Posts Tagged ‘1985’

(As noted in my first Essentials entry, this is an occasional series in which I spotlight albums that, in my estimation, everyone should experience at least once.)

Earlier this week I found myself glued to an episode of CNN’s The Eighties. For those unaware of the historical documentary series about the 1980s, each installment surveys one topic. The first episode, for example, is titled Raised on Television and navigates the decade’s TV shifting landscape; the second episode, The Reagan Revolution, recalls Ronald Reagan’s presidency. The episode I caught, titled Video Killed the Radio Star (after the Buggles song), dove deep into the era’s music.

The hour-long survey, which is probably closer to 40 minutes once the commercials are stripped out, nailed most of the decade’s most important events and artists. MTV. Duran Duran. The Go-Go’s. Thriller. Born in the USA. Madonna. Purple Rain. Live Aid. The Bangles. College rock (though I don’t think they used that term). Hip-hop. U2. Heavy metal. The PMRC. But a few important developments and artists were missed.

The resurgence of folk-flavored music in the latter part of the decade was one.

In retrospect, the Fast Folk anthology/magazine series set the stage and gave a platform to many up-and-coming singer-songwriters, even if most music fans never heard of it. (I did due to spinning folk records on Penn State’s student-run radio station at the time, WPSU.) Of the new artists it featured, perhaps the most important was Suzanne Vega, whose self-titled 1985 solo debut was and remains a landmark album. Although it sold modestly, it demonstrated that there was a market for literate lyrics coupled to stirring melodies.

One highlight: “Marlene on the Wall.” (To quote my wife just now, “I love this song.”)

Vega’s 1987 sophomore set, Solitude Standing, equaled the debut in artistic quality and did even better sales-wise, with the single “Luka” surprisingly making it to No. 2 on the pop charts. A few months later, the folk-rock sounds of 10,000 Maniacs bubbled to the fore: “Peace Train,” “Like the Weather” and “What’s the Matter Here?” from In My Tribe all found a home on MTV and college-rock radio. A year later, Tracy Chapman’s brilliant debut smashed even more barriers. In time, the Indigo Girls, Shawn Colvin and dozens of others followed. I’m leaving many artists out of the mix, obviously. The “folkabilly” stylings of Nanci Griffith predated Vega’s urban-centric debut, and are – artistically – as important. Later in the decade, James McMurtry gave a new face to Texas troubadours; and, somewhere in there, the Washington Squares put a delightful ‘80s spin on folk trios.

But Vega’s 1985 debut was the foot-in-the-door for all of the folk-flavored artists who followed. In a better world, it would be as celebrated as, say, Madonna’s Borderline or U2’s Boy, as – like those albums – it helped shift the established musical paradigm. Her lyrics are true poems set to song, forever eschewing generalities for specifics, and her melodies mesmerize.

Going back to my radio days: I often played two back-to-back tracks on this album for no other reason than they were among my favorites of the time: “Some Journey” and “The Queen and the Soldier.” Like many of her songs, they are simultaneously passionate and dispassionate. They’re true works of art. 

Another highlight hints at the rhythmic wonders Vega would more fully explore in 99.9F°: “Neighborhood Girls.”

Few works of art, in and of themselves, upend the established order of things. They are part and parcel of a larger scene, and it’s that totality that overthrows the status quo and ushers in a new age. So, rather than share a hyperbolic claim about its importance, I’ll say that Suzanne Vega’s solo debut helped re-focus the landscape away from synth-driven dirges and ponderous power ballads and to the power inherent in quiet tunes. It, along with Solitude Standing, In My Tribe and Tracy Chapman’s debut, paved the way for the generations of folk-flavored singer-songwriters since. 

If you’ve never heard it, seek it out. And if you have? Play it again.

(As noted in my first Essentials entry, this is an occasional series in which I spotlight albums that, in my estimation, everyone should experience at least once.)

As I write, it’s a gray, damp May morning in the Delaware Valley. And while the Earth’s revolutions around the sun push us, ever-so-slowly, into a soggy afternoon, I’m spinning back into the past – to one of my favorite years, 1985.

On the very first day of the first post-Orwellian year, a new channel named VH1 debuted on many cable systems across the nation, including mine. Its name was short for Video Hits One, and it aired music videos. And only music videos. But unlike its sibling channel MTV, its focus was less on the hot pop and rock hits of the day, and more on adult fare. Like jazz, soul, adult contemporary and even some country.

College, work, and life kept me busy. I was 19, attending the commuter-college paradise that was Penn State Ogontz (now Penn State Abington), and working as many hours as possible as a sales associate at a department store at the Willow Grove Mall. What free time I had was mostly music-centered – LPs, stereo, headphones, music magazines. But one day that late spring or summer, and I can’t remember when, I clicked onto VH1 – and was greeted by this video:

I bought the corresponding LP, Rhythm & Romance, not long thereafter, on July 17th, and was instantly smitten with the album as a whole. It marries the SoCal rock aesthetic, updated for the ‘80s, with a country heart. The opening track, “Hold On,” features a taut guitar solo. 

The third song was a Benmont Tench-Tom Petty song, “Never Be You,” that Maria McKee first sang on the Streets of Fire soundtrack the year before…though I didn’t learn that for quite some time. (This was pre-Internet, remember. Not all factoids were a mouse click away.) 

Other highlights include “Second to No One.” I never saw the video before now, and must say that it’s quite stunning.

