Listen to this track by experimental pop collective and repositioners of classic R&B songs The Flying Lizards. It’s “Money (That’s What I Want)”, a cover of the much-beloved 1959 Barrett Strong original. As often as it was covered, by both The Beatles and by The Rolling Stones among many others, The Flying Lizards made this one their own. After its release as a single, it eventually appeared on their self-titled 1979 debut album and became an (perhaps unlikely) hit single; number 5 in the UK, and number 22 on the dance charts in the States.
In some ways, it sounds as though this take on the song is trying to throw its own fight in the appealing pop music stakes. And yet somehow, the opposite effect knocked listeners out during the height of new wave when weirdly cool records were able to thrive as record companies, perhaps, were still trying to figure out the paradigm shift. Even in 1979, this sounded pretty weird coming out of the radio; a true novelty hit.
But beyond the novelty aspect of things, I think there is something underneath this version of a classic and well-covered R&B song that does more than just amuse us by being such a curiosity as a hit single.
Listen to this track by jazz-rock innovators with a rotating line-up Weather Report. It’s “Birdland”, a bona fide hit single as taken from their 1977 album Heavy Weather. The record was a smash success, selling loads while also impressing the reviewers at Downbeat at the same time.
In particular, the album showed off the dynamics of the band and where they’d pushed the boundaries of jazz as a form, coupling it with many strains of music that included rock, funk, and electronic music. This is perhaps a reflection of the group’s leadership under keyboardist Joe Zawinul and his “partner in crime” saxophonist Wayne Shorter. Both men had come up in other bands in the sixties under Cannonball Adderley and Miles Davis respectively, with each of those being musicians who also sought to escape the rigidity of jazz as a form in order to put across musical visions using a wider palette. This certainly set the stage for Zawinul and Shorter to do the same.
Here on this song and on the rest of the record, this is evident. But it’s not just about redefining the boundaries of jazz in terms of texture and style. It’s also about form, with a specific element for which jazz is known largely left out of the equation. Read more
Listen to this track by eclectic London punk rock folk heroes The Clash. It’s “Guns Of Brixton”, a key track as taken from their landmark 1979 album London Calling. The song was the product of a songwriting and vocal effort of bassist Paul Simonon, shown on the front cover of the album giving his bass guitar an introduction to the ground in what looks like an uncontrolled act of rage. Yet on this song, that bass is used very productively indeed, even if the rage is still boiling under the surface.
By the time the band recorded this, their third album, they’d strayed away from the straight-ahead punk rock on their first album. Reggae was only one musical style to be found on London Calling, although “Guns Of Brixton” is where they get to the heart of that style more so than ever before. Simonon in particular was inspired by the cult film The Harder They Come and its main character actually referenced by name on this song. All of the violent imagery and paranoia found here comes from that same mythology found in the movie.
Having said that, it also sprang directly from the experiences and sensibilities of its writer, born and raised in Brixton and very aware of the tensions that were growing there by the end of the seventies. In this, the song was very prescient in what would happen in that very neighbourhood not long after this song was released. Read more
Listen to this track by throwback ragtime guitarist and singular “character” Leon Redbone. It’s “Lazy Bones”, a cut off of his 1975 debut record On The Track. That album contained several renditions of pre-war tin pan alley, jazz, and country blues tunes like this one that are so authentic sounding that you can practically hear the surface crackles on them.
For all of the retro-style textures from decades ago that artists today reference in their own music, Leon Redbone preceded them all. Like an artist today might reference a sound from the seventies, Redbone in turn reached back into the 1930s and even earlier to remind his audiences that the nature of pop music hadn’t really changed that much in terms of form in that they were still short little aural slabs of joy that are designed to get stuck in your head. The album even scored an #87 on the top 100 Billboard pop album chart by 1975.
Much like the dusty musical forms he traded in, Leon Redbone was an enigma. Like the blues itself, no one really knows where he came from, and not just in a showbiz sense.
Listen to this track by parodic prog rock paragons Genesis. It’s “The Return Of The Giant Hogweed”, a tale of botanical horror as featured on the 1971 album Nursery Cryme, their third. The album kicked off a new era for Genesis; new members, new textures, and a new sense of scale.
The vital additions to the band by this time were drummer and vocalist Phil Collins, and guitarist Steve Hackett. Both musicians added their considerable instrumental chops to the material on the record to raise the whole band’s game. As a result, they helped to assure the group’s place as top shelf participants in a growing movement of bands at the time who traded on complex musical structures and often very high-minded lyrical subject matter.
To me, what made Genesis unique in their early output is that they could take conventions of all kinds and bring out the absurdities in them, no matter how obscure or mundane. And here, they’re able to write a song about an invasion, while also rooting it (pardon the pun) in an area not generally drawn on by most songwriters; botany. But there’s also hint at another area of interest that can be traced in their work that delves deeper still. Read more
Listen to this track by underappreciated blues and rock architect Big Mama Thornton. It’s “Ball and Chain”, a cut that Thornton wrote in the early 1960s, recorded by the end of that decade and can be heard on the Ball And Chain compilation album. The song provided the runway for her resurgence as a performer at that time, too.
