Adolescence: a period of chaos and confusion. There’s little rhyme or reason to one’s heightened sensibilities, and it didn’t help that 1980s pop songs had such bloody weird lyrics.
Initially, maybe it was a crap hi-fi/radio signal that sent you down the wrong track, or maybe some jackass got in your ear.
Either way, a song’s lyrics were often lost in translation, the meaning – such that it was – got skewed and from that moment on you couldn’t hear it without factoring in your messed-up version. And it didn’t matter if it was a tune you loved or hated.
Sad to report, to this day, when I hear these songs/lines, I get the lyrics ‘wrong’. And yes, it has to be said, you don’t have to be Dr Freud to see that sex was usually the driver. That’s adolescence for you…
Blondie: ‘Island Of Lost Souls’
Misheard line: ‘I’m f*ckin’ near/Can you help me put my truck in gear’
(Correct line: ‘Oh buccaneer/Can you help me put my truck in gear’)
Irene Cara: ‘Flashdance (What A Feeling)’
Misheard line #1: ‘Take your pants down/And make it happen’
(Correct line: ‘Take your passion/And make it happen’)
Misheard line #2: ‘I can have it off/Now I’m dancing for my life’
(Correct line: ‘I can have it all/Now I’m dancing for my life’)
Michael Jackson: ‘Thriller’
Misheard line: ‘And though you f*ck to stay alive/Your body starts to quiver’
(Correct line: ‘And though you fight to stay alive/Your body starts to quiver’)
UB40: ‘Food For Thought’
Misheard line: ‘I’m a prima donna’
(Correct line: ‘Ivory madonna’)
Bryan Adams: ‘Heaven’
Misheard line: ‘Love is all that I need/And I found it there in your shirt’
(Correct line: ‘Love is all that I need/And I found it there in your heart’)
Billy Joel: ‘An Innocent Man’
Misheard line: ‘Some people live with the fear of a touch/And the anger of having dinner poo’
(Correct line: ‘Some people live with the fear of a touch/And the anger of having been a fool’)
Donald Fagen: ‘Ruby Baby’
Misheard line: ‘From the sunny day I met you/Made a bed where I will get you’
(Correct lilne: ‘From the sunny day I met you/Made a bet that I would get you’)
The Blue Nile: ‘The Downtown Lights’
Misheard line: ‘I’m tired of crying on the city’
(Correct line: ‘I’m tired of crying on the stairs’)
Lionel Richie: ‘All Night Long’
Misheard line: ‘Everybody’s seen everybody dance’
(Correct line: ‘Everybody sing/Everybody dance’)
Steely Dan: ‘Glamour Profession’
Misheard line: ‘When it’s all over/We’ll make some colds from my cough’
(Correct line: ‘When it’s all over/We’ll make some calls from my car’)
Boomtown Rats: ‘Banana Republic’
Misheard line: ‘Banana republic/Set to climb’ (To be honest, I didn’t have the faintest idea what Sir Bob was singing… Ed.)
(Correct line: ‘Banana republic/Septic isle’)
It Bites: ‘Calling All The Heroes’
Misheard line: ‘High on a mountain the men looked below/Cucumber pineapple something and Poe’
(Correct line: ‘High on a mountain the men looked below/Cooked up a plan that would outwit their foe’)
The Police: ‘So Lonely’
Misheard line: ‘Simone/Simone’ (There was an Italian bloke at school called Simone…)
(Correct line: ‘So lonely/So lonely’)
By summer 1984, Frank Zappa was already decrying the MTV clichés in his ‘Be In My Video’ single (‘Pretend to be Chinese/I’ll make you wear red shoes’!).
But, away from the familiar tropes, there were trailblazing videos that set MTV on its way during the formative years. Either technically or thematically, these clips laid the groundwork right up until the end of the 1980s.
Of course they are kind of familiar, but watching them all the way through brought some interesting surprises, and even an unexpected lump in the throat area during the denouement of ‘Take On Me’…
9. Musical Youth: ‘Pass The Dutchie’ (Dir. Don Letts, released September 1982)
The first ever video shown on MTV by a Black artist. This was a huge bone of contention in MTV’s early days, not helped by their regular, disingenuous rebuttal: ‘We only play rock’n’roll’. Don Letts’ joyful film put a spanner in the works, placing the lads in front of the Houses Of Parliament, the supposed ‘postcard’ vision of London, a tribute to the influence of Black culture in the UK and a stark message to the powers that be. Letts also created a huge hit in the process, reaching #1 in the UK and #10 in the USA.
8. The Police: ‘Every Breath You Take’ (Dirs. Kevin Godley & Lol Creme, released 20 May 1983)
Strongly influenced by Gjon Mili’s 1944 short ‘Jammin’ The Blues’, this was the video that catapulted Synchronicity‘s album sales into the stratosphere and gave the band a UK and US #1. Apparently directors Godley and Creme were pretty blitzed throughout most of the filming – according to the latter, ‘The first thing we’d do when we arrived on set was roll a reefer.’ Sting was reportedly no shrinking violet either, pointing to himself and telling the directors, ‘Keep the camera on the money’!
