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

[Bobfoc]

I like all these ones. I didn't think I'd see Girlschool on this list, so that's a nice surprise.

Name most cheesy eighties pop rock and I probably like it. I make no apologies for it either. Journey have plenty of hits I enjoy, and even if Don't Stop Believing has been overplayed to an extreme level in recent years, it's still a great singalong.

[VerbalPuke]

I fucking hate Journey and especially that song. With that out of the way.. 

Pleasant surprise to see Motorhead/Girlschool. We all know about Motorhead but Girlschool were fucking bad ass in their own right. 

That guitar riff though. 

[Liam]

568.      

‘Pretty in Pink’, The Psychadelic Furs (1981)

Influenced by: Sweet Jane • The Velvet Underground (1970)   

Influence on: Mr. Brightside • The Killers (2004)   

Covered by: Pink Lincolns (1987) • Automatic Seven (1997) • The Dresden Dolls (2005)   

Other key track: Mack the Knife (1981)

I haven’t heard of the song or I don’t even think the band if I’m being honest. However, this feels very early 90s pop/rock to me if anything. It is interesting that this inspired a film of the same name as it does feel like the type of track that would end up at the start or end of a teen rom-com. While the guitar and drums are both good, I do feel I particularly enjoy the keyboard work that takes the edge slightly off of the rockier elements of the song, giving it more dynamism and making it catchier in the process.

569.      

‘Ghost Town’, The Specials (1981)

Influenced by: What a Feeling • Gregory Isaacs (1980)   

Influence on: Hell Is Around the Corner • Tricky (1995)   

Covered by: Terry Hall (1995) • The Prodigy (2002) • Get Cape. Wear Cape. Fly (2006) • The Aggrolites (2009) • Kode9 & The Spaceape (2009)   

Other key track: Do Nothing (1980)

There are certain genres that you may not be a huge fan of, but you can easily identify the song or two that you really like. I’ve said before I’m not a big fan of ska or two tone – largely because my experience with the genre tended towards revivals and iterations of the original stuff rather than the trendsetters – but I do enjoy this song. The lyrics and overall negative tone was prescient for a time period where riots were kicking off in the UK, people were unhappy with the government, and the band were falling out with each other. Indeed, three quit shortly after it was released. Still, the eeriness of the sirens and the trumpet (I believe that is what it is) help to push the lyrics and the song as a whole to the next level.

570.      

‘I’m In Love With A German Film Star’, The Passions (1981)

Influenced by: Fade Away and Radiate • Blondie (1978)   

Influence on: The Metro • Berlin (1981)  

Covered by: The Names (2002) • Foo Fighters (2005) • Chris Whitley (2005)

There are some songs where just the name makes me want to like them. I think I was hoping for something a little more idiosyncratic than what I got, but that isn’t to say the song isn’t good. Barbara Gogan has a great smokiness to her voice, while the drums, guitar and bass create a backdrop that is hypnotic in nature. It works well for the lyrics – a tale of infatuation having a tune that pretty much locks you in is a happy stroke of luck or musical skill whichever way you look at it. I think the build to the end is also effective, as it could be considered fairly monotonous otherwise.

571.      

‘Radio Free Europe’, R.E.M. (1981)

– Original recording

Influenced by: When My Baby’s Beside Me • Big Star (1972)   

Influence on: Agoraphobia • Deerhunter (2008)   

Covered by: The Replacements (1985) • Just Say No (1992) • Alan Pinches (1997)   

Other key track: Sitting Still (1981)

I’m a pretty big fan of R.E.M., but I’ve never really heard any of their earlier stuff. This, to me, feels like it gets on the list primarily for being the first song on their first album if my research is correct. There isn’t anything particularly bad about this, yet there isn’t really anything that makes it stand out amongst some of the other songs on the list. As they head towards the chorus, you get that first sense of the sound that will make them famous as Stipe goes from mumbling the verse to a more soaring vocal, while the overall jangliness of the guitars adds a certain amount of life to the song. Decent, and an interesting snapshot of them so early on.

572.      

‘The Message’, Grandmaster Flash and the Furious Five (1982)

This is a hip hop song that has transcended vastly beyond that niche and for all the right reasons. Unlike the usual braggadocious lyrics, it was a song that aimed to explore ideas around inner city poverty. When you throw in the playful keyboard, squealing synths and various other elements, it all comes together to make a song that stood out musically as well as for its message. It isn’t hard to see how this song became such a huge hit in 1982 – it felt different compared to the tunes from its own genre, let alone when you compare to what else was out there. Apparently, only Melle Mel ended up on the song; the rest were on the label seemingly for promotional reasons as much as anything…or at least that is my understanding.

