I'm not sure how or why, but this was one of the first 80s albums I ever listened to. First five or so. Can't quite remember the circumstances. Whenever I see the cover all I can think about is 'why did I start there'. I'm also in the boat saying it hasn't aged well. As someone who listened to a lot of 80s records for the first time 20+ years after their release, I feel that's why I haven't quite connected with the decade as many others have. A lot of production techniques and sounds were caught in this awkward teenage adolescence.
(Love lots from the 80s, don't get me wrong, but even looking at the numbers on my charts you can kinda tells it's the decade I'm least invested in). Think that might also be why I think it's one of the decades with the most gems (if that makes sense).
Year: 1982
BEA Overall Rank: 3,202
BEA Year Rank: 54
What the book says: "The album became one of the most influential albums of 1980s synth pop, containing seeds that would later flower in the work of numerous other bands, including Duran Duran ("Bap De La Bap" could be the father of "Rio")
My assessment: Instrumental album opener "Arrogance Gave Him Up" hints at a much more carefree record than what follows. The song would be right at home in the opening credit sequence of a cheesy 1980s comedy. The moody art pop of "No" immediately pulls the album in a totally different direction. The book compares "Bap De La Bap" to "Rio" but what I hear is an early predecessor to darkwave, which is far cooler. Where so many synth heavy records from this time period sound terribly dated, Sulk generally avoids that trope. Associates often come across as 80s Bowie doing his best Scott Walker impression, which isn't a bad thing.
Is It Essential?: I'm on the fence. It's an album that sounds ahead of its time that I quite like, but I can't help but feel it lacks that special something in the songwriter that would push it to being required listening.
Favorite tracks: Bap De La Bap, Nude Spoons, Party Fears Two
I'm also in the boat saying it hasn't aged well. As someone who listened to a lot of 80s records for the first time 20+ years after their release, I feel that's why I haven't quite connected with the decade as many others have. A lot of production techniques and sounds were caught in this awkward teenage adolescence.
You're not alone. This era, more than pretty much any, seems to suffer from production techniques used. Your description of the production and sounds of the period being caught in an awkward teenage adolescence is pretty apt. _________________ http://jonnyleather.com
Year: 1982
BEA Overall Rank: 3,954
BEA Year Rank: 66
What the book says: "Circumstances surrounding the recording of Junkyard were chaotic, to say the least. Tracy Pew was jailed for three months for theft and drunk driving; drummer Phil Calvert was slowly being ousted; and copious amounts of alcohol and narcotics fueled the band's psychotic sleaze blues. The chaos is mirrored in the raw and powerful music, which often sounds as though each member is playing a different song to the others."
My assessment: Following the past couple of decades of wisdom-filled somber ballads, it can be easy to forget just how wild and unhinged Nick Cave once was. From start to finish, Junkyard is one of the most tense, chaotic rock records ever made. Like Suicide's debut, it generates a sense of danger rarely found in music. The book's description of the band's sound as "psychotic sleaze blues" couldn't be more fitting. It's raw, aggressive style is an amazingly stark contrast relative to the sleak studio polish of Lexicon of Love.
Is It Essential?: Yes. I may prefer Prayers on Fire, but Junkyard may be the best representation of what made the Birthday Party so special and influential.
Favorite tracks: Junkyard, She's Hit, Release the Bats
What the book says: "As a follow-up to his breakthrough album, 1980's boisterous double set The River, on the face of it Nebraska sounded like career suicide. Yet Springsteen was determined to have his album of home demos released, even though it saw the light of day against the backdrop of the singer falling out with his record label."
My assessment: It's hard to imagine what Springsteen was up against in convincing his label to let him release this album. The River may have been bloated, but it also cemented Bruce as a stadium rock super star. Calm, quiet, and introspective, Nebraska was far from radio friendly pop. With minimal musical distraction Springsteen's masterful storytelling takes center-focus, with tales that hit deep within the soul of blue-collar American life.
Is It Essential?: Of course. It's possibly the most timeless release in the career of one of America's most celebrated songwriters.
