but then that’s not an 8 minute ‘bit’ involving a park bench.

Least to Most: Bruce – Born in the USA

“You end up like a dog that’s been beat too much
Till you spend half your life just covering up”

bruceborn1984Bruce at his largest in terms of both commercial appeal and sound, this was the spark that ignited ‘Boss Mania’ and saw Springsteen go from playing to packed arenas of the faithful to selling out stadiums and play-acting himself to newer audiences against a screen that projected his newly pumped-up image punching his fist into the air, ushering in the final verse of the misappropriated title-track to his then-new album Born in the USA to the cheap seats at the back of the crowd.

Thirty million (and still counting) sales, seven top ten hits. That cover. That Ben Stiller parody. Born in the USA is Bruce’s biggest selling album and, probably, his most well-known.  Yet commercial heights do not always equal creative heights. There’s always a sacrifice, a deal with the devil to achieve those numbers. For my money, the production and sound on this blockbuster meant that the details that make for a great Bruce song were sacrificed somewhat.

But let’s not get confused, though. At this point in the list we’re really getting into the quality end of the spectrum, the wheat has been separated from the chaff and we’re down to lining up in order of personal preference and anything from here on in will likely regularly feature on any stereo and may well top other ‘favourite / best’ lists.

The title track is inescapable, even on this side of the Atlantic, whenever Bruce is mentioned. That’s not necessarily a bad thing, it’s a belter of a song. Let’s skip over the way in which it was misinterpreted as that’s been discussed ad nauseam. I think what fascinates me is just how different this version is from the original demo cut around the Nebraska sessions is (perhaps this was the key to the sacrifice – in its original form it would not have been so misunderstood yet would never have reached such a wide audience) and that the version on the album is only the band’s second take at it – Max Weibnerg didn’t even know Bruce was going to count the band in for another punch at the four-and-a-half minute mark but The Boss has praised ‘Born in the USA’ as his drummer’s finest recording*.

That being said, I dont’ always listen to it when I play the album so over-exposed did it become and it was one of those songs that put me off Bruce initially. Listening to Chapter & Verse recently it sounds so out of place sat between ‘My Father’s House’ and ‘Brilliant Disguise’ as to almost sound like the work of a different artist. Almost.

Perhaps it was a cultural thing – Reagan harped on about a new morning in America while that country’s cinema heroes of the early 1980’s were muscle-bound and jingoistic, here we were had Thatcher and mining strikes (cinema audiences dropped to an all-time low in ’84) so a bicep-baring Bruce singing heartland rock against a backdrop of the Stars and Stripes was never going to be as huge here as it was in the US** and I don’t think this one has quite the lasting appeal in comparison to his other work.

I think that those songs at the start of the album are the ones I enjoy least and rarely listen to. I’d struggle to quote a lyric from ‘Darlington County’ say, or easily recognise ‘Working On The Highway’ if played live. The recording of Born In The USA dates back to 1982 and many of the tracks were written at the same time as those that appeared on Nebraska**. Bruce himself has said that “if you look at the material, particularly on the first side, it’s actually written very much like Nebraska – the characters and the stories, the style of writing – except it’s just in the rock-band setting.” Given that the fabled ‘Electric Nebraska’ has yet to see the light of day I can see why, the songs just don’t suit the sound – in my own humble.

Perhaps its another one of those results of a protracted recording period. Sessions for the album were spread over so many months (years even) that it can seem a little disjointed and with so many songs recorded it would be hard to find the perfect balance and he toiled with it for a long time. At one point in 1982, with the demo tape that would become Nebraska ready for release and a record of band material also ‘ready’ he toyed with releasing the two as a double album; one solo, one ‘band’ with a tracklisting ready as:

BORN IN THE U.S.A
MURDER INCORPORATED
DOWNBOUND TRAIN
DOWN, DOWN, DOWN (I’m Goin’ Down)
GLORY DAYS
MY LOVE WILL NOT LET YOU DOWN
WORKING ON THE HIGHWAY
DARLINGTON COUNTY
FRANKIE
I’M ON FIRE
THIS HARD LAND

Yet then he released Nebraska as a stand alone (no tour, no real fanfare) and took a break before picking up recording again in early 1983 with newer songs coming up and wouldn’t conclude until February of 1984. As such a wealth of material was recorded and never released – you could easily pick a dozen of any such songs and create an album that would still be considered a classic. So the protracted recording, agonising and umming and erring (toying with releasing different selections and demos as is) as Bruce searched for that elusive ‘binding factor’ means that perhaps this record isn’t as consistent as it deserves to be.

But… but BUT. This album contains a wealth of such strong material that even if I tend to skip a few tracks a the start there’s enough here to warrant its inclusion in the top half of this list. Even limiting myself to two tracks from each album when I compiled my own Top 20 Springsteen songs was a tough one with this album and those I chose weren’t released as singles.

‘Downbound Train’ remains one of my favourite Springsteen songs and one I feel is criminally overlooked.