573.      

‘365 Is My Number’, King Sunny Ade and His African Beats (1982)

Now this is a fun song. Very much outside of my wheelhouse, yet I always feel that a good percussion can make a song palatable for anyone as it just makes you want to nod your head or tap along. This has that in spades, while there are some interesting use of slide guitar and surf rock elements to make it more interesting to a Western ear, it could be argued. For my own interest, it probably goes a little bit too long overall, but is another song from another culture that I am glad that I’ve had a chance to check out through this project.

[METALMAN]

Oh I've missed a couple. 

I don't really like Soft Cell doing Tainted Love. The cover of Where Did Our Love Go that is sometimes tacked onto the end of it is better, but that's largely because Where Did Our Love Go is a better song than Tainted Love. Soft Cell aren't great.

I like those Yoko Ono, Motorhead/Girlschool and Rick James ones, but they're nothing to write home about.

Don't Stop Believing is kind of dogshit. But I have a soft spot towards it because it reminds me of my first year at university. Now you have to guess whether I am an old man who started university in 1981 or if my first year coincided with the Don't Stop Believing revival because of Glee and all that shit.

I really like Pretty In Pink. That's a proper good song.

Ghost Town is brilliant. I love the intro and the general feel of the whole tune, so the extended version which adds a whole load more instrumental parts is my go-to. Got a bit of a revival this year because of that Rolling Stones ghost town song of course.

I like that German film star song.

The Message is great. It's the first of those early hip-hop songs that I actually like. Maybe it's my favourite one of all-time, though I'm by no means a great student of the genre.

I like the King Sunny Ade song. One of the good things about the 1980s was the ever-increasing prominence of "world" music, perhaps gaining a level of acceptance it hasn't really enjoyed since. (Vampire Weekend don't count : /)

[Liam]

574.      

‘Do You Really Want To Hurt Me?’, Culture Club (1982)

Influenced by: The Tracks of My Tears • The Miracles (1965)   

Influence on: Hold Me Now • Thompson Twins (1983)   

Covered by: Violent Femmes (1991) • Diana King (1997) • Mike Post (1998) • Mark Eitzel (1998) • Blue Lagoon (2005)

This is another song which I attribute my knowledge or interest in it to something other than the song. For this one, it is the scenes in The Wedding Singer that have this song as the focal point. This was the first real hit for Culture Club and came the year after MTV began broadcasting, perhaps beginning to highlight the importance of style to go with substance. This is a soulful enough tune, yet one that I do think could be quite divisive. Myself? I like it and thing that George’s vocals, while not the most impressive comparative to the best, carry the song considering they are largely front and centre without much to hide them.

575.      

‘Electric Avenue’, Eddy Grant (1982)

Influenced by: Downpressor Man • Peter Tosh (1977)   

Influence on: Avenues • Refugee Camp All-Stars (1997)   

Covered by: Raggadeath (1997) • Tait (2003) • Skindred (2009)  

Other key tracks: I Don’t Wanna Dance (1982) • War Party (1982)

I remember this from its re-release in the 00s and enjoy it now as I did then. The interesting thing here is how the lyrics are somewhat at odds with the jaunty tune that underpins it all. This is a frustrated Grant lashing out about class and poverty issues with Electric Avenue a reference to a real street in London. The use of synths and guitars create that swarming noise in places that suggests the unrest that Grant is looking to explore at the same time as turning this into an absolute jam.

576.      

‘Sweet Dreams (Are Made Of This)’, Eurythmics (1982)

Maybe calling this underrated is a stretch, but it isn’t always a song I think about when it comes to the overall ‘best’ songs. However, it is a complete banger – catchy, aggressive, melodious, immediate. Lennox is a bit like Boy George here inasmuch as someone with a distinctive look that was immediately engaging, yet I’d argue her vocals are a touch above his. There is a whole sense of something darker that the music helps to create, all topped off with some overtly sarcastic lyrics that sought to explore the realities of trying to make it in the music industry.

[VerbalPuke]

Electric Avenue is a fucking tune! I love it, absolutely love it. My dad had the cassette of it when I was growing up.

Fun fact, Eddy Grant had a group called the Equals in the 60s that had a sort of popular song in "Baby Come Back". I think I remember it being cited as a very early precursor to ska/reggae.

 

[Liam]

577.      

