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

[gunnar hendershow]

So the previous group was a lot of more harder/experimental, but really good songs, and the latest group is a lot of fun/easy, but really good songs.

I really, really love Duran Duran. "Girls on Film" is one of my favorites by them too. They really found their niche and ran with it. Great songs and great videos to go with it. Few groups are more 1980s than them.

"I Got You" and "It Must Be Love" and "I Love Rock n Roll" are all really great, fun songs and all perfect for a drunken night of karaoke. "Mickey" is a lot of fun too but I think it's something I might have heard a bit too often.

Some people love Rush. I just like Rush. They have some good songs and did some really inventive stuff. "Tom Sawyer" is a blast of a song and I enjoy it everytime I hear it.

Going back to the earlier group. "Psycho Killer" is a big omission but when the Talking Heads embraced pop stylings a bit more is when they became an all-time great band. "Ace of Spades" is a real great song, the best by Motorhead in my estimation. Likewise for "Vienna" by Ultravox. I was heavily into industrial in my younger years but never dove too far into Killing Joke. It's so rough around the edges, love it. "Start!" is a great single that definitely sounds like "Taxman" with just a little less polish. 

[METALMAN]

That Split Enz one is decent. never heard it before.

I forgot what a good little song It Must Be Love Is.

I only know two Rush songs but I like them all so I should probably pursue them a bit further. Tom Sawyer is one of those, obvs.

I hate Duran Duran. Their music is so fucking boring. Girls on Film is boring, but admittedly not as boring as Rio. The bassist has a decent youtube channel though.

Speaking of which, ILR&R is boring. britney spears version is better.

Mickey is a really good song, but like ILR&R, a superior cover would emerge in the late 90s. This time by Lolly, of course.

[Bobfoc]

I never knew B*Witched did a version of Mickey.

[Malenko]

I love Madness and Joan Jett is really cool. However, and while I don't expect it to be in the book, I like Bad Reputation so much more. I'm not a fan of I love rock 'n roll which I have heard way too many times.

As for Madness, I love them but I could have easily picked 20 other songs I love. And I don't mean random album songs or obscure b-sides. I understand pretty much every song in the book is a single, and I could still have picked 20 alternatives. I don't even dislike the song but this one wouldn't have been my choice, regardless of how famous it is. I'm pretty sure it'll be their only song too.

 

I don't know much about Split Enz but I like a song "I see red". This one is ok. Don't hate it. Don't love it.

[METALMAN]

That's a good point, Bad Reputation is way better than ILR&R. But they both turn up in the same kind of kids comedy films. I wonder if filmmakers get some kind of two for one deal with them. They're both the sort of songs I can imagine being in the soundtrack for Garfield: The Movie. (There is no need to check the soundtrack for the Garfield: The Movie to see if they are actually there.)

Edited August 14, 2020 by metalman

[Skummy]

I do feel that this sort of book does tend to give a little favouritism towards songs like "I Love Rock & Roll" that are about rock music, as it's just an easy sell to explain it. That said, it's also by far Jett's most famous song, and I probably only dislike it through overexposure.

Things are starting to move out of my '76-'80 goldilocks zone of liking more stuff than I dislike here, getting into some '80s pop and rock that does little for me. Though Madness and Motorhead are both absolutely superb, obviously. Not a fan of Rush, but I do quite like Tom Sawyer, it's one of their less silly songs.

[Malenko]

1 hour ago, metalman said:

That's a good point, Bad Reputation is way better than ILR&R. But they both turn up in the same kind of kids comedy films. I wonder if filmmakers get some kind of two for one deal with them. They're both the sort of songs I can imagine being in the soundtrack for Garfield: The Movie. (There is no need to check the soundtrack for the Garfield: The Movie to see if they are actually there.)

I decided to check it out probably because you told me not to. Anyway, while those songs aren't there you get Hound Dog by Elvis and Stray Cat Strut by the Stray Cats. Good stuff.

I guess Joan Jett just missed the mark by not making her songs a bit more pet themed.

[gunnar hendershow]

I feel a bit bad for Joan Jett that her brand of rock n roll got co-opted into being "safe" because when I think of The Runaways I don't think of safe rock music. It's kind of weird, but it's classic "a the chorus is catchy" rock appropriation by the suits. Good for her bank account though!

I'm also a bit biased towards Joan Jett because she's one of the bigger celebrity fans the Baltimore Orioles have. And I'm easy to impress.

[RPS]

5 hours ago, metalman said:

That's a good point, Bad Reputation is way better than ILR&R. But they both turn up in the same kind of kids comedy films. I wonder if filmmakers get some kind of two for one deal with them. They're both the sort of songs I can imagine being in the soundtrack for Garfield: The Movie. (There is no need to check the soundtrack for the Garfield: The Movie to see if they are actually there.)