‘I’m On Fire’ gets many a play as does ‘Bobby Jean’. And then there’s ‘Dancing In The Dark’. When Landau listened to Born in the USA his reaction was “we don’t have a single” and told his charge to go home and write one. Legend has it a guitar was thrown at this point. However, Bruce set about writing about his frustration about writing – “It went as far in the direction of pop music as I wanted to go – and probably a little farther.” His biggest single to date (with it the album actually had seven) and one which initially wasn’t popular with the band. Van Zandt has said “It was much, much, much more produced. I didn’t like that song when I first heard it.”*** While it may still have its detractors I still really enjoy it a lot more than some of the album’s other singles like ‘Glory Days’.

Overall Born in the USA is something of a grab-bag album. Certainly affected by over-production in its unabashed reach for the maistream (no qualms here, if any artist is going to shift thirty million copies of an album I’d rather it a Springsteen than a Beiber) it nonetheless contains more than its fare share of solid Springsteen tunes that carry the album into the higher quality end of his catalogue.

Highlights: ‘Downbound Train’, ‘Bobby Jean’. ‘I’m On Fire’, ‘Born In The USA, ‘No Surrender’, ‘Dancing In The Dark’.

*While Weinberg is fond of the song for the same reasons, his favourite of these sessions, ‘This Hard Land’ was shelved like so many of the 80(!) recorded.

**It was a hit, though, nonetheless, topping the charts and shifting just over a million. I don’t feel though that it had quite the same cultural impact as it did for Bruce at home.

***Van Zandt would leave the E Street band in 82 (though this wasn’t really announced until after the recording of Born in the USA) and Nils Lofgren would join in time for the tour. The official line being that he’d joined in order to help see Bruce rise to success and, job done, it was time to focus on his own music.

Tracks: Let’s Go Crazy

Undoubtedly a song that’s all over the airwaves and social media today but…. this post was in the works already and it seems fitting enough to push it through now.

Heading home yesterday evening I flipped open twitter and caught the rumours of Prince’s death before confirmation from his publicist changed it into a breaking news story. Shocking doesn’t do it justice.

It’s hard to recall the first Prince song I heard / knew. He was everywhere in music in the 80’s and into the 90’s. Nobody had such a prolific period of constant hits and a career-long streak of strong music.

I do know, though, that Purple Rain remains an ice-cold slab of perfection. There’s not a track on the album I skip. From the hit singles it generated to the breathlessness of Take Me With U, the brilliance of Darling Nikki and the pure Prince audacity-fuck censorship of its lyrics there’s just so many moments of genius on it you could lose count. No wonder it’s shifted upwards of 20 million copies.

For me though, the album, and Prince’s highlight is it’s opening track – Let’s Go Crazy.

It encapsulates everything that the album holds all contained in one four-and-a-half minte track – there’s the exultant chorus, the near-gospel backing vocals, urgent synths, and, of course, Prince’s startling guitar chops (for further evidence watch the little guy in the hat break this cover out of mundaity). This has been a go-to song for me for a long time, those times when the day has been a pile of cack, it’s time for Let’s Go Crazy. It’s impossible to not be uplifted by it, with the sermonising intro with it’s “Dearly beloved…” (boy have I seen that a lot on twitter today) and it’s rousing “and if the elevator tries to bring you down… go crazy; punch a higher floor”. Yeah… Prince is probably trying to evangelisize us with this one but, fuck me, it’s as catchy and brilliant as they come. It’s a pure rush of excitement listening to it especially when – in album format – it breaks into the start of Take Me With U and its opening drum solo.

Thanks to the Purple One’s very tight hold on his copyrights and sharing etc it’s hard to find a video to put here (or one that will stay active for longer than a fart) but let’s try:

 

God What A Mess On The Ladder of Success

Of the music I’ve been listening to lately there’s been two stand out choices and both are kind of important when looking back at 2012 musically.

I’ve been getting back into the habit of listening to classical music lately. I tend to prefer the more intense stuff, the Russians like Shostakovich and Rachmaninoff but also a bit of Bach courtesy of my wife’s appreciation for it. This year we went to see the Royal Philharmonic Orchestra’s Spanish Fiesta – a great way to remind us of our trips there this year, last and back in 2009. An amazing evening of music and a great bit of exposure to some Spanish guitar music of which this is on steady repeat on my iPod:

The part from the seven minute mark, building up to what – to me – is a euphoric moment at 08:14… absolute bliss.

The Replacements

The Replacements

This year – after continually reading their name in numerous bios and write-ups – I finally got around to checking out The Replacements. Holy crap balls. I feel like a complete tool for not having gotten into this band sooner or at least having been aware of them before now. Their influence is huge – I read somewhere that Nevermind was named for the track on Pleased to Meet Me – from Green Day, Goo Goo Dolls to Ryan Adams and Wilco with the likes of Kurt & Co and The Lemonheads in there too.

They came out of the early 80’s hardcore / punk scene but bought with them an undeniable sense of melody and Paul Westerberg’s ever-evolving songwriting skills. While they moved clear of the trash and poor production of their initial early years they never lost the sense of urgency and energy from it but welded it to ever-finer crafted songs.

I started out by ordering their Don’t You Know Who I Think I Was compilation and re-released Let It Be album and have rapidly added all their studio albums up to and including Pleased To Meet Me since May and – despite the recent fucker of a month we’ve been having – I never fail to find myself invigorated and charged by them.