Tag: 80’s

Everyday is Like Sunday – Morrissey

“Everyday Is Like Sunday” is the third track of Morrissey’s debut solo album, Viva Hate, and the second single to be released by the artist. While the lyric was written by Morrissey, the song’s composer was Stephen Street. The lyric is reportedly inspired by Nevil Shute’s novel On the Beach,  about a group of people waiting for nuclear devastation in Melbourne, Australia.

Wikipedia

MISC:
November 10th 2017 – Morrissey Day in Los Angles

LOS ANGELES DECLARES MORRISSEY DAY

LOS ANGELES – The Los Angeles City Council declared Friday, November 10th “Morrissey Day” in Los Angeles, California. During today’s council meeting, Councilwoman Monica Rodriguez introduced the resolution, which includes an official commemorative certificate presentation at the first of two sold-out Hollywood Bowl shows this Friday night.

Morrissey Day honors the man who put the ‘M’ in Moz Angeles, an icon whose music continues to touch and uplift countless people across the globe,” said Councilwoman Monica Rodriguez. “Morrissey uses his voice to raise awareness for many social issues while ‘in his own strange way,’ always staying true to his fans.”

“Los Angeles embraces individuality, compassion, and creativity, and Morrissey expresses those values in a way that moves Angelenos of all ages,” said Mayor Eric Garcetti. “Morrissey Day celebrates an artist whose music has captivated and inspired generations of people who may not always fit in — because they were born to stand out.”

https://monicarodriguez.org/news/press-release-los-angeles-declares-morrissey-day

Rasberry Beret – Warren Zevon – Letterman

Warren Zevon from 1990, on Letterman, playing a Prince Song that was featured on his new album, entitled Hindu Love Gods (which was also the name of his new band, formed with REM minus Michael Stipe).

I never saw Zevon in concert, alas, but I did see him at the Free Lisl rally at the Denver Capitol. This was a random thing. I just happened to be in the neighborhood when they were having the rally and I stopped to check it out.

Free Lisl: Fear & Loathing in Denver explores the most significant achievement of Hunter S. Thompson’s last years-the freeing of Lisl Auman who was sentenced to life without parole at the age of 21 for the murder of a Denver police officer by someone she had just met while she was handcuffed in the back of a police car. After receiving a letter from Lisl while she was in prison in 2001, Thompson enlisted the support of the nation’s top criminal defense lawyers, held a rally on the steps of the Colorado State Capitol and co-wrote an article for Vanity Fair subtitled “Lynching in Denver”-all in an attempt to free Lisl from a life sentence in prison. In March 2005, two weeks after Thompson committed suicide, the Colorado Supreme Court effectively set her free by reversing her conviction and ordering a retrial. A plea bargain leaves her on parole for many years to come, but Lisl is out of prison and appears for the first time in Free Lisl, not to argue her case, but to thank Hunter Thompson. Also appearing in Free Lisl are Warren Zevon who sings “Lawyers, Guns, and Money” from the Capitol steps, presidential historian Douglas Brinkley and Denver journalists, including Jeff Kass of the Rocky Mountain News, Diane Carmen of the Denver Post and Juliet Whitman of Westword, who examine the role the Denver press played in first indicting Lisl and then helping to free her.

https://www.imdb.com/title/tt0903616/

Oblivious – Aztec Camera

From the mountain tops down to the sunny street
A different drum is playing a different kind of beat
It’s like a mystery that never ends
I see you crying and I want to kill your friends

I hear your footsteps in the street
It won’t be long before we meet
It’s obvious
Just count me in and count me out and
I’ll be waiting for the shout
Oblivious

Met Mo and she’s okay, said no one really changed
Got different badges but they wear them just the same
Down by the ballroom I recognized
That flaming fountain in those kindred caring eyes.