This is interesting. I think that I Love Rock and Roll is completely hampered by the fact it is everywhere, overexposed and been imitated often. I

I think I Love Rock and Roll is an excellent song. To me the song is timeless and classic and it sounds like a song that could be released today. Bad Reputation is very good, but a song carried off the vocals of Jett. 

[Liam]

554.      

‘Computer Love’, Kraftwerk (1981)

Influenced by: Telemusik • Karlheinz Stockhausen (1966)   

Influence on: Computer Love (Sweet Dreams) • The Egyptian Lover (1984)   

Covered by: Balanescu Quartet (1992) • Camouflage (1992) • The Album Leaf (2001)

Yeah, I’ll be honest and say that I ‘knew’ this song, or at least the melody, from its use in Coldplay’s ‘Talk’. I will also be honest and say that I didn’t realise Coldplay had lifted it from anywhere, so shows how much I know. Apparently, Chris Martin asked permission by letter, receiving a one word reply – ‘Yes’. This thematically at least is ahead of its time as it aimed to explore ideas that predated what eventually became computer dating and all that entails. This isn’t the only theme that felt ahead of its time apparently as the album this came explored a wide variety of computer based moral and ethical issues. Though there may be a negative tone to the lyrics, the music does feel more upbeat than that which has already been on the list by Kraftwerk, helped by that chiming segment that Coldplay borrowed.

555.      

‘O Superman’, Laurie Anderson (1981)

Influenced by: Piece in the Shape of a Square • Philip Glass (1968)   

Influence on: Obsession • Army of Lovers (1991)

Covered by: David Bowie (1997) • MANDY vs Booka Shade (2008)   

Other key track: Sharkey’s Day (1984)

This is a very interesting addition, the one mainstream hit by the avant garde artist Laurie Anderson. The book states ‘“O Superman” was conceived as a cover of the aria “O Souverain, o juge, o père,” from Jules Massenet’s 1885 opera Le Cid’, so there you go. There is a weirdly hypnotic nature to the ‘song’, while it does also aim to pass some comment on the US involvement in Iran, so it came from a position of political engagement at least. Yeah, I’m a bit lost with this one – I’m not sure if I enjoyed it, but I definitely feel like I needed to hear it.

556.      

‘In The Air Tonight’, Phil Collins (1981)

My topic is clearly working within the zeitgeist as this entry comes mere days after this song – or the reaction to this song by two young music fans – went viral. Considering Collins is known for his chirpy, middle of the road pop tunes, this is all a lot eerier with a sound that came about by accident when the engineer opened the reverse talkback mic during a Genesis practice. They liked the sound and it was utilised in this song. The whole viral video thing focused on the reaction to the drums kicking in three minutes into the song and it isn’t surprising that that bit of music could still generate a reaction irrelevant of age or generation – it is a release that was built up masterfully throughout the song and still gives me goosebumps.

[gunnar hendershow]

"Computer Love" is one of those Kraftwerk songs that feels really ahead of its time. Like I know its cliche to say that about all their music but this is really playing into what the distant future is going to look and feel like. It's always a neat factoid about Coldplay that I forget and then am reminded of.

I'll just leave "O Superman" at being a song I needed to hear but just a tad too avant-garde for me on a Friday afternoon.

Phil Collins produced so much great stuff but there's just something so captivating and special about "In the Air Tonight". That video pretty much sums up my reaction every time the drums hit. It's just a fantastic tune and one I'll never tire of.

[METALMAN]

Computer Love. What a tune. I remember an interview where Coldplay said they did what they did because they wanted to beef up the weak pocket calculator sound. That's just silly. It's great as it is. Lovely melody.

I'm sure Laurie Anderson thinks what she is doing here is interesting. And it does have some interesting bits. But mostly it verges between boring and annoying. It's all well and good to try new stuff, but it helps if it you try to not make it shit. I'll listen to this again tomorrow to see if I feel any differently but I doubt it. There was a time when I'd pretend I liked this so I could seem cool, but I can't be bothered anymore. (Also this song was a UK #2 wtf?)

Whereas with In the Air Tonight we have an almost flawless fusion of "experimental" influences with tunefulness. (Not even kidding here.) I'm not a huge Fill Collins fan by any means, but the last 1:30 of this song is one of the best snippets of pop music you can get, and the bit preceding bit is not too bad either.

Edited August 14, 2020 by metalman

[Liam]

557.      