7. ZZ Top: ‘Gimme All Your Lovin’ (Dir. Tim Newman, released August 1983)
Randy Newman’s cousin Tim helmed all of ZZ’s key videos (and Randy’s excellent ‘I Love LA’) and he masterminded this much-imitated, endlessly-rewatchable classic, giving the band a new lease of life and a lasting image as kind of ‘mythical rockers’ (apparently influenced by his reading of Joseph Campbell). But it was ZZ manager Bill Ham who laid down the law to Newman, offering two directives: ‘Use the car (Billy Gibbons’ 1933 Ford coupe) and put some girls in it.’
6. Cyndi Lauper: ‘Girls Just Want To Have Fun’ (Dir.Edd Griles, released 6 September 1983)
Cyndi’s thing was inclusivity, and she delighted in showing a woman of every race in the video. It has echoes of John Waters’ aesthetic and the early Devo and B-52s videos, but this had a whole different vibe, apparently inspired by Lauper’s love of Jacques Tati’s 1958 film ‘Mon Oncle’.
5. Michael Jackson: ‘Thriller’ (Dir. John Landis, premiered December 1983)
‘Billie Jean’ opened the door for so many Black artists but this was pure box office and a delicious comedy/horror. Famously Michael headhunted director John Landis after watching ‘An American Werewolf In London’, giving him just one brief: ‘Can I turn into a monster?’ Landis was not interested in music videos but did like the idea of making a theatrical short. The video changed the game completely, and it’s arguable whether the dance routines have ever been bettered. It premiered on MTV on 2 December 1983 and reportedly doubled Thriller’s album sales within a few weeks of its first showing. It’s still absolutely thrilling.
4. Van Halen: ‘Jump’ (Dir. Pete Angelus, released December 1983)
Of course Metal acts were starting to make waves before this, with impactful videos by Twister Sister and Def Leppard, but ‘Jump’ laid down all the future ‘live on stage’ clichés, with balls on. Hair Metal became huge after this, and MTV adored the likes of Warrant, Winger and Bon Jovi, but none could ever match this song or Diamond Dave’s natural showmanship.
3. Madonna: ‘Borderline’ (Dir. Mary Lambert, released February 1984)
Lambert had only directed one video (Tom Tom Club’s ‘As Above So Below’) before getting her dream job on this breakout Madonna single. Madonna and Lambert discussed the video’s plot for two days in the former’s minimalist bolthole on the Upper East Side with Madonna insisting there be a Hispanic influence, necessitating moving the shoot to downtown Los Angeles. This is reportedly the first video to use black-and-white footage combined with colour; Madonna’s manager Freddy DeMann supposedly went ballistic on viewing the final cut but of course it became a video cliché, gave Lambert a successful career and Madonna her breakthrough song.
2. Lionel Richie: ‘Hello’ (Dir. Bob Giraldi, released February 1984)
Apparently director/scenarist Bob Giraldi was driven half mad by Lionel’s terminal lateness onto the set. For his part, Lionel was very sceptical about the bust. Apparently he finally plucked up the courage to approach Giraldi about it: ‘Bob, that bust does not look like me.’ There was a pregnant pause. Finally, Bob said, ‘Lionel…she’s blind.’
1. A-ha: ‘Take On Me’ (Dir. Steve Barron, released September 1985)
The song had completely flopped on its original release, so WEA gave Steve Barron a blank cheque to make a memorable video and get a hit. Working alongside rotoscope animator Michael Patterson, who did 1,800 drawings for the shoot, Barron was heavily influenced by Ken Russell’s 1981 movie ‘Altered States’. Barron knew it would work when the memorable image of an animated hand reaching out of a comic book popped into his head whilst he was bored shooting a Toto video. Apparently singer Morten Harket and lead actress Bunty Bailey fell in love during filming, becoming almost inseparable. ‘By take four, they would carry on holding hands even when we’d cut,’ remembered Barron. Aided by the video, ‘Take On Me’ became the band’s only US #1.
Further reading: ‘I Want My MTV’ by Rob Tannenbaum and Craig Marks
Here they come, these days about as welcome as turds in a jacuzzi, a collection of white, male, middle-aged ‘rockers’.
Then again, by the time of Live Aid, anyone over 30 was deemed a ‘veteran’, one of the funnier legacies of punk and New Pop.
Let’s survey the ages of some of the ‘ancient’ rock legends who appeared at Wembley Stadium and in Philadelphia on 13 July 1985: Pete Townshend (40), Paul McCartney (43), Freddie Mercury (39), David Bowie (38), Bob Dylan (44), Keith Richards (41), Bryan Ferry (39), Mick Jagger (41), Elton John (37), Brian Wilson (43).
Looking at the output of rock’s ageing alpha males during the ‘80s, angst, anger and lust were apparently the main drivers, alongside an interest in psychoanalysis and politics. Let’s take a look at some of their most coruscating work. For our purposes, we’ll define ‘mid life’ as 30 and above…
Peter Gabriel: ‘And Through The Wire’ (1980)
Upon hearing the early mixes of Peter Gabriel III, the US arm of his record company reportedly wondered if 30-year-old Pete had recently spent time in a mental asylum. But no, he was just letting off some steam, inviting Paul Weller along to supply raucous guitar, and unleashing a newfound, barely-concealed sexual energy: ‘Prowling the water hole/I wait for the kill/Pressure’s building/Overspill/I want you’. Ding-dong!
