If you’re looking for a good stocking-filler for the 1980s music fan in your life, you could do a lot worse than Justin Lewis’s ‘Into The Groove’.
He’s an experienced rock writer who’s come up with a deceptively simple book idea – take each day (or at least most of them) of the 1980s and document a key music event, reporting them in chronological order.
And it’s mostly fascinating stuff; he’s unearthed some really tasty morsels of 1980s music trivia. Who knew that ‘Stars On 45’ (the Dutch novelty act specialising in disco medleys) led to ‘answer’ tracks from Orange Juice, Squeeze and The Portsmouth Sinfonia? Or that Annie Lennox had to show MTV her birth certificate to prove she was not a ‘decadent transvestite’ before they permitted Eurythmics’ ‘Sweet Dreams’ video to be shown on the channel?
Or that Wham!’s biggest early influence was Level 42? (Apparently they loved Level’s combination of funk and ‘unfunky’ lyrics – presumably it was tracks like ‘Almost There’ and ‘Starchild’ that floated their boat…)
Who knew that the full-length version of George Michael’s ‘Faith’ begins with a church organ playing Wham!’s ‘Freedom’, that Adrian Edmondson was a prolific video director in the ‘80s, or that a UK top 5 from October 1986 was the first time that every song was performed by a female vocalist?
The book also serves as a good compendium of ‘making-of’ song stories. For example, we get the full background of Paul Hardcastle’s ‘19’, including all the copyright issues and the fact that Mike Oldfield, of all people, is now the recipient of a writing credit(!).
You’ll need YouTube at the ready too for fascinating curios, like Tom Waits’ disastrous appearance on live British TV in 1983 alongside Ian Hislop and Peter York. ‘Into The Groove’ also gets credit for expanding its purview beyond rock and pop – there’s interesting info about African, country and blues music too, but very little jazz.
There are some downsides – there’s no index or list of references, and Lewis tries hard to be impartial but his ‘rock snob’ credentials inevitably creep out, Costello, XTC and McCartney etc. getting the rare plaudits.
But no matter – this is a gripping read, amusing and informative, full of tasty trivia treats, a surprise on every page. Highly recommended.
1980s jazz/rock generally gets the side-eye these days.
But it wasn’t all the Chick Corea Elektric Band prancing around the stage in tracksuits or pitiful WAVE-style smooth jazz.
The 1970s jazz/rock pioneers were mostly going strong and if some were too tempted by synths and drum machines, the best music was made by sticking pretty rigorously to the tried-and-tested real drums/bass/guitar/keys lineup favoured by Miles, Weather Report, Return To Forever et al.
So here’s a selection of 1980s jazz/rock albums that have consistently gripped movingtheriver, most of which he queued up to buy at the HMV or Virgin Megastore, or found in an Our Price bargain bin. (These are not proggy or funky. So no Herbie, Brecker Brothers, David Sanborn or David Torn, but there are elements of R’n’B/Latin/soul/whatever mixed in with the jazz).
Bireli Lagrene: Foreign Affairs (1988)
Just 21 years old when he recorded it with producer Steve Khan, the French guitarist’s second Blue Note album is a cohesive gem and massive improvement on the debut, with terrific contributions from keyboardist Koono and drummer Dennis Chambers.
Ornette Coleman: Virgin Beauty (1988)
One of the most ‘accessible’ albums of the master’s career, with memorable melodies, a brilliantly expressive bassist (Al McDowell) and some decidedly odd guest appearances from Jerry Garcia.
Tribal Tech (Scott Henderson/Gary Willis): Nomad(1988)
Recorded in April 1988 but not released until early 1990, guitarists were rightly wowed by Henderson’s brilliance, a mixture of Michael Brecker, Allan Holdsworth and Stevie Ray Vaughan, while the rhythm section is groovy and propulsive and both Henderson and Willis’s compositions are excellent. And ‘Tunnel Vision’ may feature the perfect guitar solo…
John McLaughlin: Mahavishnu (1984)
OK there are some question marks in the keyboard and sax departments, and a few mediocre tracks, but Billy Cobham has rarely sounded better and John contributes three or four classic compositions and a few brilliant solos to this reunion album of sorts.
Marc Johnson’s Bass Desires: Second Sight (1987)
Wonderful interplay between guitarists John Scofield and Bill Frisell, plus some classic compositions including Scofield’s surf-rock-meets-jazz ‘Twister’, Frisell’s Monk-like ‘1951’ and Johnson’s moving ‘Hymn For Her’.
Larry Carlton: Last Nite (1987)
Guitarists of all stripes were blown away by Carlton’s playing in the 1980s, and here’s the best evidence, captured live at LA’s Baked Potato club with Alex Acuna, Abe Laboriel and JR Robinson.
Human Chain: Cashin’ In (1988)
This Brit jazz/rock classic, released on EG Records, had elements of the Canterbury sound, West Coast cool jazz, English folk music and 1980s Weather Report, featuring Django Bates’ fantastic keys and French horn and some weirdly impressive guitar and fretless bass from Stuart Hall (who he?). Also injects a healthy dose of much-needed humour to the ’80s jazz world.