‘Edge of Seventeen’, Stevie Nicks (1981)

Yeah, I didn’t think I knew this song, but the moment the guitar intro kicked in, I realised I at least knew that much. It is another strange song as I don’t really remember ever hearing all of it, yet I do remember the introduction including Nicks’ initial vocals (thus you can’t blame it just on ‘Bootylicious’ by Destiny Child). With lyrics that were designed to initially celebrate the love between Tom Petty and his wife, Jane, yet with John Lennon’s death alongside that of a close family member, they shifted towards a look at mortality in general. There is a part of me that feels you need to have a pretty good voice as a woman to stand out in rock music at this time, and that is what Nicks definitely offers. The strength of the guitar line, even with it being so simple, shows that you don’t always have to overthink things to create a very catchy tune, working as a very effective backbone to everything that happens around it.

558.      

‘Via con me’, Paulo Conte (1981)

This feels like an addition to encapsulate a career and a style of music rather than for the quality of the song itself. Not to say it is bad by any means, just that it wouldn’t be making a list I made. When the most notable thing is the interestingly utilised English lyrics (‘chips, chips’), it doesn’t speak the most highly for what was on offer. I’m sure if you like this style – canzone d’autore, according to the book – this might do more for you, plus the backing music is pleasantly swinging, but there has been a lot better.

559.      

‘Under Pressure’, Queen and David Bowie (1981)

This is a song I’ve always loved, yet have never had to think too much about why. It helps that I do like Queen a lot, and don’t mind Bowie either. It is the mix of their two voices, coupled with the bass hook, that works best for me. Mercury on his own could be a little overwhelming, yet Bowie offers – for the most part – a grounded alternative. However, he does give as good as he gets as the song progresses, which I think really helps it as everything builds to a crescendo, both musically and vocally. Outside of the introduction, the Bowie-led part around three minutes into the song is probably the high point for me.

[Liam]

560.      

‘Our Lips Are Sealed’, The Go-Go’s (1981)

‘We Got The Beat’ is the only song I’ve ever heard by the Go-Go’s. It doesn’t surprise me to hear that they came from a heavier background, as they mix a nice amount of oomph underneath the fun poppier delivery of the vocals. Interestingly, this is actually a song about real-life infidelity, something that wouldn’t necessarily be clear if you focused just on the overall tone which seems pretty positive for the most part. Perhaps it is because there aren’t as many out there in prominent positions, but I do like a female rock band; by the very nature of them, they just sound different from a lot of the copy and paste stuff that is out there.

561.      

‘Genius of Love’, Tom Tom Club (1981)

It is completely outside of my remit when it comes to musical fandom, so it probably isn’t a surprise that I had no idea that ‘Fantasy’ by Mariah Carey basically….re-did this song in the closest way you can without doing a cover, or so it feels. I quite like ‘Fantasy’ for what it is, but this is probably more in my wheelhouse in the grander scheme of things. Tina Weymouth and Chris Frantz from Talking Heads formed the group when unhappy with things in their day-job band, roping in some other musicians and creating sounds such as this very song. There’s a lazy groove to everything which I like, though I’d say that the melody and music is vastly more notable than the vocals and lyrics that go with them.

562.      

‘Ghosts’, Japan (1981)

Influenced by: Art Decade • David Bowie (1977)   

Influence on: Mad World • Tears for Fears (1983)  

Covered by: Mathilde Santing (2008)   

Other key tracks: Adolescent Sex (1977) • Life in Tokyo (1979) • Gentlemen Take Polaroids (1980) • Cantonese Boy (1981)

Well, this is very different. Eerie and sparse in terms of the instrumentals, though with some futuristic bleeps and bloops to very much position it in the 80s, this is all about David Sylvian’s lyrics and vocals. A song that uses ghosts as a metaphor for anxieties, the vocal delivery is very strong in my opinion. It needs to be when it is so central to what is going on, so fair play for that. I believe that a less-80s version of the song – if that makes sense – would be better, one that removed some of the more computerised sounds as they don’t add much for me.

[mattman1624]

I check in on this thread from time to time, maybe I should comment on the last two posts.

Edge of Seventeen is a song I just can't take seriously on its own because I heard Bootylicious first. That's all I think of when I hear that riff. It is actually good on it's own.

Via con me has a beat I can sway back and forth to.

Under Pressure is a classic for me. A great pairing of two titans of rock music.

I haven't bothered to listen to The Go-Go's besides the chorus of this and "We got the Beat." I paid attention to the lyrics of this one and agree with you about the song being a little more serious beneath the happy beat. I'll try and check them out on Spotify this week.

My goodness, Mariah Carey completely ripped off "Genius of Love" for "Fantasy." This is just as blatant as Vanilla Ice taking the bass line for "Under Pressure" Though, I still like Mariah's song better.

"Ghosts" is a cool song. The vocals remind me of the vocals of Sono of the Japanese visual kei band Matenrou Opera. In other words, they sound very cool, and a bit haunting. The electronic bits do date the song.

 

 

 

[apsham]

Belinda Carlisle 😍

I've never heard that Japan song before and I am totally here for it as well. Awesome.