Richard Thompson: ‘Don’t Tempt Me’ (1988)
The folk/rock guitar/songwriting hero (38 at the time of recording) employed a killer US drums and bass team (Mickey Curry/Tony Levin) to carry off this pile-driving, piss-taking portrait of male jealousy and ‘little man’ syndrome. Note that he’s only ‘halfway’ out of his seat… Superb.
The Police: ‘Mother’ (1983)
Andy Summers (40 at the time of recording) takes some inspiration from Hitchcock’s ‘Psycho’ for this monstrosity, a hysterical, Oedipal blues in 7/4 time, very much inspired by his pal/guitar partner Robert Fripp. It’s quite funny to think that it was a contractually-obliged inclusion on the enormous-selling Synchronicity album, listened to by millions of unsuspecting teenagers before the emergence of the ‘skip’ button.
The Police: ‘Synchronicity II’ (1983)
Sting (31 at the time of recording) filters a Carl Jung concept through the story of family discord, a father’s paranoia and disquiet literally spawning a monster (in a Scottish loch!). Along the way, there’s also a barely concealed hatred for the common sprawl, ‘packed like lemmings into shiny metal boxes’ during the morning commute, and the protagonist’s secretaries who ‘pout and preen like cheap tarts in a red-light street’, while Sting, Summers and Stewart Copeland lay down one of the most aggressive grooves in the band’s history. Scary, strange, midlife stuff.
David Bowie: ‘It’s No Game (Part One)’ (1980)
33-year-old Bowie is jolly well peed off about…everything. There was certainly a lot to be angry about in 1980, and accordingly his Scary Monsters album dealt with some of the fears he felt for his son, from the increasingly bold tabloid press to the ever-present right-wing bully boys. In surely the most histrionic vocal performance of his career, he sounds terrified of the ‘fascists’ and violent revolutions on his TV screen.
Robbie Robertson: ‘Hell’s Half Acre’ (1987)
From the classic self-titled album, Robertson (43) sounds seriously teed off about the legacy of the Vietnam War, and more specifically, The Battle For Cu Chi of 1965/1966 (‘Down on Hell’s half acre/Shakin’ with fever/Rumble in the jungle’). Tony Levin and Manu Katche make for an appropriately barnstorming rhythm section and Robbie’s guitar is almost Clash-like in its viciousness.
A triumph of solo guitar, and the only acoustic solo in this list, Bireli stunned the cognoscenti with this track from his 1988 Steve Khan-produced album Foreign Affairs.
36. Bros: ‘Chocolate Box’ (Guitarist: Paul Gendler)
Yes, Bros… Gendler had been a fully-paid-up member of New Romantic nearly-men Modern Romance before becoming an in-demand player on the UK scene, and he enlivened this hit with a raunchy, nimble classic.
35. REO Speedwagon: ‘Keep On Loving You’ (Guitarist: Garry Richrath)
Unreconstructed, huge-toned, double-tracked solo which revels in being almost out-of-tune throughout. Its sheer, brilliant in-your-faceness always comes as somewhat of a shock.
34. George Benson: ‘Off Broadway’
Slick, tasty solo from a truly great player, exploding out of the speakers from about 3:13 below. The tune is of course a Rod Temperton-penned, post-disco beauty from Give Me The Night.
33. Killing Joke: ‘Love Like Blood’ (Guitarist: Geordie)
This is ‘just’ a melody, but it’s a great melody, escalating in volume and intensity.
32. Phil Upchurch: ‘Song For Lenny’ (Guitarists: Phil Upchurch/Lenny Breau)
A couple of superb solos from a great, totally forgotten 1984 Upchurch solo album Companions. Breau stuns with his array of false harmonics and jazzy runs, while Upchurch brings the blues feeling.
31. Frank Zappa: ‘Alien Orifice’
It’s nice to hear Frank blowing over a few changes rather than his usual one or two-chord vamps. And he really gets a nice ‘flowing’ thing going here, right in the middle of one of his densest compositions. Starts at around 1:32:
30. Cameo: ‘A Goodbye’ (Guitarist: Fred Wells)
From the classic album Single Life, this solo goes way over and beyond the call of duty for an ’80s soul ballad. But it’s mainly included for its brilliant final flourish, spitting notes out like John McLaughlin. Who is Fred Wells and where is he now?
29. Rush: ‘YYZ’ (Guitarist: Alex Lifeson)
Hard to do without this flowing, creamy, Strat-toned classic on one of the great rock instrumentals of all time (though inexplicably it lost out to The Police’s ‘Behind My Camel’ at the Grammies…).
28. Kevin Eubanks: ‘That’s What Friends Are For’
A real hidden gem from the almost impossible-to-find Face To Face album, Eubanks lays down a short but beautifully-structured solo on a cool cover version, from about 2:45 below.
