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Liam

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Liam last won the day on January 29

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About Liam

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  • Birthday 24/05/1986

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  1. I've never heard early New Order, but having watched 'Control' the other day, on a bit of a kick for the band and what followed. Downloaded this on Spotify yesterday to check out.
  2. 537. ‘Back in Black’, AC/DC (1980) I joked before about AC/DC having one song. However, if there is one song by them that I can look at and go ‘fuck yeah, that’s a good song’, it is ‘Back in Black’. Not a particularly outrageous choice, but from the moment the intro hits, you know you are in for a good rocking time. When you also consider that this was from the first album since the death of Bon Scott, this is a real statement of attempt. The guitar crunches from note one and Brian Johnson’s delivery is frankly ridiculous. This is the four minutes that allow me to ‘get’ AC/DC probably more so than any of their other work. 538. ‘Let My Love Open The Door’, Pete Townshend (1980) A much more playful offering by Pete Townshend than anything he was involved with in The Who. According to the book, he came up with the song as they were three chords he liked, and he sang some of the first lyrics that came into his head. Whether I believe the end of that statement, it is a very uplifting sounding song which apparently relates to ideas learnt from an Indian spiritual teacher. This isn’t really anything special outside of being something pleasant in my opinion, though I do like the contrast between this and the songs that the Who ended up with on the list thus far. 539. ‘Geno’, Dexy’s Midnight Runners (1980) Influenced by: Michael (The Lover) • Geno Washington & The Ram Jam Band (1966) Influence on: Ghost Town • The Specials (1981) Other key tracks: Dance Stance (1979) • There, There, My Dear (1980) • I Love You (Listen to This) (1985) • This Is What She’s Like (1985) I was completely sure I’d never heard this song before…until the trumpet (I’m guessing that was a trumpet) hit after the initial opening. I may not even have heard the rest of the tune if I’m being entirely honest, but that bit is very memorable. A song that celebrates and equally sneers at Geno Washington – if you look at the lyrics – this song had elements of blues and ska, showcasing the Runners at what I feel was a bit more of an interesting and creative spot than I’d ever really considered they have been at when you think you’ve only ever heard ‘Come On Eileen’ by them. A decent enough song, though nothing that particularly excites me. 540. ‘Guilty’, Barbra Streisand and Barry Gibb (1980) Influenced by: How Deep Is Your Love • Bee Gees (1977) Influence on: Above the Law • Barbra Streisand with Barry Gibb (2005) Covered by: Tom Jones & Gladys Knight (1997) • Bee Gees (1998) I had literally no idea these two had ever worked together. This was Gibb at the height of his powers when it came to writing songs, whether for the Bee Gees or a number of other acts who topped the chart this year. I’ve never cared much for Streisand, but when you listen to her, it isn’t hard to see why people are such huge fans of her – she has a really good voice on her. It meshes nicely with Gibb’s falsetto, especially as the bulk of the start of the song allows Streisand a chance to showcase her pipes before Gibb joined in. I didn’t expect to like this, yet I can’t really fault it. There is a honeyed silkiness to it all that might not be enjoyed by all, but it worked for me. 541. ‘Love Will Tear Us Apart’, Joy Division (1980) Influenced by: Be My Wife • David Bowie (1977) Influence on: As It Is When It Was • New Order (1986) Covered by: Paul Young (1983) • Swans (1988) • Opium Den (1995) • Simple Minds (2001) • New Order (2002) • Fall Out Boy (2004) • Nouvelle Vague (2004) Other key track: Shadowplay (1979) I have often thought to myself that this is probably my favourite song ever. I can’t even really pinpoint why. It is the perfect amalgamation of noise, and tune, and vocal delivery, and lyrics. Just everything melds into three and a half minutes of a song that blows me away every time I hear it. I’m not even the hugest Joy Division fan – I like them, but there are many other bands I like more – yet this rises above so many other songs to be right at the top of my list. I think the lyrics worked for me the most at a certain point in life, the idea of the perils of love, and it has never been dislodged. That it explored his relationship with his wife as they rocketed (potentially) towards a divorce, and that it came a month before he killed himself, just makes things all the more…poetic? Tragic? Whatever word works.
  3. Ooo yes you are right. That means we'll have 3 then. Forgot about Transmission being on here for some reason.
  4. None yet, but I was more hypothesising as to how many they might go with. I'm assuming there will be another one, which means 2 from 2 albums which isn't too bad for a band with quite a small output in terms of actual tangible songs.