I hear your footsteps in the street
It won’t be long before we meet
It’s obvious
Just count me in and count me out and
I’ll be waiting for the shout
Oblivious

Aztec Camera were a Scottish pop/new wave band formed by Roddy Frame, the group’s singer, songwriter, and only consistent member. Formed in 1980, Aztec Camera released a total of six albums: High Land, Hard Rain (1983), Knife (1984), Love (1987), Stray (1990), Dreamland (1993) and Frestonia (1995). The band garnered popular success for the songs “Oblivious”, “Somewhere in My Heart” and “Good Morning Britain” (a duet with former Clash guitarist Mick Jones).

https://en.wikipedia.org/wiki/Aztec_Camera

Whip It – Devo

Crack that whip
Give the past a slip
Step on a crack
Break your mama’s back

When a problem comes along
You must whip it
Before the cream sits out too long
You must whip it
When something’s going wrong
You must whip it

Now whip it
Into shape
Shape it up
Get straight
Go forward
Move ahead
Try to detect it
It’s not too late
To whip it
Whip it good

When a good time turns around
You must whip it
You will never live it down
Unless you whip it
No one gets away
Until they whip it

I say whip it
Whip it good
I say whip it
Whip it good

Crack that whip
Give the past a slip
Step on a crack
Break your mama’s back

When a problem comes along
You must whip it
Before the cream sits out too long
You must whip it
When something’s going wrong
You must whip it

Now whip it
Into shape
Shape it up
Get straight
Go forward
Move ahead
Try to detect it
It’s not too late
To whip it
Into shape
Shape it up
Get straight
Go forward
Move ahead
Try to detect it

It’s not too late
To whip it
Whip it good

“Whip It” is a song by American rock band Devo from their third album Freedom of Choice (1980). It is a new wave and synth-pop song that features a synthesizer, electric guitar, bass guitar, and drums in its instrumentation. The apparently nonsensical lyrics have a common theme revolving around the ability to deal with one’s problems by “whipping it”. Co-written by bassist Gerald Casale and singer Mark Mothersbaugh, Devo recorded “Whip It” with producer Robert Margouleff at the Record Plant in Los Angeles.

Although “Whip It” was released as the second single from Freedom of Choice, Warner Bros. Records did not expect it to be a hit, due to its nonstandard tempo and strange lyrics. The disc jockey Kal Rudman took an interest in the song and it was soon being played on several radio stations in the Southeastern United States. Peaking at number 14 on the Billboard Hot 100, “Whip It” became a hit single and found chart success in several countries. Mothersbaugh believes the song sold well because some people assumed the lyrics are about masturbation or sadomasochism.

https://en.wikipedia.org/wiki/Whip_It_(Devo_song)

Albums of the Year 1984 – Pazz & Jop Critics Poll –

https://www.robertchristgau.com/xg/pnj/pjres84.php

1. Bruce Springsteen: Born in the U.S.A. (Columbia)
2. Prince and the Revolution: Purple Rain (Warner Bros.)
3. Los Lobos: How Will the Wolf Survive? (Slash)
4. The Replacements: Let It Be (Twin/Tone)
5. Tina Turner: Private Dancer (Capitol)
6. R.E.M.: Reckoning (I.R.S.)
7. The Pretenders: Learning to Crawl (Sire)
8. Hüsker Dü: Zen Arcade (SST)
9. Lou Reed: New Sensations (RCA Victor)
10. Run-D.M.C.: Run-D.M.C. (Profile)
11. Cyndi Lauper: She’s So Unusual (Portrait ’83)
12. Bangles: All Over the Place (Columbia)
13. Ramones: Too Tough to Die (Sire)
14. Minutemen: Double Nickels on the Dime (SST)
15. The dB’s: Like This (Bearsville)
16. Womack & Womack: Love Wars (Elektra ’83)
17. Laurie Anderson: Mister Heartbreak (Warner Bros.)
18. Rubén Blades y Seis del Solar: Buscando America (Elektra)
19. Laurie Anderson: United States Live (Warner Bros.)
20. Meat Puppets: Meat Puppets II (SST)
21. Neville Brothers: Neville-ization (Black Top)
22. The Smiths: The Smiths (Sire)
23. Let’s Active: Cypress (I.R.S.)
24. Tom Verlaine: Cover (Warner Bros.)
25. Van Halen: 1984 (Warner Bros.)
26. Del-Lords: Frontier Days (EMI America)
27. Linton Kwesi Johnson: Making History (Island)
28. George Clinton: You Shouldn’t-Nuf Bit Fish (Capitol ’83)
29. U2: The Unforgettable Fire (Island)
30. King Sunny Ade and His African Beats: Aura (Island)
31. Talking Heads: Stop Making Sense (Sire)
32. ZZ Top: Eliminator (Warner Bros.)
33. Peter Wolf: Lights Out (EMI America)
34. The Gospel at Colonus (Warner Bros.)
35. Lyres: On Fyre (Ace of Hearts)
36. The Everly Brothers: EB 84 (Mercury)
37. P. Funk All-Stars: Urban Dancefloor Guerillas (CBS Associated/Uncle Jam ’83)
38. Del Fuegos: The Longest Day (Slash)
39. The Special AKA: In the Studio (Chrysalis)
40. Rickie Lee Jones: The Magazine (Warner Bros.)