[Malenko]

I like the Go Go's song, poppy as it is.

[METALMAN]

Edge of Seventeen and Bootylicious are both good. Edge of Seventeen is better because I prefer Stevie Nicks's voice.

Via con me is good

Under Pressure is good

Our Lips Are Sealed is good

Genius of Love is good. The version on Stop Making Sense where David Byrne goes to get changed into his suit is better. It has a bit more oomph (and some really bad dancing, which is what the whole Talking Heads axis is really about). Fantasy by Mariah Carey is really good too.

Japan are a good band. David Sylvian is good too (I'm sure some of you might recognise this one). Ghosts is a good song.

 

Fascinating analysis, eh?

 

Edited August 17, 2020 by metalman

[VerbalPuke]

Yeah, the Go-Gos are pretty fucking cool aren't they? Belinda Carlisle was in the Germs during their early stages but never actually played a gig. I love the bass in this one.

[Liam]

563.      

‘Tainted Love’, Soft Cell (1981)

Influenced by: Tainted Love • Gloria Jones (1964)   

Influence on: SOS • Rihanna (2006)   

Covered by: David Benoit (1994) • Wild Strawberries (2000) • Marilyn Manson (2002) • Paul Young (2006)   

Other key tracks: Say Hello, Wave Goodbye (1981) • Torch (1982)

This was a song that I listened to for many years without realising it was actually a cover version of a Northern soul song from the 60s. This feels like we are very much heading into the electronic 80s as songs like this begin to turn up on the list. It has always been a tune I’ve enjoyed, while for some it took on a deeper meaning as it was considered lyrically to be relevant to the increasing AIDs epidemic, yet I do believe it lacks a bit of oomph know that I listen to it critically. It is all very soft touch – which is obviously what they were going for – but it makes it seem weaker with age personally.

564.      

‘Walking on Thin Ice’, Yoko Ono (1981)

Influenced by: Ashes to Ashes • David Bowie (1980)   

Influence on: Hunter • Björk (1997)   

Covered by: Elvis Costello & The Attractions (1984) • We’ve Got a Fuzzbox and We’re Gonna Use It (1989)   

Other key tracks: Why (1970) • Kiss Kiss Kiss (1980) • Hard Times Are Over (1981) • No, No, No (1981)

I’ll be honest, I was ready to dismiss this song as being on the list purely due to who wrote it and how it was recorded hours before John Lennon was killed. However, that would do the song somewhat of a disservice. That isn’t to say it is comparable to some of the other, much better tunes that have popped up so far, but the angular guitar and Ono’s restrained vocals add a layer on top of a catchy rhythm section that lays underneath it all. I find the suggestion of an influence on Bjork an interesting one, as there are vocal moments and sounds from Ono that sound not entirely unlike something I’d expect from the younger artist.

565.      

‘Please Don’t Touch’, Motorhead/Girlschool (1981)

Influenced by: Summertime Blues • Eddie Cochran (1958)   

Influence on: Plastic Girl • The Busy Signals (2007)   

Covered by: The Meteors (1989) • Stray Cats (1994)   

Other key tracks: Emergency (1981) • Bomber (1981)

After their drummer broke his neck during a test of strength, Motorhead regrouped by recording an EP with labelmates Girlschool. They each recorded a song from the other band, before coming together for this song under the name ‘Headgirl’. This is a fun slice of rock and roll that comes barrelling out of the speakers and never really relents. Lemmy has a great rock voice as we know, yet it was nicely supported by Kelly Johnson who doesn’t feel any lesser by comparison. Going back to an older rock tune was a good choice as it bridged the gap between rock, metal and even to some extent pop as it was a catchy little number.

566.      

‘Super Freak’, Rick James (1981)

Yeah, so I obviously first heard ‘this’ when MC Hammer decided to lift the beat, and it isn’t hard to see why he did as it is a jaunty mix of what sounds like synthesiser, bass and keyboard, though I could be completely wrong about that composition. It is interesting to see the shift in lyrical content from the time he was signed (1966) to now, as this is all about the sex and unashamed about that. I mean, it is a better song than the MC Hammer tune that liberally lifted from it, but I find it hard to see past that for some reason. It just all seems a bit silly, though that might be to discredit this a little bit too unfairly.

567.      

‘Don’t Stop Believing’, Journey (1981)

I always wondered to what extent this was considered a ‘classic’ song or was just the right song in the right place when it came to a tune people were looking at for television and movies in the mid 00s. That isn’t to question how good it was as a song – sure, some may find it cheesy, but if you are into this AOR style of music, this is a great tune. Steve Perry has ungodly pipes, while the guitar riffs give it a bit of punch to take it a step above a sappy power ballad. At times, you just want a song to singalong to, and this offers that in spades.