  5. 531. ‘Kings of the Wild Frontier’, Adam and the Ants Influenced by: The Good, the Bad and the Ugly • Ennio Morricone (1966) Influence on: The Beautiful People • Marilyn Manson (1996) Other key tracks: Dog Eat Dog (1980) • Antmusic (1980) • Physical (You’re So) (1980) Gimmicky, but with the musical chops to back it up, this was Adam and the Ants first ‘hit’, breaking the top 50. The use of tribal drum sounds match up with lyrics that are a commentary on the oppression of Native Americans, whilst the pirate costume and face paint add a very visual point of interest. If anything, I feel everything could be a touch louder, but you can see how the percussion in particular has gone on to influence many heavier acts as it doesn’t let up for the whole of the songs run time. The last minute in particular is the strongest part of the song as the drums, guitar riffs and Adam’s best vocals of the four minutes all mesh to create a powerful crescendo. 532. ‘Redemption Song’, Bob Marley and the Wailers (1980) Influenced by: There’s a Reward • Joe Higgs (1975) Influence on: Black Uhuru Anthem • Black Uhuru (1983) Covered by: Flying Pickets (1996) • Stevie Wonder (1996) • Johnny Cash & Joe Strummer (2003) • Don Campbell (2003) A beautiful song that was the last song on the final album released before Marley’s death. Unlike much of his music, the Wailers are noticeably absent from the recording. This is just Marley, his words and his guitar. As always with Marley, it would do more for me if I was someone who was Rastafarian or black; the message and the popularity of a black musician must naturally be more meaningful if it is representative of yourself and your own beliefs. Still, anyone can enjoy this song, though it is – perhaps retroactively – tinged with sadness. 533. ‘Dead Souls’, Joy Division (1980) Due to their short time of existence and relatively limited output, I do wonder how many Joy Division songs the book will manage to squeeze in. Not that I am complain, being a fan of the band myself. The opening two minutes of this song, all instrumental, almost feel like they’d be at home in a band who pedalled heavier music than this. That feeling of weight never leaves, with Curtis providing vocals that as per usual somehow mix a roboticness with pure emotion. This may not be their best song personally, but it isn’t far away. 534. ‘Master Blaster (Jammin’)’, Stevie Wonder (1980) Stevie Wonder, as I have mentioned before, has probably been the artist that has risen the most in my estimations since I started this. He has so many songs that I didn’t realise were his and this is a perfect example. A song that is obviously influenced by reggae, with a clear reference to Bob Marley in the title. The two men had shared several stages in their careers and were mutually respectful. Just a cool overall song that moseys towards a hooky chorus – a song for the summer indeed. 535. ‘Everybody’s Got To Learn Sometime’, The Korgis (1980) I had not expected this to be the song that it was. I’m pretty sure I’ve never heard the original for this, but have more than likely heard the Baby D version that managed to gatecrash into the top 3 of the UK chart. Considering how straightforward/repetitive the lyrics are, there is an earnestness about them that works well with the airy synthesisers. The sum of the parts make the whole feel more epic than it probably is. The success of the song and what came along with that actually caused the band to break up. I guess it isn’t a bad position to be if this is your only song of note. 536. ‘I’m Coming Out’, Diana Ross (1980) I guess it becomes easy to suggest a song sounds timeless when it has been sampled in modern songs, but this to me does have an element of not feeling particularly out of place even many years later. With its nods to funk and disco, that was a real possibility, so it speaks to the song writing chops of Bernard Edwards and Nile Rodgers, putting their fingers in another successful pie. Though the focus could be on the groove of the melody, Ross’ voice is absolutely effortless in moving towards her higher soprano delivery at points. We even get a trombone solo for good measure. Fun times.
  6. I didn't say it as I probably should have done, but I really didn't like it. By far the worst song for me. I was too kind.
  7. I heard it because of me checking out some of Jello Biafra's work, but not the Dead Kennedys specifically. I can't quite remember why - I thought it might have been due to his involvement in a collaboration (so could be Sepultura, the Melvins, or Napalm Death perhaps) or possibly even a spoken word piece. I never remember actively seeking them out, nor does any of Biafra's work leap out at me as being the song I remember first hearing. Very odd.
  8. I might be wrong, but Dead Kennedys aren't that big a band out here except I'm assuming in punk circles, which is a genre I don't really listen to. I do know Holiday in Cambodia.