Favorite tracks: Johnny 99, State Trooper, Highway Patrolman
Year: 1982
BEA Overall Rank: 1,431
BEA Year Rank: 21
What the book says: "In retrospect, Too-Rye-Ay, with its fussy production and reliance on reworkings of old songs, is the worst of the three Dexy's albums; but if this is the worst album in your collection, pat yourself on the back"
My assessment: Few songs were as inescapable in the 1980s as "Come On Eileen" and I have always been completely fine with that. Dexy's big 1982 hit was one of the first contemporary (at the time) songs that I truly loved, and it has forever remained a favorite. Like many of the MTV era hits of that time period, the band was written off as a one hit wonder in the USA, and it took me years to realize that there was much more to love about the band. The combination of the band's heartfelt, upbeat blue-eyed soul and nostalgia makes Too-Rye-Ay an absolute joy to listen to, even 4 decades later. That being said, it's far from perfect. It's an uneven record carried by a few incredible standout tracks.
Is It Essential?: No. Their previous album Searching For The Young Soul Rebels is the band's most essential album, and "Come On Eileen" is an essential listen (which you've certainly heard unless you've been living under a rock for the past 40 years).
Favorite tracks: Come on Eileen, Jackie Wilson Said (I'm In Heaven When You Smile), The Celtic Soul Brothers (More, Please, Thank You)
My assessment: Few songs were as inescapable in the 1980s as "Come On Eileen" and I have always been completely fine with that. Dexy's big 1982 hit was one of the first contemporary (at the time) songs that I truly loved, and it has forever remained a favorite. Like many of the MTV era hits of that time period, the band was written off as a one hit wonder in the USA, and it took me years to realize that there was much more to love about the band. The combination of the band's heartfelt, upbeat blue-eyed soul and nostalgia makes Too-Rye-Ay an absolute joy to listen to, even 4 decades later. That being said, it's far from perfect. It's an uneven record carried by a few incredible standout tracks.
Ugh! That's me too. I still haven't listened to any of their albums. Clearly time to change that!
What the book says: "Despite the pre-Beatles themes, The Nightfly sounded more modern than any Steely Dan album: produced by Gary Katz and engineered by Roger Nichols, both longtime Dan collaborators, it was the first mainstream album recorded solely on digital equipment, and remains a favorite among audiophiles. "
My assessment: Like the bulk of Steely Dan's discography, Fagan's solo debut is sleek mid tempo jazz pop that generally leaves me feeling empty inside. It's undeniably expertly crafted, but mostly feels emotionally sterile to my ears, especially in comparison to the visceral Junkyard. "New Frontier" is a total jam though, and the album is consistent in its chill mood.
Is It Essential?: This is where things get challenging. The Nightfly is not exactly my cup of tea, but I think it'd be safe to recognize it as an essential album within its musical style.
Year: 1982
BEA Overall Rank: 903
BEA Year Rank: 13
What the book says: "Six albums in five years and still the driven and prolific Elvis Costello had barely put a foot wrong. He had emerged from punk snarling, dallied with delusions of Abba, homaged soul, even been to Nashville to record an honest-to-god country album. What next?! Well, he enlisted as producer Geoff Emerick (inspired engineer on The Beatles' Sgt. Pepper...), and together they set to work on what would gradually reveal itself to be a darkly seductive collection of lush and heady pop. That is if anything so shot through with melancholy, guilt, and despair can ever be described as pop."
My assessment: The melancholy is there, but so are Costello's incredible melodies, which counter the aforementioned despair with a sense of optimism. The arrangements are lush, but never excessive. Coming from an era of bad production, Imperial Bedroom stands out as a marvel, and Costello's songwriting and wordplay are in peak form. This album is a slow burn. In the past, I've only really listened to it in the background, so I never fully appreciated just how nuanced of a record it is, both musically and lyrically.
Is It Essential?: Yes. If I had to pick a single album to convince you that Elvis Costello is a genius, this may not it, but it's certainly a masterpiece. It may even be his best.
Favorite tracks: Beyond Belief, You Little Fool, Man Out of Time
My assessment: The melancholy is there, but so are Costello's incredible melodies, which counter the aforementioned despair with a sense of optimism. The arrangements are lush, but never excessive. Coming from an era of bad production, Imperial Bedroom stands out as a marvel, and Costello's songwriting and wordplay are in peak form. This album is a slow burn. In the past, I've only really listened to it in the background, so I never fully appreciated just how nuanced of a record it is, both musically and lyrically.
Is It Essential?: Yes. If I had to pick a single album to convince you that Elvis Costello is a genius, this may not it, but it's certainly a masterpiece. It may even be his best.
Another one to throw on the queue. I've always been sweet on Costello's 70s Power Pop stuff, but could never get into his 80s stuff. Will check out Get Happy!! and this soon.
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