1,001 songs to listen to before you die...

[Malenko]

3 minutes ago, VerbalPuke said:

He's got a ton of cool stuff with other bands. Also worked DOA, Nomeansno, Mojo Nixon, Lard, and his current band the Guantanamo School of Medicine. All good stuff. It's all a bit different as well, Lard is a lot like heavier Ministry stuff (because the band is basically Ministry featuring Jello Biafra). 

I know Napalm Death covered Nazi Punks Fuck Off but didn't know he collaborated with them. Sounds cool.

He also did No WTO Combo with people from Nirvana and Soundgarden and the Witch Trials with the Sound from London. Think synth-punk.

He also did Tumor Circus with Steel Pole Bath Tub which may be more up your alley. Maybe you should check them out if you don't know them yet. 

[VerbalPuke]

I love Steel Pole Bath Tub.

The Witch Trials was him and East Bay Ray I think? Or maybe it was Klaus.

[gunnar hendershow]

1 hour ago, VerbalPuke said:

I know Napalm Death covered Nazi Punks Fuck Off but didn't know he collaborated with them. Sounds cool.

Fun personal anecdote. That was my introduction to Nazi Punks Fuck Off and being a naive teenager when a year or so later I found out there was a Dead Kennedys version I thought that was the cover.

They both are great. Hard to ruin a song called Nazi Punks Fuck Off though.

[Liam]

3 hours ago, GoGo Yubari said:

God, I hate "Rapture." It's not even the best song in the "People From the mid-to-late '70s CBGB's Scene Try Their Hand at This Weird Rap Thing" lane, because the Tom Tom Club's "Wordy Rappinghood" at least goes way more absurd with it where Debbie Harry's actually trying to sound cool. I'd struggle to think of a worse song that's come up in the book as well, I might love to dunk on "Imagine" but at least I get it and it's as much a victim of overhype as anything else. I think "Rapture" probably did have to be in this book, representing the way mainstream music responded to hip-hop and all, but it's not good.

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.

Edited August 5, 2020 by Liam

[GoGo Yubari]

hey, being fairly measured on all the songs except for "Imagine" is a great bit, nothing to apologize for.

[METALMAN]

Maybe the people who compiled the book meant to put in this far superior Rapture

 

[gunnar hendershow]

"Aged poorly" is damshow for "Yeah it pretty much sucks."

[METALMAN]

well it should NOT be used in the context of Steve Winwood synths then I mean come on have a bit of class

[gunnar hendershow]

I would never say Steve Winwood synths have aged poorly.

[Malenko]

To be fair the whole album is kind of weird. The weirdest they've ever done, I'd say.

[Liam]

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.

[METALMAN]

How about this then.

Adam and the Ants looked cool but I am not convinced that they were very good at music.

I like Bob Marley a lot but I have never been a huge fan of this song. Of BM's hits this is probably the one I listen to least. It is good though, I won't deny that.

Got to admit I never really got into Joy Division. I love what Joy Division were trying to do, but I'm not sure they were particularly good at actually doing it. The poor production levels and clumsy performances don't help. Imagine how much better Dead Souls would have been if Sisters of Mercy did it.

I had no idea Master Blaster was as late as 1980s. I thought it was nestled right amongst his mid 70s golden period. Great little tune though, maybe my favourite Stevie Wonder one.

Wow, this Korgis song was not what I was expecting it to be. It's quite good, I guess? I only know the Marc et Claude eurodisco version. I like it. Love the synth flutes in this version.

I'm Coming Out and Upside Down are the two timeless Diana Ross disco tunes from this period and, even though both of them should be in this book, I guess I'm Coming Out is the superior tune. It's just sublime. Bernie Edwards and Nile Rodgers obviously deserve a lot of credit but it's Diana Ross that makes the song. She's one of my favourite vocalists of all time. There's just something about her tone and timbre that is just perfect. If I could pick a singer for my band I would quite possibly choose Diana Ross, assuming she would be up for it.. Anyway, this is almost the best song of the 80s so far. Almost. It's not Steve Winwood, let's not get carried away. But it's still a proper five star/ten out of ten/100%er.

Edited August 6, 2020 by metalman

[GoGo Yubari]

For me, the "Everybody's Got to Learn Sometimes" I know is Beck's version from the Eternal Sunshine of the Spotless Mind soundtrack. That prepared me pretty well for hearing this as it more or less keeps the tone of the song but it's less ethereal and a little sadder. I knew it was a cover but I didn't know who did the original, and now that I've heard the original I really like it.

