Great Opening Lines In 1980s Songs

As we’ve said before, the 1980s produced some fine lyricists. You couldn’t move for decent wordsmithery. But interesting lyrics came from the damndest places. 

What was that Trevor Horn maxim? A good pop song should be like a good story, such that the listener is always asking: what’s going to happen next?

And, like a good story, pretty much every good song starts with an intriguing opening line or two. As the proverbial cigar-munching music-biz mogul might say: ‘You gotta grab ’em from the first bar, kid…’ So here are some great opening lines from 1980s songs, lines that hopefully satisfy Horn’s requirements.

Everything But The Girl: ‘Each And Every One’

‘If you ever feel the time/
To drop me a loving line/
Maybe you should just think twice/
I don’t wait around on your advice’

 

Associates: ‘Club Country’

‘The fault is/I can find no fault in you’

 

Wet Wet Wet: ‘Wishing I Was Lucky’

‘I was living in a land of make believe/
When my best friend wrote and told me that there may be a job in the city’

 

Lou Reed: ‘How Do You Speak To An Angel’

‘A son who is cursed with a harridan mother or a weak simpering father at best/
Is raised to play out the timeless classical motives of filial love and incest’

 

Steely Dan: ‘Babylon Sisters’

Drive west on Sunset to the sea/
Turn that jungle music down/
Just until we’re out of town’

 

Associates: ‘Party Fears Two’

I’ll have a shower then call my brother up/
Within the hour I’ll smash another cup’

 

Joni Mitchell: ‘Chinese Cafe’

‘Caught in the middle/
Carol, we’re middle-class/
We’re middle-aged/

We were wild in the old days/
Birth of rock’n’roll days’

 

The Smiths: ‘Reel Around The Fountain’

‘It’s time the tale were told/
Of how you took a child and you made him old’

 

Thomas Dolby: ‘Screen Kiss’

Miller Time in the bar where all the English meet/
She used to drink in the hills/
Only now she drinks in the valleys’

 

Love And Money: ‘Hallejulah Man’

On the blind side and down the back ways/
The roots of sadness crawl/
When you can’t get what you need/
You feel like taking a torch to it all’

Joy Division: ‘Love Will Tear Us Apart’

When routine bites hard and ambitions are low/
And resentment rides high but emotions won’t grow’

 

The Teardrop Explodes: ‘Reward’

Bless my cotton socks/I’m in the news’

 

Tom Waits: ‘Swordfishtrombones’

‘Well, he came home from the war with a party in his head/
And a modified Brougham DeVille and a pair of legs that opened up like butterfly wings’

 

Prefab Sprout: ‘Moving The River’

‘You surely are a truly gifted kid/
But you’re only as good as the last great thing you did’

 

Lloyd Cole & The Commotions: ‘Brand New Friend’

Walking in the pouring rain/
Walking with Jesus and Jane/
Jane was in a turtleneck/
I was much happier then’

Siouxsie & The Banshees: ‘Cascade’

Oh the air was shining/
Shining like a wedding ring’

 

Bob Dylan: ‘Jokerman’

Standing on the waters casting your bread/
While the eyes of the idol with the iron head are glowing/
Distant ships sailing into the mist/
You were born with a snake in both of your fists while a hurricane was blowing’

 

Robert Palmer: ‘Johnny And Mary’

Johnny’s always running around trying to find certainty/
He needs all the world to confirm that he ain’t lonely’

 

Prefab Sprout: Talking Scarlet

You hide under the eiderdown/
All you can’t sweep underneath the carpet’

 

The Human League: ‘Don’t You Want Me’

I was working as a waitress in a cocktail bar/When I met you’

 

Talking Heads: ‘Crosseyed And Painless’

Lost my shape/
Trying to act casual/
Can’t stop/
Might end up in the hospital’

 

Scritti Politti: ‘A Little Knowledge’

Now I know to love you/Is not to know you’

 

The Smiths: ‘Bigmouth Strikes Again’

Sweetness, I was only joking/
When I said I’d like to smash every tooth in your head’

Any more for any more?

Advertisements

Good Lyrics Of The 1980s

Joni_Mitchell_2004It has to be said, it was a bit easier coming up with good ’80s lyrics than it was to come up with crap ones. I could probably have chosen three or four crackers from many of the artists featured below, but space permits only one.

Maybe it’s not surprising that it was a great decade for lyricists when it was surely one of the most ‘literary’ musical decades to date – it would have to be with people like Bob Dylan, Morrissey, Paddy McAloon, Andy Partridge, Green Gartside, Tracey Thorn, Lloyd Cole, Joni Mitchell, Peter Gabriel and Springsteen around.

So here’s just a sprinkling of my favourites from the ’80s. Let me know yours.

 

PET SHOP BOYS: ‘Rent’

I love you/</ em>You pay my rent

 

EVERYTHING BUT THE GIRL: ‘Each And Every One’

‘If you ever feel the time/
To drop me a loving line/
Maybe you should just think twice/
I don’t wait around on your advice’

 

LLOYD COLE AND THE COMMOTIONS: ‘Forest Fire’

I believe in love/
I’ll believe in anything/
That’s gonna get me what I want/
And get me off my knees’

 

ELVIS COSTELLO: ‘I Want You’

I want you/
It’s the stupid details that my heart is breaking for/
It’s the way your shoulders shake and what they’re shaking for’.

 

RANDY NEWMAN: ‘Mikey’s’

Hey Mikey/
Whatever happened to the f***in’ “Duke Of Earl”?’

