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?

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Winter Music

winter-music

So the evenings draw in, Christmas clogs up the telly and hygge is all over the Sunday supplements. You contemplate your navel and your age and comment on how quickly the year has gone by…again.

And if you listen to music a lot, chances are you’ll probably notice how your tastes change as the season eases from autumn to winter. This may have happened when winter turned to spring too, but something a bit more introspective might be called for when your football team starts sliding and the heavy stuff comes out of storage and into your wardrobe.

Here are nine ’80s tracks that instantly say winter to me, calling at Ambient, Eerie and Lovelorn:

9. Pat Metheny Group: ‘Distance’ (1987)

This is the only track from the Still Life (Talking) album I can listen to these days. Lyle Mays’ composition sticks out like a sore thumb on that 1987 collection, a challenging, spooky piece with a touch of serialism that suggests Very Bad Things… A soundtrack for the movie that never was.

8. Roxy Music: ‘To Turn You On’ (1982)

Ferry’s tale of long-distance love for someone very unsuitable. He’s in London, she’s in New York. She possibly has some kind of ‘ailment’ – drug addiction? Mental health problem? (You may be reading too much into this… Ed). He is hopelessly and rather tragically smitten. One of Ferry’s finest ballads with a crackerjack band (Paul Carrack, Rick Marotta, Alan Spenner, Neil Hubbard) bringing it to life.

7. David Sylvian: ‘Pop Song’ (1989)

I could have chosen any amount of Sylvo tracks but have settled on this stand-alone 12” single, his cheeky response to Virgin Records’ request for one more solo hit (which never materialised). It paints a fairly bleak portrait of late-’80s Britain as a nation of clock-watching factory workers numbed by banal pop music, featuring microtonal synths, Steve Jansen’s clever drum layering and close-interval piano work from the late John Taylor.

6. U2: ‘4th Of July’ (1984)

Ostensibly a duet for bass (though surely that’s not Adam Clayton?) and ‘infinite guitar’ (The Edge put through Eno’s processing systems), U2’s first bash at pure ambience was a minor triumph. To say one doesn’t miss Bono’s voice would be an understatement. As far as I know, the band have never attempted anything similar since – more’s the pity.

5. The Sundays: ‘Skin & Bones’ (1990, recorded in 1989)

The unforgettable lead-off track from the classic Reading, Writing & Arithmetic album. The Cocteau Twins meets The Smiths? You betcha.

4. Mark Isham: ‘In The Blue Distance’ (1983)

Isham’s plaintive trumpet and atmospheric keyboard playing create a sombre yet uplifting winter masterpiece. Click here for a listen.

3. Joni Mitchell: ‘Chinese Cafe (Unchained Melody)’ (1982)

I first heard this nostalgic classic in late 1983 and it was my first exposure to Joni’s music. I’ve never forgotten it and will forever associate it with this time of year.

2. Love & Money: ‘Inflammable’ (1988)

One of many great torch songs penned by James Grant, featuring on the late-’80s classic Strange Kind Of Love. ‘I go looking for what I want in the wrong places’ – there’s a winter mantra for urban singletons right there…

1. Lloyd Cole: ‘Are You Ready To Be Heartbroken?’ (1985)

Let’s face it, winter can also be haunted by ghosts of failed romances, stolen moments and disastrous Christmas flings. This classic covers all that stuff very efficiently with a nice line in black humour.

Check out the playlist on Spotify (minus a few tracks not currently available).

Love And Money’s James Grant on classic album ‘Strange Kind Of Love’

loveandmoney

In the miasma of soap-opera tie-ins, boy-band debuts, one-hit wonders and Stock, Aitken and Waterman productions that constituted late-’80s pop, Love and Money’s second album Strange Kind Of Love was a breath of fresh air. 

Released in December 1988 and produced by legendary Steely Dan helmer Gary Katz, the record was a triumph. James Grant’s literate, dramatic songs of romantic anguish and corporate avarice were built to last. Musicians had a field day with Grant’s intricate guitar work and the rock-solid grooves courtesy of drum legend Jeff Porcaro and late great bassist Bobby Paterson.

Critics of the time were generally confused but I was sold from the first bar of ‘Hallejulah Man’. Funkier than the likes of Curiosity Killed The Cat or Hipsway but lyrically just as piquant as The Smiths, Love And Money joined Prefab Sprout, Prince, The Blue Nile, Danny Wilson, David Sylvian, De La Soul, Scritti Politti and Cocteau Twins in my list of late-’80s pop saviours.

I caught up with singer/songwriter/guitarist James Grant to talk Strange Kind Of Love, Jeff Porcaro, Tom Waits, touring with Tina Turner, ‘Top of the Pops’ and ’80s marketing meltdowns.

love and money

Love And Money 1988

MP: Could you just give us a quick bit of background to Strange Kind Of Love – what were the expectations for album number two and how did you come to work with Gary Katz?

JG: I always felt the first album was disparate and didn’t marry the different influences well. We sounded too desperate to impress. I was also anxious to prove that I was more than just a haircut. For Strange Kind Of Love, I had written the album and we had lived with the songs for a while. The mantra was: the song is king. Meaning that the song would dictate how it was meant to be, what was appropriate and what was not. The desire was to create something timeless and the man to facilitate that was Gary Katz. He had a track record that spoke for itself. He just seemed perfect. We set up a meeting – I flew to New York – and we just hit it off right away. There was a symbiosis, a shared desire to make great records, and we liked each other. We’re still pals to this day.