‘Atomic Dog’, George Clinton (1982)

Due to how ‘urban’ music tends to end up sampling or being sampled, I assumed that I might have heard this song before in some iteration, and I wasn’t wrong – I’m going to guess it was Snoop Dogg’s treatment of the tune that was my introduction. This is very influential apparently, yet it is hard with the distance of time to understand why. I mean, the percussion and synths create a fun beat, but it wouldn’t be a song that leapt out at me as something that was going to go on to be used in a number of different songs, films or television. A good song, just a bit of a baffling one.

578.      

‘State of Independence’, Donna Summer (1982)

Influenced by: State of Independence • Jon & Vangelis (1981)   

Influence on: The Places You Find Love • Quincy Jones (1989)   

Covered by: Moodswings featuring Chrissie Hynde (1991)

This is a pretty wild song when you look at its providence. Originally recorded by Jon Anderson of Yes and Vangelis, Donna Summer re-recorded it with backing vocals from people such as Michael Jackson, Lionel Richie and Dionne Warwick. There is simultaneously a lushness and an etherealness – if that is possible – about the background music, while Summer has the voice to carry a song without doubt. As for the choir of backing vocal talent? They add a nice sense of dynamism to what is going on, as well as reinforcing the positive tone that the song seems to strive for. A good tune that I’m surprised I’ve never heard of.

579.      

‘Save A Prayer’, Duran Duran (1982)

Influenced by: If You Could Read My Mind • Gordon Lightfoot (1970)   

Influence on: Teddy Picker • Arctic Monkeys (2007)  

Covered by: Tony Hadley (1997)   

Other key tracks: Planet Earth (1981) • Hungry Like the Wolf (1982) • Rio (1982)

Some interesting influenced/influence choices here. I’ve already talked a bit about Duran Duran and that I tend to like their main singles as they meld together that 80s synth sound with what I believe are quite good pop songs. This is an underrated one in my own eyes somewhat as I do like it, I just don’t have as much interest in the song as I do some of their other tunes. As always, one of the big selling points for Duran Duran was the music video and they didn’t disappoint with some impressive views of Sri Lanka that aimed to sell the band’s apparently life of decadence. This all plays out against a backdrop of a fairly negative narrative – an interesting counterpoint between visuals and sound.

580.      

‘Candy Girl’, New Edition (1982)

Influenced by: ABC • The Jackson 5 (1970)   

Influence on: Candy • LL Cool J featuring Ralph Tresvant & Ricky Bell (1997)   

Covered by: Baby DC featuring Imajin (1999)   

Other key tracks: Is This the End? (1983) • Popcorn Love (1983)

I love the trivia that this is the first ever UK number 1 single with rapping in it, especially since the guns, bling and gangster image that is often frowned upon by those who know no better. This feels so Jackson 5, while the rap element bridges the gap between that period of music and the more modern style that had become popular. This also felt like a song that kept the idea of the boy band simmering along, eventually ending up with acts like New Kids of the Block (created by the same person, in fact) and even eventually stuff like NSync.

581.      

‘Mad World’, Tears for Fears (1982)

Influenced by: Matthew and Son • Cat Stevens (1966)   

Influence on: American Princess • Prozak (2008)   

Covered by: Michael Andrews featuring Gary Jules (2003) • Brai nclaw (2004) • The Red Paintings (2005) • Sara Hickman (2006) • Tara MacLean (2007) • Zonaria (2008) • Elisa (2009)

I’m of the generation where my first introduction to this tune was the Michael Andrews/Gary Jules cover. There is a real darkness in the tune and the lyrics to the song, yet underneath if all is a hookiness that speaks to the Cure or even what Depeche Mode eventually became as the decade progressed. This utilisation of not only synth, but discordant noise in pop music seemed to becoming more popular. I probably never quite gave this the credit it should have got as I was a big fan of the cover, as well as other Tears for Fears songs, but it is a very oddly fascinating slice of music for the time period.

 

[METALMAN]

Oh this is a very iffy set. George Clinton and Donna Summer have done much better than this. Duran Duran haven't because they're shite. The kid in New Edition has an annoying voice. I guess Mad World is okay.

[Liam]

582.      

‘Black Metal’, Venom (1982)

I’m surprised that this song didn’t get a little influence/influenced section considering it was pretty important in the grand scheme of metal. Funnily enough, even though I am aware of it, I don’t think I’ve ever listened to it. What I always find humorous is what was considered ‘heavy’ then compared to know. That is not to say this doesn’t have some oomph and some punch. I really like everything except for the lyrics which are quite cheesy and going for ‘dark’ in a way that is very 80s.. This plays into my wheelhouse due to it being metal, but I think this a good song all in all.

