The 1980s Summer Playlist (Part One)

Elis Regina

Elis Regina

What makes good summer music? Damned if I know, but the 1980s seemed to produce an endless trickle of tracks tailor-made for long, hot evenings.

Putting together this list, I gave myself only two rules: an artist can only appear once, and the choice has to be slightly off the beaten track, so no ‘accepted’ summer classics.

What else does the full selection (parts two and three to follow) have in common? Not a lot; there’s pop, funk, fusion, Latin, AOR, Brazilian, hip-hop and psychedelia, but of course they’re all pretty ‘up’ pieces of music.

Some of these songs were heard and bought when they came out, others have become key summer selections in the years since. Many of them will make up my soundtrack for this season and I hope yours too.

The Lotus Eaters: ‘The First Picture Of You’

On a very warm summer’s evening five or six years ago, I was in a pub just off Piccadilly Circus when this beguiling track came on – I was smitten, and have been ever since.

Robert Fripp featuring Daryl Hall: ‘North Star’

This rather lovely slice of whimsy, with an incredible Hall vocal, always reminds me of ’80s family holidays near the White Cliffs of Dover.

Elis Regina: ‘Calcanhar de Aquiles’

One of the purest Brazilian voices of all time. This is from her final studio album, 1980’s Elis.

Dukes Of Stratosphear: ‘Bike Ride To The Moon’

Nothing says summer to me like Brit psychedelia. But since I’m not allowed anything by Syd Barrett/The Beatles/Small Faces/Kinks, XTC’s alter-egos will do just fine.

Wendy & Lisa: ‘Honeymoon Express’

Best known as Prince’s chief collaborators between 1984-1986, I never tire of Wendy & Lisa’s sublime vocal harmonies in the chorus.

Roy Ayers: ‘Poo Poo La La’

By the time of 1984’s In The Dark album, Roy didn’t have much to prove and was clearly having some fun in the studio. Contains the line: ‘Poo poo la la means I love you’!

Toninho Horta featuring Joyce: ‘Beijo Partido (Broken Kiss)’

A classic Brazilian ballad, full of gorgeous and mysterious harmonies, from a seriously underrated guitarist/songwriter. Taken from the 1988 album Diamond Land.

It Bites: ‘Once Around The World’

Included mainly for its pastoral, elegant opening section, the Cumbrian four-piece excelled themselves with this astonishing 15-minute melody-fest.

Light Of The World: ‘London Town’

This Brit-funk classic reminds me of all that’s great about summer in my hometown.

Prince’s Parade: 30 Years Old Today

prince

Warner Bros/Paisley Park, released 31st March 1986

9/10

On 17th April 1985, just ten days after the end of the Purple Rain tour, Prince walked into LA’s Sunset Sound studios, sat at the drums, taped the lyrics of four new songs onto a music stand, picked up his sticks and instructed engineer Susan Rogers: ‘Don’t stop the tape when I stop playing. Just keep rolling.’ He then played through ‘Christopher Tracy’s Parade’, ‘New Position’, ‘I Wonder U’ and ‘Under The Cherry Moon’ without pausing. This guy worked fast. The recording sessions for Parade had begun.

Prince, Brussels 1986

Prince, Brussels 1986

The album would see Prince continue his extraordinary mid-’80s run of form, surely comparable to Stevie Wonder’s fabled 1972–1976 period. He couldn’t release albums fast enough and the wider world was waking up to just how prolific he really was. His striking new horns-and-orchestra-driven sound, by turns jazzy, funky and psychedelic, lost him some fans in the States but made him a huge star in Europe.

Parade showed off the amazing versatility of Prince (drums, bass, guitar and keyboards) and his main collaborators Wendy (guitar) & Lisa (keyboards). It’s a trip, an anti-boredom album full of glorious contradictions – it features his first instrumental track but still contains four classic dancefloor singles; it’s his densest, most ‘produced’ ’80s album (alongside Lovesexy) and yet features his first all-acoustic track, recorded completely live in the studio; Clare Fischer’s orchestral arrangements are always high in the mix but rub shoulders with the Sunset Sound’s ancient sound effects library; Prince utilises ultramodern tech like a guitar synth and a Fairlight sampler, but the main solo instruments are Eric Leeds’ tenor and baritone sax. And there is zero electric lead guitar, barely 18 months after Purple Rain.