 

JONI MITCHELL: ‘The Reoccurring Dream’

If you had that house, car, bottle, jar/
Your lovers would look like movie stars’

 

TALKING HEADS: ‘Crosseyed And Painless’

‘Lost my shape/
Trying to act casual/
Can’t stop/
I might end up in the hospital’

 

DANNY WILSON: ‘Never Gonna Be The Same’

‘Once there was an angel/
An angel and some friends/
Who flew around from song to song/
Making up the ends’

 

THE SMITHS: ‘Panic’

Burn down the disco/
Hang the blessed DJ’

 

DIRE STRAITS: ‘Brothers In Arms’

‘Now the moon’s gone to hell/
And the sun’s riding high/
I must bid you farewell/
Every man has to die/
But it’s written in the starlight/
And every line in your palm/
We are fools to make war/
On our brothers in arms’

 

DON HENLEY: ‘Boys Of Summer’

Out on the road today/
I saw a Deadhead sticker on a Cadillac/
A little voice inside my head said/
Don’t look back, you can never look back…’

 

PREFAB SPROUT: ‘Horsechimes’

‘Hello Johnson/
Your mother once gave me a lift back from school/
There’s no reason to get so excited/
I’d been playing football with the youngsters/
Johnson says don’t dramatise/
And you can’t even spell salacious’

 

KING CRIMSON: ‘Indiscipline’

‘I repeat myself when under stress/
I repeat myself when under stress/
I repeat…’

 

PETER GABRIEL: ‘Family Snapshot’

‘Come back Mum and Dad/
You’re growing apart/
You know that I’m growing up sad/
I need some attention/
I shoot into the light’

 

XTC: ‘Love On A Farmboy’s Wages’

‘People say that I’m no good/
Painting pictures and carving wood/
Be a rich man if I could/
But the only job I do well is here on the farm/
And it’s breaking my back’

 

DAVID BOWIE: ‘When The Wind Blows’

So long, child/
It’s awful dark’

 

THE POGUES/KIRSTY MACCOLL: ‘Fairytale Of New York’

I could have been someone/
Well, so could anyone’

Story Of A Song: Everything but the Girl’s ‘Driving’

drivingThe 1980s are littered with Brit pop bands going ‘across the pond’ to work with US producers and musicians – Aztec Camera, Scritti Politti, Love And Money, Wet Wet Wet and Simple Minds spring to mind, but the list goes on and on. It was almost a rite of passage, or – according to some music critics of the slightly more cynical persuasion – a desperate attempt at credibility.

You could hardly level that accusation at Tracey Thorn and Ben Watt, AKA Everything but the Girl. They were headhunted by legendary producer Tommy LiPuma, who had just put the finishing touches to Miles Davis‘s Amandla, and their ‘Driving’ single (released in early 1990 but recorded spring 1989) seems a near-perfect marriage of US and UK sensibilities.

I confess I hardly knew anything about EBTG when my brother first played me ‘Driving’. I just heard something extremely classy, with intriguing chord changes, a great singer and strong jazz flavour. I didn’t know Tracey and Ben had spent much of the ’80s building up a considerable rep as ‘indie jazz/folk’ darlings of the music press and enjoying not inconsiderable commercial success too, but I was possibly vaguely familiar with Tracey’s gorgeous vocals on The Style Council’s ‘Paris Match‘, a favourite of my dad’s muso mates back in the mid-’80s.

Taken from The Language Of Life album, the song was recorded in LA at the famous Ocean Way and Sunset Sound studios with pretty much the finest session players money can buy (Omar Hakim on drums, John Patitucci on bass, Larry Williams on keys/arrangements, Michael Brecker on tenor). But, according to Tracey’s superb memoir ‘Bedsit Disco Queen‘, the American musicians were totally ignorant of the fiercely independent English scene from which Tracey and Ben had emerged. When Larry Williams found out that EBTG had recently recorded at Abbey Road, he blurted out: ‘Wow! Abbey Road! The home of the Beatles!’ Tracey’s reply? ‘God, I HATE the Beatles.’ There was a pregnant pause. Eventually Williams spluttered out: ‘You h-h-hate the Beatles?’ But you can imagine such ‘musical differences’ were all in a day’s work for EBTG.

‘Driving’ obviously sounds more like Anita Baker (I’d love to hear her cover it) than, say, The Smiths. It’s sophisticated but still has bite, with rich chords, an intriguing ABAA structure and glorious Brecker solo (inexplicably with a different, inferior take on my 7” vinyl version). Ostensibly a song about ‘cars and boys’ (though written solely by Ben Watt), maybe one could read it as a clear concession to the US marketplace. Or is it the un-ironic response to Prefab’s ‘Cars And Girls‘?

tracey thorn

‘Driving’ became somewhat of an airplay hit in the States (though surprisingly only reached #54 in the UK), and led to several high-profile US gigs which nevertheless unfortunately seemed to precipitate a crisis of confidence for Tracey. The live band, which included future smooth jazz star Kirk Whalum on sax, whipped the crowds into a frenzy night after night, but there wasn’t much space for her subtle, low-key vocals any more. Cue a few years of soul-searching and a distinct change of direction exemplified by 1994’s Amplified Heart.

But re-reading Tracey’s book and listening again to the sublime ‘Driving’ have given me a new admiration for her writing (and music), and a keenness to check out a lot more of Everything but the Girl’s ’80s work. Only took me 25 years.