583.      

‘Shipbuilding’, Robert Wyatt (1982)

This was a song with lyrics written by Elvis Costello about the Falklands War. The latter part of this sentence gives the song its ‘importance’ in some regards, as it was an example of music tackling the societal issues of the day. However, I’m very unsure about Wyatt’s voice. I feel there is a time where I would have really liked it, yet I don’t think it quite does it for me at the moment. It might perhaps be a grower though as the swelling music and Wyatt’s contributions towards the end were working more for me by the end. On any given day, my reaction to this could be very different.

584.      

‘Cattle and Cane’, The Go-Betweens (1982)

Influenced by: Who Loves the Sun • The Velvet Underground (1970)   

Influence on: Lazy Line Painter Jane • Belle & Sebastian (1997)   

Covered by: The Wedding Present (1992) • Jimmy Little (1999)

The book mentions about how Grant McLennan, before his death, talked about how proud he was of the different sound of this song. That is probably the best way to describe it – it does sound very different to a lot of what has come before. Singer songwriter with a mix of that driving rhythm that speaks to Joy Division almost (or so the book suggests). The vocal style seems to me to be something that will be aped by a number of bands in the late 90s/early 00s: akin earnest speaking rather than singing. While it is interesting, I’m not sure if I particularly like it if I’m being completely honest.

[VerbalPuke]

Venom is fun, can't take them too seriously because as Liam said, it's silly stuff. Still, they are influential and the music isn't bad. 

[apsham]

Venom is silly, yeah - but they embrace the silliness and they know it's silly and that is one of the big parts of their appeal.

[GoGo Yubari]

I listened to that full Venom album a couple weeks ago. Absolutely wild where that subgenre eventually leads because yeah, it's a pretty fun album that seems incredibly aware of how ridiculous the whole thing is.

[METALMAN]

I remember reading someone who said pretty much all metal since Venom can be divided into those who knew Venom were having a laugh and those who thought they were being serious. That’s a reasonable, if crude distinction. Obviously the music of the former is much better.

Edited August 26, 2020 by metalman

[Liam]

585.      

Album version

Single version

 ‘Uncertain Smile’, The The (1982)

Influenced by: Hot on the Heels of Love • Throbbing Gristle (1979)   

Influence on: Divine • Sébastien Tellier (2008)   

Covered by: Pierce Turner (1986) • Poésie Noire (1990)  

Other key tracks: Perfect (1983) • Infected (1986) • The Beat(en) Generation (1989)

This was a song that I took to almost immediately. I’m reliably informed that the integral use of the xylimba is what gives this songs its shimmery percussion that I particularly like, while everything feels oddly ‘easy’, for lack of a better way of putting it. That feeling is somewhat at odds with the negative, lovelorn lyrics, but everything just clicks for me. I have shared both versions, with the second album version getting rid of the horns and including a Jools Holland piano solo that could sound out of place, yet somehow doesn’t even though it runs fairly contrary to what came before. I prefer the album version for those keeping score.

586.      

‘Valley Girl’, Frank Zappa (1982)

Influenced by: Supernaut • Black Sabbath (1972)

Influence on: Ya Hozna • Frank Zappa (1984)  

Covered by: The Lewinskys (2003)   

Other key tracks: You Are What You Is (1981) • No Not Now (1982) • Teen-Age Prostitute (1982)

There is no messing around with this song as it leaps straight out of the speakers and never lets up. This was Moon Unit Zappa’s desire to spend more time with her father in musical form, as he recorded her doing impressions of the local California teen-speak. This to me seems to be the precursor somewhat to the skit-song, for lack of a better term - the types of song which mixed singing and talking that became popular in alternative music in particular. Moon Unit does a really good job here of embodying that very (now) stereotypical view of what a valley girl was like and I really like the chugging guitars in the background. A better song that it has any right to be in some ways.

587.      

‘Thriller’, Michael Jackson (1982)

There isn’t much I can say here that hasn’t already been said. This was the perfect marriage of music and video as ‘Thriller’ saw a fourteen minute homage to horror films take centre stage as much as the tune itself. The sheer scale of this was unheard of in terms of length and budget, with it even getting a theatrical release. The song actually isn’t up there for me as one of Jackson’s best, but it is one of his most important without question.

588.      