27. Steve Miller Band: ‘Abracadabra’
Good fun and totally unpredictable. Also notable for its lovely Spanish-style flurry of triplets in its last two bars.
26. Starship: ‘Nothing’s Gonna Stop Us Now’ (Guitarist: Corrado Rustici)
Cheesy? Maybe a bit, but who cares when it’s this well-structured and performed. Add a great tone, nice string-bending and a lovely phrase at the end and you’ve got a classic. Starts at 2:58:
25. Queen: The Invisible Man (Brian May)
May played a lot of great solos in the late 1980s, mostly on other people’s records (Holly Johnson, Fuzzbox, Living In A Box etc) but this one was just a kind of ‘play as many notes as possible in eight bars’ solo, and it’s a killer. From about 2:30 below:
24. Lee Ritenour: ‘Mr Briefcase’
Rit found the sweet spot on his Ibanez many times in the early ’80s, no more so than on this single that kicked off the classic Rit album. The solo also sounds double-tracked too, no mean feat considering the crazy bunch of 32nd notes at the end of bar 10.
23. Michael Jackson: ‘Wanna Be Startin’ Something’ (Guitarist: David Williams)
Not so much a solo as a suddenly-foregrounded riff, Williams became one of the most in-demand US session players after laying down this classic.
22. Pat Metheny: ‘Yolanda You Learn’
A marvellous, ‘singing’ guitar-synth solo from the First Circle album, rhythmically interesting and reflecting a strong Sonny Rollins influence, also closing with a cool quote from the standard ‘My One And Only Love’.
21. Frank Zappa: ‘Sharleena’ (Guitarist: Dweezil Zappa)
Frank’s son was apparently just 14 years old when he laid down this absurdly fluid cameo, at 2:05 below:
20. Eric Clapton: ‘Bad Love’
Nice to hear Eric pushing himself for once, delivering a striking solo played right at the top of the neck, demonstrating a mastery of string-bending and precise fingering.
19. Sadao Watanabe: ‘Road Song’ (Guitarist: Carlos Rios)
A classic rock/fusion solo, all the more impressive because it’s apparently double-tracked, from the album Maisha. Rios is still one of the most in-demand session players in Los Angeles (and one of the few leftie fusion players…), probably best known for his work with Gino Vannelli, Chick Corea and Lionel Richie.
18. Prince: ‘Batdance’
It’s the unapologetic volume and raucous tone, almost distorting it’s so hot in the mix.
17. David Sanborn: ‘Let’s Just Say Goodbye’ (Guitarist: Buzz Feiten)
Feiten seems a weirdly unrecognised figure in the guitar fraternity, but he contributed some great stuff to Sanborn’s seminal Voyeur album including this tasty break over a killer Marcus Miller/Steve Gadd groove. There are some lovely moments when Sanborn’s sax cuts in to augment his solo.
16. Paul Simon: ‘Allergies’ (Guitarist: Al Di Meola)
I love hearing ‘jazz’ musicians turning up on ‘pop’ records, and this is a classic of its kind featuring all of Al’s trademark licks in one short, tasty burst. It’s a lot more fun than listening to his solo albums, anyway… Starts at around 2:46.
15. Manhattan Transfer: ‘Twilight Zone’ (Guitarist: Jay Graydon)
At a time when he was getting much more into the production game, Graydon still found time to toss off a double-tracked showstopper on this hit single. All in a day’s work for the session genius who of course unleashed the famous solo on Steely Dan’s ‘Peg’. Speaking of which…
14. Steely Dan: ‘Glamour Profession’ (Guitarist: Steve Khan)
A mini masterpiece of precision and invention. Khan is given his head and takes the classic tune OUT in the last three minutes. When the chord changes, he changes. Stay right through the fade too – he plays some of his best stuff towards the end. Kicks off at 5:30.
13. King Crimson: ‘Elephant Talk’ (Guitarists: Adrian Belew/Robert Fripp)
Two great solos for the price of one on this Discipline opener. Fripp supplies the opening horn-like curio, then Belew adds some fire and a bit of famous elephantosity for good measure.
12. Living Colour: ‘Funny Vibe’ (Guitarist: Vernon Reid)
A classic modern blues solo from a modern master, adding excitement and elan to an already burning piece, helped along by Will Calhoun’s cajoling kit work.
11. Steely Dan: ‘Third World Man’ (Guitarist: Larry Carlton)
Another day, another classic Steely guitar solo, this one recorded in 1977 during the Aja sessions but not unleashed for another three years. Again, double-tracked for lasting power, featuring a superb mastery of tone and melody.
Sadly this is my only female entry in the list (more suggestions please), but it’s a fuzz-toned, anthemic treat, with shades of Santana and McLaughlin. From around 3:04 below:
9. The Police: ‘Driven To Tears’ (Guitarist: Andy Summers)
It’s the random, off-the-cuffness that appeals on this one. Summers sounds a lot more p*ssed off than usual, possibly reeling from yet another Sting jibe.
8. Steve Vai: ‘Call It Sleep’
Just a superb guitar composition from top to tail, but the moment at 1:22 when he stomps on the distortion pedal and rips it up is a great moment of ’80s music.