Also: “Halfway House,” which include these truly insightful lyrics: “We’re all in the halfway house/Or so it sometimes seems/Trying to find the truth inside/Instead of getting by on dreams.”

“Never Gonna Hurt,” another favorite, is as spiky as Rosanne’s hair on the cover – it sounds like a lost Jam classic.

Actually – see the track list below? Those are the highlights. All 10 songs. Rhythm & Romance is one of those albums best listened to from start to finish.

A few years back, Rolling Stone published an excellent salute to the album in honor of its 30th anniversary. It included this surprising bon mot from Rosanne’s memoir, Composed: “I still cannot stand to listen to Rhythm & Romance,” especially the “sophomoric, navel-gazing songs.” It just goes to show that, sometimes, the artist is wrong. To my ears, Rhythm & Romance is a classic.

In the year since it was released, of course, Rosanne has released a string of good, great and equally essential albums; and Diane and I have seen her in concert many times. But whenever I hear or think of her, I can’t help but to think of this album.

Side One:

  1. Hold On
  2. I Don’t Know Why You Don’t Want Me
  3. Never Be You
  4. Second to No One
  5. Halfway House

Side Two:

  1. Pink Bedroom
  2. Never Alone
  3. My Old Man
  4. Never Gonna Hurt
  5. Closing Time

A mere two weeks after our last snow event, summer visited the Delaware Valley yesterday and Friday. Temperatures hit 84 degrees Fahrenheit both days, and then skipped out the backdoor last night. It’s a chilly and damp 50 degrees as I type, 9:02am Sunday morn, and the weather forecast for the week all but guarantees that the comforter will return to the bed tonight, and that the cat will be back beneath it, between my feet, for at least part of the evening.

Anyway, enough of the preamble. For yesterday’s Top 5, I looked back 40 years. For today’s Top 5: Suspended in Time. Just ‘cause.

1) Juliana Hatfield – “Suspended in Time.” Way back in February, I wrote of the announced track listing for the Juliana Hatfield Sings Olivia Newton-John album that “[t]he only change I would make: swapping out ‘Suspended in Time’ for ‘Come on Over.’” So it stands to reason that, now that I’ve lived with the album for a week and a half, it’s become one of my favorite songs from the set. It just floors me.

2) Courtney Marie Andrews – “Warning Sign.” I’ve shared this song before, but not this specific performance from the Schubas Tavern in Chicago on March 31st. On it, Courtney lets loose her inner Aretha…

3) First Aid Kit – “Fireworks.” To be honest, I’d just about forgotten that Ruins was released this year – seems like a lifetime ago. But here they are, on Jimmy Kimmel Live last week, performing my favorite track from the album….(update 6/4/18 – the clip was removed at some point in the past month. So here they are on KCRW from earlier in the year.)

4) The Staves & yMusic – “The Way Is Read.” Uploaded just last month, this performance is spellbinding. The song, of course, is from the Staves’ collaboration with yMusic, The Way Is Read.

5) Lone Justice – “East of Eden.” I mined this YouTube gem on Friday night: Maria McKee and Lone Justice circa 1985. The song is still a shotgun blast of sonic newness to my ears, as is their self-titled debut as a whole. (And I didn’t realize until just now that I bought it 33 years ago this week.)

And because one LJ song or clip is never enough, at least for me this morning, here are a few more… 

And, finally, “You Are the Light.”

(As noted in my first Essentials entry, this is an occasional series in which I spotlight albums that, in my estimation, everyone should experience at least once.)

In February 1985. Emmylou Harris released her 11th album, The Ballad of Sally Rose. I bought it on vinyl on the 17th of that month, a Sunday, and liked it so much that, a few weeks later, I picked it up on cassette so that I could listen to it while driving my new old car, a ’79 Chevette. I also scored tickets to see her at the Academy of Music in Philly around the same time. In my Of Concerts Past piece about that show, I mentioned that it’s not necessarily her best work. It is, however, one of her most ambitious efforts. A true flawed masterpiece.

A concept album inspired by her relationship with Gram Parsons, the songs – written by Emmy and her husband at the time, Paul Kennerly – chart the story of a young woman who falls for a charismatic singer only to be wooed away from him by the promise of stardom. And just when she realizes her mistake and sets out to rejoin him…he dies in a car crash. Bad news, huh?

The scan, by the way, is of the flyer handed out at that 1985 concert, and it explains the story in a bit more depth.

As with many concept albums, the set’s weakness comes from having to tell a cohesive story over a succession of songs that also need to be able to stand alone. While the music remains strong throughout, lyrically a few tracks fall short. The flip side is this: Many are just plain great. The title cut, which kicks off the album, for instance, would have been at home on any of Emmy’s non-concept albums:

As I note in that Of Concerts Past piece, “Rhythm Guitar” and “Woman Walk the Line” are memorable, too. Likewise, the rest of Side One – up until “Bad News,” which doesn’t quite work. Side Two has its moments, as well, and the closing “Sweet Chariot” is sheer genius.

Here’s a YouTube playlist of the album in full:

Side One:

  1. The Ballad of Sally Rose
  2. Rhythm Guitar
  3. I Think I Love Him
  4. Heart to Heart
  5. Woman Walk the Line
  6. Bad News
  7. Timberline

Side Two:

  1. Long Tall Sally Rose
  2. White Line
  3. Diamond in My Crown
  4. The Sweetheart of the Rodeo
  5. KSOS
  6. Sweet Chariot