  9. 525. ‘Babylon’s Burning’, The Ruts (1979) Influenced by: War in a Babylon • Max Romeo (1976) Influence on: Babylon’s Burning the Ghetto • Lethal Bizzle (2007) Covered by: Zion Train (1996) • London Punkharmonic Orchestra (1998) • Die Toten Hosen (2000) • Don Letts (2005) • Kid Loco (2005) Wow, this is good. This was like a punch straight to the face as I’m sure it was intended to be. Linking to a more modern act that I’ve always liked what I’ve heard from, this reminds me of a punkier Skindred. There had been a lot of cross pollination between punk and reggae in terms of influences, yet this is the first song on the list that really wears its influences on its sleeves in this fashion. The guitar work is great and searing in its intensity; the sound effects add a sense of tension, channeling the ‘anxiety’ that is prominent in the lyrics. Sad to hear that the main singer’s heroin addiction saw him die only a year later. 526. ‘Message In a Bottle’, The Police (1979) Influenced by: Watching the Detectives • Elvis Costello (1977) Influence on: Daylight Goes • Grand National (2004) Covered by: Excel (1989) • Leatherface (1991) • Maxi Priest (1996) • Machine Head (1999) • Wolfgang (2001) • John Mayer (2003) Listening to this song after ‘Roxanne’, it is clear that The Police are good at minimal, engaging openings. This has a sense of momentum from the start that never really lets up, especially as it shifts engagingly from chorus to verse and back again. Though the lyrics are quite bleak until the final verse, there is an upbeat tone throughout most of it; the guitar work isn’t overly complex, yet is very catchy. It all adds up to a crowd pleaser. 527. ‘The Winner Takes It All’, ABBA (1980) Influenced by: Go Your Own Way • Fleetwood Mac (1977) Influence on: Total Eclipse of the Heart • Bonnie Tyler (1983) Covered by: The Corrs (1999) • Martine McCutcheon (2002) • Anne Sofie von Otter (2006) Into the 80s with an ABBA tune that I think benefits from not having been unduly overplayed like some. This saw them move away from the more disco-tinged work of the 70s and produce a song that laid bare a lot of the sadness in their lives at this moment. While Bjorn suggested that his divorce from Agnetha the previous year wasn’t being channelled in this song, the vocals by her carry an earnest anguish that could only really use that upset as a starting point. It is great pop – it is what ABBA is all about, but it is also perhaps them at their best in terms of lyrics. 528. ‘Rapture’, Blondie (1980) Influenced by: Rapper’s Delight • The Sugarhill Gang (1979) Influence on: The Adventures of Grandmaster Flash on the Wheels of Steel • Grandmaster Flash & The Furious Five (1981) Covered by: Erasure (1997) • Alicia Keys (2010) I don’t think I have ever heard this song, which surprised me as I just assumed that anything that was a Blondie hit would have crossed my path at some point or other. This is a song that makes the list because it was groundbreaking (the first ‘hip-hop’ number one), yet I don’t think it dates well at all. It doesn’t help that it felt like two songs welded together rather than a natural segue from one to the other. Maybe if I’d heard it when I was younger (or magically when it was released in the 80s) this might have meant a bit more to me. I’ll give the saxophone work its due – the best bit of the song for me. 529. ‘While You See A Chance’, Steve Winwood (1980) The book proclaims this as having the DNA of the AOR (adult oriented rock) musical movement and I can see what they are getting at as it doesn’t sound too dissimilar to the types of song Phil Collins will make a lot of money off. Unfortunately, the synth keyboard doesn’t age well at all, sounding high pitched and squelchy, for lack of a better word. However, Winwood himself provides a decent vocal, a sign of things to come with this style of music: catchy, largely inoffensive, untaxing. 530. ‘Heartattack and Vine’, Tom Waits (1980) This is more of the Tom Waits I had expected to hear on this list. Raspy vocals that sound spat out, world weary and beaten down. The instrumentation is sparse to allow Waits to do his thing, exploring the less than salubrious life of a person in Los Angeles. I’ll be honest – I’m not a huge fan of Waits’ voice, but his has always been a voice that I can imagine if you ‘get’ it, you’ll love it. Mainly, it has character, something that is all too lacking in a lot of modern (admittedly, popular) music. Ok, so Babylon's Burning is my new favourite 'new' song.
  10. It is an odd one, but I don't think Brentford score unless they go 2-0 down. They just felt devoid of anything yesterday. My mate who is a Leeds fan had suggested that he was their weak link.
  11. How much of that is Kepa though I guess is what I'm wondering? If the defense isn't great and they re-invest in that area but keep him...? Is he just not much of a shot stopper?
  12. The see-saw race was beyond my abilities and I didn't even get past the second section. I also find myself fairly useless at any of the games that rely on grabbing, so the team games see me relying on others to do the bulk of things. Whirly Gig is the best one for me in terms of getting around with minimal fuss. Really fun game.
  13. I haven't been watching the Premiership much but has Kepa been that bad? What's the issue with him?
  14. I'm trying to think of the best way to phrase this, but I question how much football you've watched and what games you've watched if you are that outraged by a scuffle in the goal given the circumstances, or haven't seen one before. A scuffle in the goal as one team tries to slow things down and the other speed things up happens a fair bit. It even got a mention on the Football Cliches twitter account as it is that - a cliche of these types of games. Posted after one about him doing all the cliche things a goalie does - going down after each catch, going down with cramp, etc. It isn't 'fair', but pretty much every team does it.
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