Lyrically, SKOL focuses mainly on the anguish, pain but also joy of romantic infatuation. Was there a particular relationship that precipitated this or had these songs built up over time?

Yes, there was someone in particular, but obviously there’s poetic license. Songwriters deify those we love. I just happened to think – and still do – that besides knowing you are going to die, being in love is the utmost existential experience there is. I was young, heartbroken and hungry; the right ingredients to make great music! I also had the distinct feeling that great songs contain a truth, perhaps not the literal truth but a truth. I wrote about myself; this tended to get uncomfortably forensic at times for those close to me.

Jeff Porcaro 1988

Jeff Porcaro 1988

How much of a contribution did the great Jeff Porcaro make to SKOL‘s arrangements and why is his surname misspelt in the credits? Was there enough budget to get him for rehearsals? His playing seems so integral to the material.

Jeff didn’t make any contribution to the arrangements – that was all planned months before we even met. I have no idea why his name is misspelt. We did the drums over a month in LA. Sometimes we just jammed the thing till we got the right vibe. On other tracks, I had a more concrete idea of what I wanted. For example, on ‘Razorsedge’, I wanted a go-go beat. I just went in with my guitar and told him what I was hearing. He just started playing this incredible, jaw-dropping stuff. Yes, we had the budget. Jeff was a brilliant, phenomenal musician. I felt like I had f***ing boxing gloves on sometimes when we were jamming but he never ever made me feel like that. He was a beautiful guy, great fun to be with and genuinely humble about his achievements and ability.

The four sublime singles from the album just missed out on the UK Top 40 – was that a disappointment? Was there pressure from Phonogram to get that first UK or US hit?

Yes – it was always a disappointment. You try and be stoic and say, ‘That’s not what it was about’, but we were gutted. We so nearly made it with Strange Kind Of Love. I always wanted to do ‘Top of the Pops’. If that’s shallow, then so be it. I grew up watching Slade and Bowie and prancing around in front of my bedroom mirror imitating them – it was my dream to be part of that, just like any kid. There wasn’t pressure from Phonogram as such; they were trying their best with us. It just wasn’t to be. I do believe that if we had had the success, Dogs In the Traffic may not have happened. That’s the Love And Money record I’m most proud of and it’s most representative of who I am. Perhaps that’s why I find it so hard to listen to…

Why is Tom Waits thanked in the album credits? And presumably (Steely Dan singer/co-leader) Donald Fagen is thanked because of the Katz connection?

Because I’m a fan and he was and still is a massive inspiration. It wouldn’t be easy to tell if you were judging this from the record. Donald Fagen played a little something. I’ve always kept that a secret. We didn’t want to make an issue of it or make it something marketable.

Gary Katz

Gary Katz

You play some fantastic lead guitar on the album and also some really inventive acoustic/electric textural stuff – did Gary Katz’s experience with the likes of Larry Carlton and Jeff ‘Skunk’ Baxter have any bearing on your playing?

Not really – Gary would have me playing for weeks on end though. I reckon I came on a bit during my time with him. And thank you.

SKOL doesn’t really sound like anyone else from the era and stands up exceptionally well today. At the time of release, some critics rather snootily compared it to Dire Straits and Deacon Blue but were there contemporary artists the band admired or were influenced by?

No, not especially – my tastes have always been very eclectic. In terms of marketing, this always led to problems; ‘Are you guys rock, pop, funk or country?’ ‘Yes…’ I did love Bowie, Talking Heads, Chic, Led Zeppelin and Prince – I can hear certain little things from all of them here and there.

Who is Beatrice Colin? Her voice compliments yours beautifully, especially on ‘Walk The Last Mile’.

She was my girlfriend. She’s an author now.

Who came up with the album cover concept? Studying it again, it’s one of the weirder covers of the ’80s…

Someone in the marketing department at Phonogram saw a photograph like the one on the cover and we decided to recreate it. Though I’ve always believed it to be extremely important, the amount of time and money invested in things like artwork was, by today’s standards, science fiction. We would have months of meetings discussing details. People would have nervous breakdowns!

You toured with and supported various US acts such as BB King and Tina Turner in the late-’80s – any memories that stand out? I loved your playing with Tom Verlaine on The Tube.

The one anecdote that would perhaps stand out is that when we supported Tina Turner, when I introduced the band, I said, ‘Hi, we’re not Tina Turner, she’ll be on a bit later.’ I thought this was amusing. Tina’s management did not. We were kicked off the tour. You’d think we would have been disappointed by such a thing, but – and I’m really proud of this – we did not give a f*ck.

Love And Money in 2011

Love And Money in 2011

I saw you revisiting SKOL on a memorable night at the Shepherds Bush Empire a few years ago – how do you feel about the album and its place in ’80s music now?

I’m really proud of it. It’s of its time, certainly, but a bit more than that. I think sonically it’s absolutely spot-on – it still sounds fantastic. I always think of the band’s place in the greater scheme of things as awkward. I think, as I said previously, we were difficult to categorise. This seemed to be a huge problem for some people. I never tried to make ‘difficult’ music. I still don’t. I think my tastes are fairly mainstream. Perhaps lyrically things are a bit more challenging at times, but even so, I don’t think they are wilfully arcane or esoteric.

Thanks, James.