*Includes 1983 votes: Lauper 83 (7); Womack & Womack 36 (4); Clinton 83 (8); ZZ Top 90 (9); P. Funk All-Stars 57 (6).

This poll compiles ballots from 240 critics, each of whom divided 100 points among 10 1984 LP’s. Maximum points per album: 30. Minimum: 5. Points determined placement, with total mentions (indicated in parentheses) used to break ties.

It’s a Mistake – Men at Work

COLIN HAY, Men at Work: I think “Who Can It Be Now?” cost $5,000. Greg Ham, our sax player, had a theatrical background, and I loved to perform. We first came to the States towards the end of 1982, and toured for about four months. MTV was already playing “Who Can It Be Now?” in heavy rotation and may have been playing “Down Under” by the time we left. It was exciting enough for us to be in New York. But when I arrived, people would walk past me saying, “How you doin’, Colin?” People would hang out of cabs, yelling out stuff. And that was because of MTV.

Tannenbaum, Rob; Marks, Craig. I Want My MTV

Deadbeat Club – The B-52’s

The B-52s (styled as The B-52’s prior to 2008)[8] is an American new wave band formed in Athens, Georgia, in 1976. The original line-up consisted of Fred Schneider (vocals, percussion), Kate Pierson (vocals, keyboards, synth bass), Cindy Wilson (vocals, percussion), Ricky Wilson (guitar), and Keith Strickland (drums, guitar, keyboards). Ricky Wilson died from AIDS-related illness in 1985,[9] and Strickland switched from drums to lead guitar. The band also added various members for albums and live performances.

The group evoked a “thrift shop aesthetic”, in the words of Bernard Gendron,[7] by drawing from 1950s and 1960s pop sources, trash culture, and rock and roll. Schneider, Pierson, and Wilson sometimes use call-and-response-style vocals (Schneider’s often humorous sprechgesang contrasting with the melodic harmonies of Pierson and Wilson), and their guitar- and keyboard-driven instrumentation comprises their trademark sound, which was also set apart from their contemporaries by the unusual guitar tunings used by Ricky Wilson[10] on their earlier albums.

This is Radio Clash – The Clash

Interrupting all programs
This is radio clash from pirate satellite
Orbiting your living room,
Cashing in the bill of rights
Cuban army surplus or refusing all third lights
This is radio clash on pirate satellite

This sound does not subscribe
To the international plan
In the psycho shadow of the white right hand
Then that see ghettology as an urban Vietnam
Giving deadly exhibitions of murder by napalm

This is radio clash tearing up the seven veils
This is radio clash please save us, not the whales
This is radio clash underneath a mushroom cloud
This is radio clash
You don’t need that funeral shroud

Forces have been looting
My humanity
Curfews have been curbing
The end of liberty

Hands of law have sorted through
My identity
But now this sound is brave
And wants to be free, anyway to be free

This is radio clash on pirate satellite
This is not free Europe
Noh an armed force network
This is radio clash using audio ammunition
This is radio clash can we get that world to listen?
This is radio clash using aural ammunition
This is radio clash can we get that world to listen?
This is radio clash on pirate satellite
Orbiting your living room,
Cashing in the bill of rights
This is radio clash on pirate satellite
This is radio clash everybody hold on tight

A-riggy diggy dig dang dang
Go back to urban ‘nam

“This Is Radio Clash” is a song by the English punk rock band the Clash. The 1981 single was issued in 7-inch format and also in 12-inch format and cassette tape with additional tracks. The first public performance of the song was on Tom Snyder’s Tomorrow show on 5 June 1981.[3]

The song is not featured on any of the Clash’s original studio albums, but is included in their compilations: The Singles (1991), The Story of the Clash, Volume 1, Sound System, Singles Box, The Singles (2007) and Clash on Broadway.

https://en.wikipedia.org/wiki/This_Is_Radio_Clash