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Listen to a Playlist with our '80s selections on Apple Music. Listen on Apple Music. The original s and heartbreak. With "I Cry Night After Night ", Egyptian Lover not only paved the way for We Both Must Cry - Eddie C.
Campbell - King Of The Jungle sad robot music that the likes of Kanye West and Future would go on to push farther and into weirder territory, he also helped establish a trope that rappers still employ to this day: the sad-sack confessional that humanizes their bulletproof tough-guy persona, or in Lover's case, his gift-to-womankind lothario status. True to form, he manages to retain a sliver of his egomania even in his darkest hour, claiming his "Egyptian voice will hypnotize.
Anyone nonplussed need not translate the lyrics, which are pure dada. From that "inverted orgasm," Christ emerges with dismay into an unjust world. On "Shack Up", they landed on a magnetic three-way split between funk, old soul, and the long-raincoat gloom of their hometown labelmates Joy Division. ACR singer Simon Topping emotes in a gray monotone, similar to Ian Curtis, while drummer Donald Johnson, who had arrived the previous year, brings a funky danceability to the song that Factory would explore even further with the emergence of the Happy Mondays later in Maybe - Various - Music Of The 80s decade.
But what makes "Shack Up" a classic is its ultra-sparse atmosphere, making it feel like ACR were stripping something to its core principles, in the process burrowing to the very core of what makes certain styles tick. See also : Liquid Liquid: " Cavern ". Arthur Russell saw no reason to erect a barrier between the music he performed on his cello at the Kitchen, an artsy downtown performance space, and his records that got played at discotheques like the Gallery and the Paradise Garage.
He was hardly alone in wanting to eradicate the boundaries between fine art and pop art; that was a principal belief in the s, particularly within New York's avant-garde milieu of musicians and video artists and graffiti writers and experimental poets. But while noise and classical minimalism were deemed acceptable bedfellows, few downtown types extended that open-mindedness to the city's discotheques, where a mostly gay crowd, many of them black and Latino, were conducting their own experiments in repetition, extreme duration, and altered Various - The Ultimate Jazz Archive - Set 09/42. It says something about the open-mindedness of those dancers that Russell got away with some truly weird shit on his "disco" records.
Assembling a wide array of musicians from the funk, jazz, and avant-garde scenes, Russell crafted a rippling funk cut driven by liquid bass and some of the hissingest hi-hats that have ever been put to tape, stretched into four dimensions by Julius Eastman and Jimmy Ingram's dueling organ and electric piano.
Kevorkian's mix, released on inch inused dub delay like a wedge, opening up the track's guts and letting all the pieces fall out to land where they may.
The results were as radical as anything to touch vinyl that year; a technically complex amalgam of sound absolutely soaked in pleasure. Each of those records was Kid Acne - Rap Traffic and expensive, the product of artists not only with ambitious visions but also the budget to realize them. All the elements that would drive the Native Tongues movement were laid out on the opening title track, which stitches samples on top of samples.
For a supposedly delicate art form, people get haiku poetry confused. It was juvenile, maybe, but not for its own sake—it complemented the reality-grounded, borderline mundane writing style. All the power lies within the extreme, barely-editorialized brevity, capturing and presenting a real life moment with the purest, Maybe - Various - Music Of The 80s direct translation possible. But these brief, unfiltered snapshots, delivered with purposeful directness, had an elegance to them, despite the twin-sister threesomes and ill-advised bus sex—entire stories condensed into two simple, vivid lines, delivered with unmistakable confidence.
Not so much a band as a production outfit, the Italian trio Kano were formative to the emergence of Italo Disco, which added a mechanical pulse to dance music via the use of drum machines and synthesizers. The singers trade verses with heavily vocoded vocals, creating a sort of man vs.
There It Is ". From a commercial standpoint Kano were not a smash, but the group's work has had an enduring presence in underground dance music. And as dance music has returned to the mainstream, Kano's sound has become even more present. When Daft Punk released Random Access Memories inthe French duo praised the dance music of the '70s and early '80s for its use of session players, who added an un-gridded feel and tangible humanity that would later be expunged as pop music came to rely more heavily on programmed and extensive computer editing.
Music that maintains a steady trance-like pulse, but still swings. That the music is so anthemic, propelled by a party groove that throws together P-Funk, Kraftwerk and Afrika Bambaataa, makes the song's conflicts all the more compelling. Beginning in the late '60s, Alice Coltrane released a brilliant run of spiritually rich records that blended Eastern instrumentation with experimental jazz. But by the end of the next decade, Coltrane—a harpist, pianist, composer and widow to jazz legend John Coltrane—had mostly gone quiet.
Rather than performing or recording, she withdrew from the secular world, taking the name Turiyasangitananda and concentrating fully on spiritual life. The song has a very different character from her full band work on Impulse! Where that music was often dense, percussive, and alive with improvisational interplay, "Jagdishwar" is more stripped down and solemn. Turiya Sings was not particularly well known or well distributed at the time of its release. However, in recent years the music has found another life and a larger audience through YouTube bootlegs, blogs, and file sharing services.