Hiram Bullock: Give It What U Got (1988)
All the fun of the fair from this gifted but troubled guitarist: raunchy funk/rock, instrumental Steely Dan, Brecker Brothers horns, classic fusion and an Al Jarreau guest appearance on a Sam Cooke tune, but all shot through with jazz chords and Hiram’s lyrical playing.
Ronald Shannon Jackson: Mandance (1982)
Ornette-style harmolodics and Mingus-like ensemble work meet NYC punk-jazz on the drummer’s intriguing and powerful album, recorded live in the studio, featuring future Living Colour axeman Vernon Reid.
Weather Report: Sportin’ Life(1985)
It was a toss-up between this and Night Passage, both classics, but this gets the nod courtesy of the newly-minted rhythm section of Omar Hakim and Victor Bailey, plus a few classic Wayne Shorter tunes including ‘Face On The Barroom Floor’ which reportedly Joni Mitchell was particularly smitten by.
Wayne Shorter: Atlantis (1985)
Wayne again, fronting this fascinating, complex song-cycle featuring Alex Acuna on drums and Joni’s husband Larry Klein on bass. Takes some time to digest, but like a good wine gets better every year.
Allan Holdsworth: Secrets(1989)
A toss-up between this and Metal Fatigue, this gets in because of his delicious guitar tone and the inspired contributions of drummer Vinnie Colaiuta – ‘City Nights’, ‘Spokes’, ‘Peril Premonition’ and ‘Joshua’ are musical landmarks. Fiery, exciting, unmissable.
Steps Ahead: Modern Times (1984)
Messrs Brecker, Erskine, Mainieri, Gomez and Bernhardt were embracing some new technology but they never let it overshadow the mostly excellent compositions with telling solos, particularly from Brecker.
John Scofield: Still Warm (1985)
Take your pick between this, Blue Matter and Loud Jazz, all fantastic pieces of work, but Still Warm gets the nod courtesy of its dynamite rhythm section (Darryl Jones and Omar Hakim) and arguably John’s best writing of the ’80s.
Mike Stern: Upside Downside (1986)
Produced by Hiram Bullock and featuring a crack band including Dave Weckl on drums, it showcases Stern’s finest/fieriest playing on record to date and also one of Jaco Pastorius’s last notable appearances. Still the best Stern solo album and quite extreme in its own way.
(If you’re new to any of these albums and they float your boat, please consider buying physical copies to support the artists.)
Whilst 1980s cinema was seemingly dominated by action heroes and comic actors (Bill Murray, Chevy Chase, Eddie Murphy, Steve Martin et al) who generally tended to transform projects by dint of their improvisatory skills, there were enough gifted writers around (Woody Allen, Oliver Stone, Bruce Robinson, John Carpenter, John Hughes, the Coen brothers etc.) to generate memorable, crafted lines too.
And the proliferation of comedies, horror movies and smart teen movies made for good zingers. But what makes a memorable movie quote? We present for your dubious pleasure a selection of 1980s lines and mini soliloquies that seem to hold up; some have become part of modern culture, some always provide a laugh or chill however many times one has seen the films, some are just plain weird and wonderful, and a few were probably improvised.
‘Heineken? F*ck that sh*t! Pabst Blue Ribbon!’ Blue Velvet (1986)
‘Let’s f*ck! I’ll f*ck anything that moves!’ Blue Velvet
‘Why are there people like Frank? Why is there so much trouble in this world?’ Blue Velvet
‘Better to be king for a night than schmuck for a lifetime.’ The King Of Comedy (1982)
‘I bet you’re the kind of guy that would f*ck a person in the ass and not even have the goddamn common courtesy to give him a reach-around.’ Full Metal Jacket (1987)
‘I have come here to chew bubblegum and kick ass, and I’m all out of bubblegum.’ They Live (1988)
‘Can I get ya anything? Coffee? Tea? Me?’ Working Girl (1988)
‘I have a head for business and a bod for sin.’ Working Girl
‘I am serious, and don’t call me Shirley.’ Airplane (1980)
‘What a pisser.’ Airplane (1980)
‘Into the mud, scum queen!’ The Man With Two Brains (1983)
‘You touch me, he dies. If you’re not in the air in thirty seconds, he dies. You come back in, he dies.’ Escape From New York (1981)
‘Beware the moon, lads.’ American Werewolf In London (1981)
‘We’re living in a shop. The world is one magnificent f*cking shop. And if it hasn’t got a price tag, it isn’t worth having.’ How To Get Ahead In Advertising (1989)
‘I tried to stand up and fly straight, but it wasn’t easy with that sumbitch Reagan in the White House. I dunno. They say he’s a decent man, so maybe his advisors are confused.’ Raising Arizona (1987)