7. Propaganda: ‘Dream Within A Dream’ (Guitarist: Stephen Lipson)
Lipson modestly provided three or four extremely memorable guitar features during his golden ZTT period (not least Frankie’s ‘Two Tribes’), but this one gets extra points for its infinite reverb and a dynamite fuzztone.
6. Orange Juice: ‘Rip It Up’ (Guitarist: Edwyn Collins)
Just a funny two-fingers-up to the well-made solo, and also a fond homage to Pete Shelley’s famous break on Buzzcock’s ‘Boredom’.
5. Frank Gambale: ‘Credit Reference Blues’
Just wind him and watch him go. It starts slowly, almost wistfully, but then becomes a fire-breathing classic. Still scary after all these years.
4. Dire Straits: ‘Romeo And Juliet’ (Guitarist: Mark Knopfler)
The closing solo is just an oasis of choice phrases and unique tones.
3. Van Halen: ‘One Foot Out The Door’ (Guitarist: Eddie Van Halen)
Of course ‘Beat It’ is the industry standard, and possibly the greatest guitar solo of all time, but I’m going for this curio which closes out the oft-forgotten Fair Warning album. He just blows brilliantly over the changes with a gorgeous tone.
2. Jeff Beck: People Get Ready
The second and last solo is the one, a feast of Jeff-isms. A rare good bit from the rather poor Flash album.
1. Stanley Clarke: ‘Stories To Tell’ (Guitarist: Allan Holdsworth)
No chucking out any old solo for our Allan – this is a brief but fully-formed, perfectly structured, wide-interval classic that is easily the best thing about the tune. He seems to get a bit ‘lost’ in the middle, but then regroups for a stunning closing section over the rapid chord changes. Starts at 2:04:
Studio technology was blossoming fast and there was constant temptation (and pressure?) to come up with new sounds. Fairlights, Emulators, Synclaviers, gated snare drums: there had never been more ways to skin a cat.
But woe betide the ’80s popster who neglected the basic tenets of songcraft; the trick was coming up with memorable bits that fitted seamlessly into a track and bore repeated listening.
Thankfully, for every what-does-this-button-do novelty hit, there was a genuinely innovative, memorable pop confection.
So here’s a compendium of good bits from the 1980s, details that mark the decade out as a unique musical era. The rules: one artist per slot and every song has to have made the UK or US top 40 singles chart, or both…
37. Greg Phillinganes’ synth bass on Donna Summer’s ‘Love Is In Control (Finger On The Trigger)’, especially the ‘squelch’ at 2:53 below:
36. Lee Thompson’s sax in the second verse of Madness’s ‘My Girl’
35. Marc Almond’s spoken-word line in Soft Cell’s ‘Say Hello Wave Goodbye’
34. Mel Gaynor’s volcanic snare-drum fill after the breakdown in Simple Minds’ ‘Alive And Kicking’
There’s a similar eruption in ‘Don’t You Forget About Me’, but this one wins out for sheer audacity. I wonder what ‘anti-muso’ co-producer Jimmy Iovine had to say about it…
33. The fade of The Police’s ‘Every Little Thing She Does Is Magic’
32. The Middle Eastern synth riff in Blancmange’s ‘Living On The Ceiling’
31. Steve Jansen’s marimba solo on Japan’s ‘Ghosts’
30. Mark Knopfler’s lead guitar at the tail end of Dire Straits’ ‘Romeo And Juliet’
29. Martin Drover’s trumpet riff on Adam Ant’s ‘Goody Two Shoes’
28. The bassline enters at 0:20 of The Cure’s ‘Love Cats’
Phil Thornalley is a veritable Zelig figure in ’80s pop, but even he couldn’t have imagined that his superbly simple-yet-complex bassline (try playing along) could have had such an impact on this stand-alone UK top 5 single.
27. Martin Fry’s hysterical ‘You think you’re smart/That’s stupid/Right from the start/When you knew we would part!‘ at the tail end of ABC’s ‘Poison Ivy’
Pointing the way forward for similar outbursts from Jarvis Cocker et al.
26. The weird coda of Stephen Tin Tin Duffy’s ‘Kiss Me’
Just when you thought this slightly-annoying-but-effective UK top 10 single was all done and dusted, there’s that menacing little DX7 kiss-off…
25. Melle Mel’s laugh-rap on Grandmaster Flash’s ‘The Message’
24. The guitar riff on The Pretenders’ ‘Back On The Chain Gang’
The jury seems to be out on whether Billy Bremner or Robbie McIntosh played this (answers on a postcard please).
23. Pino Palladino’s opening bass salvo at 0:04 of Paul Young’s ‘I’m Gonna Tear Your Playhouse Down’
22. David Williams’ guitar break on Michael Jackson’s ‘Wanna Be Startin’ Somethin”
21. The jangling piano motif of Associates’ ‘Party Fears Two’
Who came up with this weird brilliance? For a generation of listeners, it’ll always be the theme to BBC radio’s ‘Week Ending’.