In"Jagdishwar" might have been written off as new age glop. Much like Arthur Russell's World of Echoit's music that sounds like it was beamed in from a private universe, an artifact that's from the past, but not of it.
Written yesterday, but meant for our ears. If there was an award for most creative metaphor for marijuana then Gregory Isaacs would take it for his soulful lament, "Night Nurse". Drug narratives in pop culture are often demonized for glamorizing usage, but Isaacs and his transcendent, lonely howl convey how complex, and necessary, stories of dependency and addiction can be in the right hands. EPMD weren't the first group to sample Zapp's "More Bounce to the Ounce", but they certainly helped usher it into the hip-hop mainstream.
The futuristic, laidback sound Zapp's robotic vocals sound like proto-Daft Punk lent itself well to EPMD's early, unhurried swagger Maybe - Various - Music Of The 80s.
Sermon and Smith didn't have time for any biting sucker MC's, calmly instructing them to step off: "You gots to chill. But inRodgers and his partner Bernard Edwards used it to develop a post-disco pop song performed by Carly Simon, "Why". Long before the Notorious B. And that was a whole new thing. Also, there was no reverb on nothing. So it sounded like you could have played it in your basement. The Clash had pissed off Maybe - Various - Music Of The 80s punks by going hard rockstymied the rockers by embracing folk and reggae traditionalienated traditionalists by turning into dub-funk experimentalistsand then, inshocked everyone by becoming pop stars.
Even if Middle Eastern geopolitics have become way too complicated over the ensuing three decades for anyone to suggest that Western rock music could topple caliphates, the unifying potential of "Rock the Casbah" remains undiminished. Bythe meticulous arrangement had finally exhausted itself, so engineer Bob Blank hustled the The Battlefield - Chris de Burgh - Best Moves lineup back to the studio to record a post-disco revamp.
The sonic overhaul was revelatory, a glimmering network of teasing bass pops, crisp programmed beats, deep-freeze synth zaps. Where the original was all groove, riding a low-key funk bounce, the revamp surges like a chemical rush. They took it to producer Prince Jammy, who slowed the synthesized track down to a more acceptable reggae tempo. A few days later, he deployed it at a soundclash against the Black Scorpio Soundsystem and crushed them with the track.
Like an earthquake, the revolutionary "Sleng Teng" riddim changed the Jamaican music industry overnight, introducing dancehall to the world.
Released in at the height of the superstar country-pop band Alabama's career, the song functions as a gentle, picturesque take on the holiday season across the nation. While it will Vullcan - Aroma Of Spring never gain the status of all-time holiday classic, at least the tune stands on its own as an original, seasonal composition instead of merely a run-of-the-mill reinterpretation of previously successful Christmas music for a specialized country music audience.
Although this tune functions most clearly as an early-'80s time-capsule piece that falls just short of novelty, it certainly qualifies as one of the most unique holiday offerings of the decade.
Featuring the underrated, somewhat deadpan vocals of the late Patty Donahue and a bouncy, repetitive melody, the song dares to tell a specific story of romantic holiday happenstance. And even if it gets a little silly at the end with the whole cranberries twist, it provides a fresh and light-hearted take on Yuletide lyrics that at the very least doesn't seek merely to manipulate listeners with overly earnest sentiment. As Know What It Means - Project 86 - Truthless Heroes a slightly closeted Dan Fogelberg enthusiast I can't seem to avoid feeling mildly ashamed when emotions well up listening to "Leader of the Band"I freely admit a soft spot for this rather lengthy, bittersweet narrative about a Yuletide encounter with a former lover.
With a lyrical approach that sounds quite autobiographical, the song paints a surprisingly moving, rather unflinching portrait of the If My Homie Calls - 2Pac - 2Pacalypse Now of time and how people often swallow romantic disappointments they may never quite forget. This soft rock classic's placement of the events during the holidays, when people are most inclined to reflect upon the past, is successful and appropriate.
One of the most signature '80s Maybe - Various - Music Of The 80s and college rock bands makes an old holiday chestnut its own here, as Bono's typically overwrought vocal style fits the bittersweet quality of the tune perfectly. Bono has always had the ability to transform various Old Ghosts - Jethro Tull - Stormwatch of music into inspirational affairs, and here he does so with the same abandon that characterizes the band's best work.
As such, the song dances on the verge of gospel with its sweeping, epic delivery. This one makes Christmas heartache somehow much more bearable. I don't want to do this, but I must. Just like I don't want to remember this brutally unfunny Christmas novelty song as sharply as the chill of a windswept winter afternoon. But I do, and therefore I include it here, Maybe - Various - Music Of The 80s all its stupefyingly silly glory.
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