References this time around were The Beatles, ’80s Miles Davis, show tunes and funk-era James Brown. The biggest influence though is late-’70s Joni Mitchell. Parade is the nearest Prince ever got to the kaleidoscope range of her classic albums Don Juan’s Reckless Daughter and Hissing Of The Summer Lawns. There were also more vocals in Prince’s music than ever before: Wendy, Lisa, Susannah (Wendy’s sister and Prince’s fiancée) and Sheila E all contributed massively to the occasional West Coast/Bangles sound.

Prince_GB_single

By 2nd June 1985, nine songs for Parade were in the can, though three would later be left off the final album – the spooky ‘Others Here With Us’, frothy ‘All My Dreams’ and superfunky ‘Sexual Suicide’. Prince was also now working on not one but two other albums, Jill Jones and Mazarati’s debuts. By late June, he was also scouting locations in the south of France for the upcoming ‘Under The Cherry Moon‘ movie. But, true to form, he couldn’t stop recording – he set up a makeshift recording studio in his Antibes hotel suite.

Parade‘s first three tracks – ‘Christopher Tracy’s Parade’, ‘New Position’ and ‘I Wonder U’ – pass by in the blink of an eye, gloriously odd, genuinely psychedelic funk miniatures. Very few have taken on the mantle of this style of music since 1986, though D’Angelo had a good go on the superb Voodoo album.

utcm-1

‘Under The Cherry Moon’ is almost a ’30s-style jazz number featuring asthmatic synths, fantastic piano playing and a daring melody line. I’d like to hear Tom Waits’ cover. If you listen very closely, you can hear the rattle of Prince’s necklace as he lays down the drum track.

‘Girls And Boys’ is a classic one-chord funk tune whose blaring guitar synth adds an engaging weirdness. Saxophonist Eric Leeds makes his mark on Prince’s music for the first time (though had already featured prominently on The Family’s album). ‘Life Can Be So Nice’ features fake harpsichord, sampled flute, piercing cowbell, some intricate acoustic guitar and a heavily-treated kick drum. It’s discordant and thrilling with an envelope-pushing vocal arrangement and some bizarre lyrics. The last minute of the song is a Latin/fusion jam in the Santana or Weather Report vein.

‘Venus De Milo’ is a sumptuous piece of symphonic muzak with some gorgeous trumpet from Matt Blistan (renamed Atlanta Bliss by Prince!) while ‘Mountains’ is another classic single, largely penned by Wendy & Lisa. The 12” mix has to be heard. ‘Do U Lie’ is an intoxicating little slice of soft jazz with cocktail guitar, spoken word, strings and accordion.

Prince_kiss

‘Kiss’ is another effortless classic. It was the first single to be released from Parade, hitting US number one in April ’86, though apparently loathed by the Warner Bros suits. Initially given to the band Mazarati for their debut album, it was reclaimed by Prince when he realised the potential of the track. He kept their backing vocals and gave them some money.

‘Anotherloverholenyohead’, recorded on December 16th 1985, was the last track recorded for Parade. Lisa’s crystalline, densely-voiced piano sounds like it was recorded in a school assembly hall, and there’s more peculiar guitar synth and a few incredible bass runs from Prince. The full-length version made for another classic 12” single.

Album-closer ‘Sometimes It Snows In April’ is Joni all the way. Its improvised, rubato prologue is very reminiscent of the opening to ‘Cotton Avenue‘. Prince delivers an amazing lead vocal but the song needs a stronger chorus (‘Sometimes I feel so bad’) and Wendy & Lisa’s backing vox are extremely rough. The track divides opinion – some find it moving, some mawkish (I’m in the latter camp) – but it was a pretty brave choice to close such an important album.

prince

The Parade sessions also spawned some fantastic B-sides: ‘Alexa De Paris’, ‘Sexual Suicide’, ‘Power Fantastic’, ‘4 The Tears In Your Eyes’, ‘Love Or Money’, ‘All My Dreams’ and the notorious ‘Old Friends 4 Sale’. All are well worth seeking out.

Then came the European tour. A funk revue. Horns, dance routines, backing vocals. Again, virtually no lead guitar. Europe loved him – there were riots in Holland – but the tour didn’t even make the States, which many insiders believe was a big mistake. Instead, there were several separate shows under the banner of the Hit & Run Tour. Sample some of the show here. You won’t regret it.