‘Shock the Monkey’, Peter Gabriel (1982)

Tight percussive rhythms seem to be the order of the day in the very few tunes by Peter Gabriel that I’ve heard. Considering that is something I particularly enjoy, that is never a bad thing, though I’ve never been inclined to check out anything beyond that by him. I find that the lyrics of the song make this a weird choice for chart success, but chart success is what it managed as it was Gabriel’s biggest US song to date. This might be sacrilege to Gabriel fans – I really don’t know – but Gabriel doesn’t sound too dissimilar vocally to Phil Collins to my ears. That, or my hearing is just awful. The song was catchy enough to end up stuck in my head afterwards, so it has that going for it.

[VerbalPuke]

There is Frank Zappa. A good song but I feel like he had previous stuff that may have been a better inclusion. This one is fun though. Either way, I love Zappa, he was brilliant. Great guitar player, composer, song writer, and managed stay relevant in the music world. His stuff sometimes sounded silly but had some pretty good social commentary behind it (see Bobby Brown goes down).

[METALMAN]

The The are cool. I like that song.

My dad likes Valley Girl. I don't really like it and I'm baffled to see it here. Of Zappa's better known tunes Peaces En Regalia is so much better and for some reason not in this list. That tune is massively helped from being spared from Zappa's lyrics too.

Eh I've always found Thriller a bit boring. That might be because I've never watched the music video. I expect this book will also give us Billie Jean and Beat it. Which is fair enough. They are better tunes.

Shock the Monkey is really good. Peter Gabriel was doing so much good stuff around this time. 

[Hobo]

My girlfriend and her dad love Frank Zappa. Her dad apparently modeled his look after Zappa when he was younger. I haven't ever really gotten that into him myself.

I do love Peter Gabriel though. I think post Genesis Peter Gabriel is pretty great and I also love post Peter Gabriel Genesis. While I don't really enjoy Phil Collins solo work nearly as much.

Gabriel recorded his first two solo albums in German so there is also a German version of Shock the Monkey

 

[gunnar hendershow]

I've enjoyed what I've heard of The The. I should listen to/like more Frank Zappa than I do. He's one of the more famous musicians to come from Baltimore! But alas he's never truly grabbed me when I go to check him out.

I don't really love "Thriller" as a pop song. Michael Jackson did a lot better. I assume most of those will make this list however.

"Shock the Monkey" is a great tune but might not even crack my top 10 Peter Gabriel songs. He put out so much great work, especially around this point in time.

[Liam]

589.      

‘Save It For Later’, The Beat (1982)

Though the lyrics suggested a maturity, this was actually written when Dave Wakeling was a teenager – the song title even makes a sexual pun (…fellator). The Beat apparently were an act that leant more towards ska, but with this final album went for an up-market pop sound. The strings and brass give what is already a catchy tune another layer, while Wakeling’s languidly frustrated vocals fit the narrative of thinking that older people than you don’t always know any better in the grand scheme of things.

590.      

‘Great Southern Land’, Icehouse (1982)

I wasn’t too sure what to expect as the book talked about Icehouse being an Australian band who had some lowkey success around the same time that AC/DC and INXS were beginning to go international. What I got was a song best positioned as AOR I feel, though one with quite an epic atmosphere to it. Normally, this might mean that numerous layers of sound or numbers of instruments, yet this was relatively sparse – it just continued to build in a way that made it feel bigger than the sum of its parts. The reverby vocals are a personal favourite and the whole song is worth a listen.

591.      

‘Party Fears II’, The Associates (1982)

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

Influence on: Nobody’s Diary • Yazoo (1983)   

Covered by: The Divine Comedy (2006)   

Other key tracks: Gloomy Sunday (1982) • It’s Better This Way (1982) • Arrogance Gave Him Up (1982)

Nat King Cole, Bryan Ferry, David Bowie, Dusty Springfield, Billie Holiday, Can, and Kraftwerk are the bands cited as this bands main influences, which goes some way to describe the absolute carnage that is the song. It constantly feels like it is going to fall apart, yet plugs away in a manner that is equal parts camp, poppy, and crazy. Billy Mackenzie’s faux-operatic (almost) vocals stand out the most and are unlike any vocalist I think I’ve ever heard. Warbly and emotive, I’m still not quite sure what to make of them now.

[METALMAN]

I love that Associates song. Great band and great album too. Did a better version of Boys Keep Swinging than Bowie I was about to say there were loads of great Glasgow bands around this period, but I check Wikipedia and it turns out they are actually from Dundee so I better not go there (in both senses).

I didn't know the other two songs.

Seems like Icehouse invented the War on Drugs, and wow - that's not what I expected from the Beat. I only knew them as a ska bunch. I liked both of them, incidentally.