‘Be the ball.’ Caddyshack (1980)
‘I’m a veg, Danny…’ Caddyshack
‘This is a cross of Kentucky Bluegrass, Featherbed Bent and Northern California Sensemilia. The amazing stuff about this is, you can play 36 holes on it in the afternoon, take it home and just get stoned to the bejeezus-belt that night.’ Caddyshack
‘The last time I was inside a woman was when I visited the Statue Of Liberty.’ Crimes And Misdemeanours (1989)
‘Showbusiness is not so much dog-eat-dog, it’s more dog doesn’t return dog’s calls.’ Crimes And Misdemeanours
‘For all my education, accomplishments, and so-called wisdom, I can’t fathom my own heart.’ Hannah And Her Sisters (1986)
‘How the hell do I know why they were Nazis? I don’t know how the can-opener works.’ Hannah And Her Sisters
‘If you build it, he will come.’ Field Of Dreams (1989)
‘It’s the best joke of all – a joke on the children…’ Halloween III (1983)
‘Get out…now!’ Halloween II (1981)
‘Listen, lady. If you don’t give Big Ed some air, he’s gonna piss…all over your half of my body.’ All Of Me (1983)
‘You can start by wiping that f*cking dumb-ass smile off your rosy f*cking cheeks. Then you can give me a f*cking automobile. A f*cking Datsun. A f*cking Toyota. A f*cking Mustang. A f*cking Buick! Four f*cking wheels and a seat.’ Planes Trains And Automobiles (1987)
‘I mean to have you even if it must be burglary.’ Withnail & I (1987)
‘My thumbs have gone weird.’ Withnail & I
‘We want the finest wines available to humanity, we want them here and we want them now!’ Withnail & I (1987)
‘Monty, you terrible c**t!’ Withnail & I
‘Flash, I love you, but we only have 14 hours to save the Earth!’ Flash Gordon (1980)
‘Get ready for greatness.’ Say Anything (1989)
‘She’s a brain trapped in the body of a game-show hostess.’ Say Anything
‘I’m incarcerated, Lloyd!’ Say Anything
‘I gave her my heart. She gave me a pen.’ Say Anything
‘Can I borrow your towel for a sec? My car just hit a water buffalo.’ Fletch (1985)
‘When you grow up, your heart dies.’ The Breakfast Club (1985)
‘I wanna be just like you. I figure all I need’s a lobotomy and some tights.’ The Breakfast Club
‘You’re a parent’s wet dream – neo-maxi-zoom-dweebie…’ The Breakfast Club
‘May I admire you again later today?’ Pretty In Pink (1986)
‘She thinks you’re sh*t, and deep down you know she’s right.’ Pretty In Pink
‘This is an incredibly romantic moment and you’re ruining it for me.’ Pretty In Pink
‘I did not achieve this position in life by having some snot-nosed punk leave my cheese out in the wind.’ Ferris Bueller’s Day Off (1986)
‘I’m obsessed, thank you very much.’ St Elmo’s Fire (1985)
‘No Springsteen is leaving this house!’ St Elmo’s Fire
‘How much more black can it be? The answer is…none.’ This Is Spinal Tap (1984)
‘What’s wrong with being sexy?’ This Is Spinal Tap
‘Hope you like our new direction.’ This Is Spinal Tap
‘I’m not gonna be ignored, Dan.’ Fatal Attraction (1987)
‘I love my dead gay son.’ Heathers (1989)
‘Be afraid. Be very afraid.’ The Fly (1986)
‘I’ll have what she’s having.’ When Harry Met Sally (1989)
‘It’s a good scream…’ Blow Out (1981)
‘Where we’re going, we don’t need roads…’ Back To The Future (1985)
‘Seize the day. Make your lives extraordinary.’ Dead Poets Society (1989)
‘They’re here.’ Poltergeist (1982)
‘Listen, and understand! That Terminator is out there! It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear. And it absolutely will not stop… ever! Until you are dead!’ The Terminator (1984)
‘Gentlemen! Let’s broaden our minds. Lawrence?’ Batman (1989)
‘I’m of a mind to make some mookie.’ Batman
‘I…corrected them, sir.’ The Shining (1980)
‘Little pigs! Little pigs! Let me come in!’ The Shining
‘Why don’t we just… wait here for a little while. See what happens.’ The Thing (1981)
‘There’s no fog bank out there… There’s no fog bank out there… Hey, there’s a fog bank out there.’ The Fog (1980)
‘Get inside and lock your doors. Close your windows. There’s something in the fog!’ The Fog
If you’re looking for a good stocking-filler for the 1980s music fan in your life, you could do a lot worse than Justin Lewis’s ‘Into The Groove’.
1980s jazz/rock generally gets the side-eye these days. 
Whilst 1980s cinema was seemingly dominated by action heroes and comic actors (Bill Murray, Chevy Chase, Eddie Murphy, Steve Martin et al) who generally tended to transform projects by dint of their improvisatory skills, there were enough gifted writers around (Woody Allen, Oliver Stone, Bruce Robinson, John Carpenter, John Hughes, the Coen brothers etc.) to generate memorable, crafted lines too.
movingtheriver.com 