20. The post-chorus drum fills on It Bites’ ‘Calling All The Heroes’
Deceptively simple (leading with the left hand is not easy for a right-handed drummer), tasty fills from Bob Dalton, the Cumbrian four-piece’s sticksman.
19. The backing vocals at 1:45 of Quincy Jones’ ‘Razzamatazz’
Patti Austin’s kaleidoscopic overdubs on the Rod Temperton-penned single which reached #11 in the UK chart.
18. ‘Heeeere’s Grace!‘ on ‘Slave To The Rhythm’
Dr Magnus Pyke’s outburst on Thomas Dolby’s ‘She Blinded Me With Science’ still raises a titter, but apparently he quickly came to regret his contribution to this US #5 single.
16. The Emulator string stabs which close Paul Hardcastle’s ’19’
15. The spoken-word bits in Frankie Goes To Hollywood’s songs
Take your pick from: ‘Well ‘ard!’, ‘Are you flipping me off?’, ‘In Xanadu did Kublai Khan/Pleasuredome erect!’ or my favourite: ‘In the common age of automation, where people might eventually work ten or twenty hours a week, man for the first time will be forced to confront himself with the true spiritual problems of livin”!
14. Neneh Cherry’s cockney accent on ‘Buffalo Stance’
13. The Sweetbreaths’ backing vocals at 1:36 on Tom Tom Club’s ‘Wordy Rappinghood’
Tina Weymouth’s sisters Lani and Laura bring the silliness, interpreted by Google thus: ‘Ram sam sam, a ram sam sam/Guli guli guli guli guli ram sam sam/Haykayay yipi yaykayé/Ahou ahou a nikichi’.
12. Bill Wyman’s French accent in the chorus of ‘(Si Si) Je Suis Un Rock Star’
11. Stevie Wonder’s harmonica solo on Eurythmics’ ‘There Must Be An Angel’
Is there any musician in pop music history who has better communicated pure joy?
10. The ‘Hey!’ sample on Art Of Noise’s ‘Close (To The Edit)’
Not the Noise’s Anne Dudley apparently, but Camilla Pilkington-Smyth (Who she? Ed.). A song of good bits.
9. The ‘Oh yeah!’ sample in Yello’s…’Oh Yeah’
8. Eric B’s ‘Pump up the volume!’ on ‘Paid In Full’
7. That Phil Collins drum fill on ‘In The Air Tonight’
It’s always a bit louder than you think it’s going to be…
6. Roy Bittan’s flanged piano on David Bowie’s ‘Ashes To Ashes’
5. The banshee-wailing on The Specials’ ‘Ghost Town’
It’s a close call between that and the haunting air-raid sirens at the end.
4. The whistling on XTC’s ‘Generals And Majors’
Real whistling or a synth? Who cares? Colin Moulding’s song has more great pop hooks than you can shake a stick at.
3. Abby Kimber’s cod nursery rhyme at the end of Bucks Fizz’s ‘Land Of Make Believe’
2. The synth riff of Human League’s ‘Love Action (I Believe In Love)’
1. Ryuichi Sakamoto’s funky piano on David Sylvian’s ‘Red Guitar’
When MTV launched on 1st August 1981, it was estimated that only 150 music videos were in circulation.
So if the round-the-clock station was going to succeed, it needed new content, and fast. But, mired in the middle of a recession, record companies were initially sceptical about the commercial clout of videos.
That period was short-lived; as record exec Mick Kleber put it in the hilarious book ‘I Want My MTV’, ‘Once Duran Duran started selling records in Oklahoma, it opened everyone’s eyes.’
Suddenly the video department of the major labels was the ONLY department that was expanding. In the rush to fill MTV schedules, production went into overdrive. The likes of Toto, Christopher Cross, Journey, Stevie Nicks, Van Halen, Steve Miller and Chicago – still-big-selling acts from a different generation – were forced to ham it up in front of the camera.
And thank goodness that some of their lamest, most ill-advised attempts are preserved for posterity, and for our delectation. We are pleased to present 11 of the worst clinkers.
Here you will find a strange parade of transvestites, mullets, models, douchebags, disco line-dancers and little people. What were the directors thinking? Who knows, but for once I’m inclined to concede that the 1980s might have been the decade that taste forgot…
From that weird sub-genre of ’80s music video: the jazz-fusion artist looks for a hit. One has to feel particularly sorry for sh*t-hot guitarist Scott Henderson (who didn’t even play on the track!), looking like Screech from ‘Saved By The Bell’, hamming it up against his better judgement, and brilliant jazz dance troupe IDJ.
10. Hall & Oates: ‘Private Eyes’ (1981)
After an unforgivable snare-drum-in-the-wrong-place opening, one of the most unimaginative visual documents in pop history, fronted by an anaemic, manic, clearly uncomfortable Hall. It didn’t stop the single from getting to #1 in the States, though.
9. Billy Joel: ‘Allentown’ (1982)
Actually, Russell Mulcahy’s homoerotic curio would make a pretty good musical. Just putting it out there… (Billy’s appalling ‘The Longest Time’ clip also almost made the cut.).