"Redemption Song" is probably my favorite Bob Marley song. I have the live performance he did of it that was the final song he ever performed live, and you can't ask for a better song/performance to go out on than that one.

[Malenko]

I'm surprised to see Adam and the Ants here but I'm even more surprised that this is the song they picked. I feel they have some 10 songs that got more airplay than this one. Personally I like it though. More than Antmusic or Prince Charming at least, and I expected both had a better shot at being featured in the book.

 

I like Redemption Song a lot. One of the reasons being my dad used to play it to me on his acoustic guitar when I was a small child. Goosebumps. It was beautiful.

You say anyone can enjoy it though it is tinged with sadness. It's more of a because than a though for me. It's a bit like saying the movie was good but a bit sad. I read too much into unimportant things but I never got that.

 

I like this Joy Division song although I prefer Unknown Pleasures to what they did afterwards - wasn't much more anyway - and I'm surprised they picked this one. Which other songs have they included in the book so far?

 

I also like this Stevie Wonder song. I know very very little about his work, to the point I didn't even know this was his. Regardless, as I said. I like it.

 

I'm ok with the Korgis song but I feel I've heard way too much unintentionally to the point I'd be ok if this had been the last time. I believe I only know 2 of their songs - I don't really dislike the other one either and can't remember the title - because I never really looked for more, and probably still won't.

 

As for Diana Ross's I'll leave it to be enjoyed by those who are able to appreciate this style. It's just not for me.

 

 

 

[Liam]

5 hours ago, Malenko said:

I like this Joy Division song although I prefer Unknown Pleasures to what they did afterwards - wasn't much more anyway - and I'm surprised they picked this one. Which other songs have they included in the book so far?

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.

[METALMAN]

Maybe I’m misremembering but I was sure we’d already had Transmission.

[gunnar hendershow]

Yeah I think this is the 2nd Joy Division song and definitely, I feel, the weaker one.

Anyway a group with arguably the best Bob Marley, Stevie Wonder, and Diana Ross songs? Yeah that's hard to top. 

I'm not super high on Adam and the Ants. They feel like the first in the wave of groups to come who embodied the look and style of the late 70s but without the passion. Hard to put my finger on it. It's very close to great music but it's too much of a gimmick and a nod to what they think people want in music coming out of punk's explosion.

The Korgis sound a bit like Squeeze but aren't as strong as songwriters. It's an okay song.

More we can say about a near holy trinity with Stevie, Bob, and Diana the better though. We're going to have a tough time topping that in any group going forward. Just timeless classics from all three.

[Liam]

1 hour ago, metalman said:

Maybe I’m misremembering but I was sure we’d already had Transmission.

Ooo yes you are right. That means we'll have 3 then. Forgot about Transmission being on here for some reason.

[RPS]

On 05/08/2020 at 14:15, damsher hatfield said:

Three Blondie songs?

 

Heart of Glass, One Way or Another and Call Me are all fantastic songs! I disagree with Atomic and Rapture, but those three are iconic songs in my opinion. 

20 hours ago, metalman said:

I'm Coming Out and Upside Down are the two timeless Diana Ross disco tunes from this period and, even though both of them should be in this book, I guess I'm Coming Out is the superior tune. It's just sublime. Bernie Edwards and Nile Rodgers obviously deserve a lot of credit but it's Diana Ross that makes the song. She's one of my favourite vocalists of all time. There's just something about her tone and timbre that is just perfect. If I could pick a singer for my band I would quite possibly choose Diana Ross, assuming she would be up for it.. Anyway, this is almost the best song of the 80s so far. Almost. It's not Steve Winwood, let's not get carried away. But it's still a proper five star/ten out of ten/100%er.

That whole Diana LP is fantastic, in the upper echelon of pop. It is a very curious LP though. Upside Down is so uptempo and fast, and it kicks the whole LP off. Nowadays, a pop singer would set that song up as 2-4 on the record. Ms. Ross did not care and opened the LP with that boop. I love Upside Down because her vocals are so unpredictable. She is all over the place on the song and it is fantastic. It has a newness each time I hear it, almost like it is the first time I heard the song .

[Liam]

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.