This particular rendition was recorded for public television in 1970, including Buddy Guy and his band behind a very formidable Thornton. The two artists had worked together on live shows in Europe in the mid-sixties, the musical rapport they create here perhaps indicating how simpatico they are. During her intro, Thornton mentions Janis Joplin who also had massive success with this song, inspired as she was by the elder singer’s powerful and heart-wrenching original version. Joplin would later invite Thornton to open shows for her.
Yet, Thornton was the pioneer while Joplin trod her path. This being the music industry, and being our world in general, that path was fraught with perils for someone like Big Mama Thornton. The first casualty was her own fame, or lack thereof. Read more
Listen to this track by sisterly New Jersey vocal folk trio The Roches. It’s “Runs In The Family”, a cut off of their 1979 eponymous debut album The Roches. The group was made up of the three Roche sisters, those being Maggie, Terre, and Suzzy, hailing from Park Ridge New Jersey from a solidly Irish-American background.
The Roches’ sound isn’t the genteel and polite one that we might expect from folk-singing sisters. There is a distinct edge to it, with three singers who don’t stay in their lanes even as they mesh their voices, and with those voices marked by idiosyncrasies instead of by standard purity of tone. And talk about unexpected musical combinations. King Crimson-honcho and prog-rock prime mover Robert Fripp not only played guitar on the record, he also produced it.
Even the material undercuts what we expect of a folk tune. This is no fey tale that tells a story of times past. This is decidedly contemporary, concerning itself with an important question that very few of us can honestly answer; why do we make the choices we make and in some cases, do we even have a choice at all? Read more
Listen to this track by former mod representatives turned classic rock institution The Who. It’s “Who Are You”, the concluding song that served as the title track to their 1978 album Who Are You. That record would represent the end of an era for the band when drummer Keith Moon passed away a month after it was released. The attached rendition of the song here is featured in the 1979 documentary The Kids Are Alright.
In some ways, this song and its album marked the end of an era for rock music, too. By the end of the seventies, popular music was exponentially dividing into multiple streams including punk, new wave, and disco. Certain tracks on this album make direct reference to that. Meanwhile, the band itself was struggling along after a three-year recording hiatus with Moon’s health in visible decline. The dynamics between musicians and in turn between the band and the production team that included Glyn Johns and Jon Astley were beginning to fray at the ends as well. These were not easy sessions. Perhaps this was the result of a shot of self-awareness at being among the second generation of rock musicians beginning to sense the end of their prime period.
As usual on this particular song, guitarist and head songwriter Pete Townshend’s well-trodden themes of image, identity, and truth are firmly in place. This time, they come with a bona fide autobiographical component to the story that perhaps goes against expectations when it comes to old rockers versus new punks. Read more
Listen to this track by art movement-inspired goth-rock forefathers from Northampton, Bauhaus. It’s “Bela Lugosi’s Dead”, their first and most influential song released as a 12″ single in August of 1979. At over nine minutes long, it still managed to make a cultural impact, even if it failed to chart in the UK.
The single is thought to be the first goth-rock song in much the same way as “Rocket 88” is thought of as the first rock ‘n’ roll tune. It’s initial impact on the listener might be mostly centered around waiting for the vocals to kick in, which they eventually do a full third of the way through. It’s not exactly in line with the received wisdom about the immediacy of pop music, then. But once the approach of this song is established, the listener begins to get that immediacy doesn’t really suit this tune anyway.
The song isn’t even about hooks or musical events as most pop and rock music generally is about. But what this song does feature is very specifically designed psychological mechanisms we trip up as we make our way through it that may be as important to our psychology as any love song is. Read more
Listen to this track by Boston-born disco queen and original dance-pop music diva Donna Summer. It’s “I Feel Love”, the breakthrough 1977 electro-dance hit as produced by Italian producer and musician Giorgio Moroder . It would appear on her fifth album, I Remember Yesterday and as a 12 inch extended single (an innovation of her label, Casablanca), which is what you’re hearing now. It would appear in multiple re-mixes over the years.
Legend has it that Brian Eno and David Bowie discovered the song while in the middle of making the Berlin Trilogy, convincing even them of what dance music would sound like in the ensuing decades. They were right on the money, of course. Along with being thoroughly innovative, this song was also a huge pop hit that immediately appealed to the masses. It scored top ten status all over the world and effectively solidified Donna Summer’s star status at just the right time, which was the height of the disco period.
Amazingly too, it paved the way for modern club music in general by freeing it from the world of American R&B, and introducing decidedly European influences instead. Its influence would have a lasting impact well beyond disco, particularly where music technology was concerned, but for many other reasons, too. Read more