8. The Police: ‘Wrapped Around The Finger’ (1983)
Directors Godley and Creme’s instructions to the lads seem to have been: look as much of a pr*ck as possible…
7. Billy Squier: ‘Rock Me Tonite’ (1984)
Apparently our Billy was aiming for a homage to ‘American Gigolo’ but ended up with this slightly deranged, camp classic. ‘Directed’ by Kenny Ortega, later famed for ‘High School: The Musical’ and Michael Jackson’s ‘This Is It’.
6. Steve Miller Band: ‘Abracadabra’ (1983)
Boring, boring, boring, boring, boring…
5. Toto: ‘Waiting For Your Love’ (1982)
We’ll leave aside that this is a very ill-advised choice of single off the back of ‘Rosanna’ and ‘Africa’. According to guitarist Steve Lukather, the video was so bad that even MTV wouldn’t play it.
4. Journey: ‘Separate Ways’ (1982)
Could it have been any more unflattering to poor singer Steve Perry? And whose ideas was it to have the guy playing air keyboards? Not to mention that the preyed-upon, obligatory ‘sexy woman’ is obviously a drag queen, when seen in long shot…
3. The Jacksons: ‘Torture’ (1984)
The clue is in the title. Michael obviously got wind of the impending disaster – he didn’t even turn up for the shoot. They used a Madame Tussauds dummy in his place.
2. Chicago: ‘Hard Habit To Break’ (1984)
Great piece of music, horrible video. Lots of ‘sensitive’ men of a certain age longing for a succession of scantily-clad model/actresses.
1. Van Halen: ‘(Oh!) Pretty Woman’ (1982)
Short people? Tick. Transvestite? Tick. Questionable antics? Tick. Ridiculously cheap production values? Tick. Definitely a case of too much bourbon and not enough brains. Roy Orbison’s views on this monstrosity are not recorded…
Are there other stinkers from the 1980s? Of course. Let us know below.
Although he was surely the most effortlessly brilliant British pop musician and songwriter of the 1980s, people always found reasons to dislike Sting: his ‘dabbling’ in ecological affairs, jazz and acting, plus the fact that he seemed to care about stuff besides pop music.
But perhaps the thing that most riled the critics in the anti-muso mid-’80s was Sting’s insistence on improving himself, as a singer, songwriter and musician. British pop artists were supposed to exude a cool detachment from the ‘craft’ of pop, or at least not draw attention to it.
He probably didn’t give a monkey’s. And the fact is that in the late-’80s, some of the greatest rock, pop and jazz musicians were queueing up to collaborate with him (Frank Zappa, Mark Knopfler, Gil Evans, Herbie Hancock etc).
If his debut album now sounds largely like an indulgent misfire, with the jazz and classical elements crudely ladled in with the pop, the follow-up Nothing Like The Sun – co-produced by Brothers In Arms helmer Neil Dorfsman – fused all of Sting’s musical and political concerns in a far more cogent way.
And it demonstrated that his voice had become a remarkable instrument. Along with Ten Summoner’s Tales, this is the one I come back to most all these years later.
But it’s a decidedly weird mainstream pop album, where political protest songs and love songs meet elements of fusion, cod-funk, cod-reggae, hi-life and even bossa nova. You might hear some of Herbie Hancock or Weather Report’s chords.
Sting’s songwriting speciality is a great one-chord groove, a pretty melody and unexpectedly out-there lyric which makes you think ‘Did I hear that right?’ ‘They Dance Alone’ and ‘History Will Teach Us Nothing’ are cases in point. Talk about a sting in the tale.
The emotional and musical range is pretty impressive. When he closes the album with a very pretty, sparse neo-classical art-song (‘The Secret Marriage’), it doesn’t seem forced or trite the way ‘Russians’ did on the first album. Sting also excels in writing genuinely happy music – no mean feat.
The very Paul Simonesque ‘Rock Steady’ (featuring a remarkable performance from drummer Manu Katche – listen on good speakers), ‘Straight To The Heart’, ‘We’ll Be Together’ (apparently very influenced by Peter Gabriel’s ‘Sledgehammer’), ‘History Will Teach Us Nothing’ and ‘Englishman In New York’ are deceptively simple with vibrant melodies which lodge in the memory and don’t grate.
And there are always interesting musical grace-notes throughout. Percussionist Mino Cinelu, headhunted from Weather Report, gets an amazing amount of freedom – ‘History Will Teach Us Nothing’ is almost a feature for him.
Andy Summers supplies excellent textural guitar on a few tracks. Sting nicks Gil Evans’ superb rhythm section (Mark Egan and Kenwood Dennard) for Hendrix’s ‘Little Wing’ and coaxes one of the great guitar solos from the late Hiram Bullock.
So, all in all, a cracking album which remains Sting’s most successful solo release, selling around 18 million and hitting #1 in the UK and #9 in the US.
He couldn’t get arrested singles-wise though – the first four from the album missed out on the UK top 40 (though ‘We’ll Be Together’ made the top 10 in the US) before fifth single ‘Englishman In New York’ made the top 20 (fact fans: astonishingly, he only has three UK top 10 singles to his name, all ’90s duets…).