Despite the success of ‘Kiss’ in the States, three follow-up singles peaked outside the top 50. Prince believed that Warner Bros’ choice of second single (‘Mountains’) was wrong – it should have been ‘Girls And Boys’. Parade sold considerably less (1.8 million) in the States than Purple Rain (10 million) and Around The World In A Day (4 million).

By the end of the tour, it was all change: Wendy & Lisa were out of the band, Prince and Susannah had broken off their engagement and ‘Under The Cherry Moon’ had stiffed. But there were still a couple of amazing albums left in the tank which we will focus on in due course.

Sheila E In Romance 1600: 30 Years Old Today

sheila ePaisley Park/Warner Bros, released 26th August 1985

Bought: Goldhawk Road Record and Tape Exchange, 1989?

8/10

The music biz is littered with successful solo artists who were tempted out from behind the drum kit. Marvin Gaye, Teddy Pendergrass, Phil Collins, Karen Carpenter, Dave Grohl, Frank Zappa and Iggy Pop all graduated from the engine room to centre stage, and while Sheila has never been on that level in terms of record sales or cultural impact (though trumps all of them in terms of drumming chops), her transition from sidewoman to frontwoman led to a couple of really infectious, interesting albums in the mid-’80s.

sheilae_the_glamorous_life_400x400

She had an enviable CV long before going solo, including percussion work with Billy Cobham, Herbie Hancock, Marvin, George Duke and Diana Ross. Prince and Sheila were a similar age and had followed each other’s careers since the late-’70s. When he tasted his first mainstream success and was looking to mentor new artists, she was top of the list.

Their first collaboration was the superb B-side ‘Erotic City’, swiftly followed by Sheila’s debut album The Glamorous Life, a hit. But its follow-up, Sheila E In Romance 1600, was a far more expansive and experimental piece, even though recording sessions were squeezed in on days off during the Purple Rain Tour between December 1984 and January 1985.

Despite Sheila’s obvious musical pedigree, Romance 1600‘s liner notes and song credits are misleading – this is a Prince album in all but name. According to biographer Per Nilsen (and as listed at the ASCAP offices), he wrote all the tracks here bar one (kicking Latin/fusion instrumental ‘Merci For The Speed Of A Clown In Summer’) and played all instruments except drums, percussion and sax.

But lucky for us, Romance 1600 was recorded smack-bang in the middle of his golden period and features some of Prince’s finest performances as a musician. His guitar solos on ‘Dear Michelangelo’ and ‘A Love Bizarre’ are simply tremendous, the latter throwing in some ridiculous bass too.

But Sheila also brings out the best in him. There’s much more humour here than on his own albums of the period. She turns in some hilariously hammy vocal performances on ‘Sister Fate’, ‘Toy Box‘ and dramatic ballad ‘Bedtime Story’. Sheila and Prince were having a lot of fun and you can hear the results. Sometimes the rushed nature of the recording shows, though – the mix is very murky and the album is short of a few memorable pop hooks.

Sheila_E-Romance_1600-Inside-

Prince’s ‘movie’ concept was in full effect here. He was leaving behind the ‘street’ style of Vanity 6/Purple Rain/The Time and embracing a romantic, ‘Amadeus’-influenced image which also crossed over into The Family project and his Parade album. Thinking of Romance 1600 as a movie also opened up the album musically, allowing Sheila and Prince to embrace jazz (‘Yellow’), fusion, wacky synth-pop (the title track), Latin and even Third Stream. This eclectic outlook was no doubt also influenced by his Revolution bandmates Wendy and Lisa.

Sheila E In Romance 1600 was a reasonable hit, going gold in the US and reaching number 50 on the Billboard chart, no doubt helped by the success of the ‘Love Bizarre’ single (US number 11). Sheila toured the US for the second time in two years and was even joined onstage by Prince for a few storming versions of ‘Love Bizarre’ – one classic has sadly just been removed from Youtube.

She followed up Romance 1600 with a disappointingly bland self-titled album in 1987, which featured far less contribution from Prince. More successfully, she played some fantastic drums on the Sign ‘O’ The Times and Lovesexy tours – much more on them to come.