Excellent recent documentary ’20 Feet From Stardom’ busted the myth once and for all that backing singers aren’t ‘good’ enough to be solo artists.
In fact, the contrary is often true: they make the artist sound and look better, and there are often a myriad of reasons both professional and personal why they haven’t become headliners in their own right.
Tessa Niles is probably the UK’s most celebrated backing vocalist of the last 35 years, and her excellent new memoir lifts the lid on a distinguished career singing with David Bowie, George Harrison, Elton John, Kylie, Eric Clapton, Steve Winwood, Tina Turner, Pet Shop Boys, Annie Lennox, Gary Numan, The Police, Duran Duran, ABC, Tears For Fears and Robbie Williams.
It’s a real page-turner and ’80s guilty pleasure, a voyage through all the pop fads of the decade (and decades since) and a search for a fruitful work/life balance in the face of demanding touring schedules and family commitments.
We follow Niles’ career from her early days as factory worker, cabaret entertainer and ‘Benny Hill Show’-auditioner to the late-’70s/early-’80s London live music scene, where good, young female singers could make a decent living at the city’s many nightclubs.
She is excellent at painting a picture of this somewhat dodgy state of affairs, when a pre-New Romantic London was anything but swinging and ‘Page 3’ culture was at its peak.
But a shrewd volte face leads Tessa into the burgeoning jazz/funk scene and decent, reliable gigs with Morrissey Mullen and Incognito, plus a chance meeting with US ex-pat arranger and producer Richard Niles.
Though their subsequent marriage gives Tessa her professional surname, it also leads to some conflicts of interest when he helms her commercially-unsuccessful solo debut.
But then Trevor Horn is on the blower and she is whisked into the studio to work on ABC’s ephocal Lexicon Of Love album, the beginning of a long and successful professional relationship with the uber-producer. ‘Date Stamp’ in particular shows Niles’ voice off to great effect.
From here on in, her career goes from strength to strength, but it’s not without its pitfalls: The Police’s long ‘Synchronicity’ world tour plays havoc with her vocal cords due to Sting’s insistence that she (and cohorts Dolette McDonald and Michelle Cobbs) sing in ‘full voice’ throughout, without any vibrato.
There’s also a funny anecdote about what exactly constitutes an audition for Sting.
Then of course there’s Niles’ memorable, electrifying turn alongside David Bowie at Live Aid – it’s amazing that they only had two days’ rehearsal for the ‘little gig’, as Bowie called it.
Elsewhere, there’s lots of good technical stuff about what actually constitutes a decent studio vocal performance – and also what artists and producers demand from a backing vocalist – with wicked anecdotes concerning Tina Turner’s ‘What’s Love Got To Do With It’, Steve Winwood’s ‘Roll With It’, Duran’s ‘Notorious’ and Tears For Fears’ ‘Swords And Knives’. Niles also doesn’t shy away from personal reflections about her family relationships and romances.
There’s far too much Clapton and Robbie Williams for my liking and a decent proofreader wouldn’t have gone amiss, but I devoured ‘Backtrack’ almost in one sitting. A really enjoyable, gossipy read.
King Crimson, The Police, Level 42: three of the greatest bands of the 1980s, loved by musicians and non-musicians alike.
But, on the face of it, you might be hard-pressed to come up with too many common musical traits between them (barring the fact that both Sting and Level 42’s Mark King are bass/vocal double threats).
That’s what makes the news of an Adrian Belew (Crimson vocalist/guitarist), Stewart Copeland (Police drummer) and King collaboration so exciting.
What’s also exciting is that in these days of ‘distance’ recording, where musicians regularly email each other sound files for embellishment, never needing to be in the same room, the guys are actually in a studio together.
Copeland of course has had a long, fruitful relationship with bassist Stanley Clarke, who happens to be Mark King’s musical hero, so that makes some sense. But Belew is the real curveball (as he usually is – in the best possible way, of course!).
Adrian has kept followers up to date with the project’s conception and recording progress over on his Facebook page:
‘A bit of information about what we’re doing here in Milan. Gizmo is a recording project created by Stewart Copeland and Vittorio Cosma, keyboard player of Elio e le Storie Tese. (You may remember Elio is the band I played a Bowie tribute with on Italian television back in February).
It is their songs and music. They asked me a while back to contribute guitar and maybe some vocals. recently they asked Mark King to join in on bass and vocals as well. It is not a “supergroup” and there are no plans beyond making this record.
I’m enjoying it very much. Great music and great people making music in beautiful Italy. What’s not to like? We have done three of Stewart’s songs so far and they sound awesome. I must admit Stewart’s songs are custom-made for my guitar playing in the same way as Talking Heads songs were.
Full of nooks and crannies ready to be filled with tasty sonic treats, and always a reserved parking spot for a blistering guitar solo from outer space. And it certainly is gratifying when you finish said solos to have everyone in the control room stand up in a rush of applause!’
In which freelance writer Malcolm Wyatt jealously guards his own corner of web hyperspace, featuring interviews, reviews and rants involving big names from across the world of music, comedy, literature, film, TV, the arts, and sport.