kippax_blueboy
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Scar Tissue
Rock Evolution – The History of Rock & Roll - 1987 - (page 218)
- Thread starter RobMCFC
- Start date
Black&White&BlueMoon Town
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I think what I missed the most about about seeing U2 in 1987 on their Joshua Tree tour was one of the opening bands for them at certain US cities.
BoDeans had released their sophomore album Outside Looking In late in the year in October and it was even better than their first, which I had on heavy rotation the year prior. If I had room for a track from that, it would be "Only Love". "Dreams" and "Pick Up the Pieces" were also standouts there.
Their album came out the same month that Robbie Roberston of The Band had his initial solo album release, and BoDeans played a prominent part on three songs from this release, along with U2 on two. I'm a bit surprised that no one has nominated a song from that album as it really was fantastic, so I'll go with my favourite track on there that includes Robbie and BoDeans on backing vocals on his highest charting track.
Robertson wrote this track as a rebuke of nuclear weapons from the perspective of a Native American. Robertson noted that he was initially reluctant to write a song relating to the end of the world, but ultimately found the subject matter to be pertinent enough to craft a song around the premise. Some of the lyrics were spurred by a vision Robertson had about people pleading with world leaders not to perpetuate a global arms race. He also said that the lyrical themes related to "the simplicity of Indian life", being "true to the Earth, the sky and the elements", and the fear of compromising this to nuclear warfare.
"Showdown at Big Sky" - Robbie Robertson
BoDeans had released their sophomore album Outside Looking In late in the year in October and it was even better than their first, which I had on heavy rotation the year prior. If I had room for a track from that, it would be "Only Love". "Dreams" and "Pick Up the Pieces" were also standouts there.
Their album came out the same month that Robbie Roberston of The Band had his initial solo album release, and BoDeans played a prominent part on three songs from this release, along with U2 on two. I'm a bit surprised that no one has nominated a song from that album as it really was fantastic, so I'll go with my favourite track on there that includes Robbie and BoDeans on backing vocals on his highest charting track.
Robertson wrote this track as a rebuke of nuclear weapons from the perspective of a Native American. Robertson noted that he was initially reluctant to write a song relating to the end of the world, but ultimately found the subject matter to be pertinent enough to craft a song around the premise. Some of the lyrics were spurred by a vision Robertson had about people pleading with world leaders not to perpetuate a global arms race. He also said that the lyrical themes related to "the simplicity of Indian life", being "true to the Earth, the sky and the elements", and the fear of compromising this to nuclear warfare.
"Showdown at Big Sky" - Robbie Robertson
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RobMCFC
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A wonderful album with producer Daniel Lanois on a hot streak. I mentioned it in the write-up, and there is my favourite song from the album to come in the coda.
OB1
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I was very close to nominating a Robbie Robertson track Somewhere Down the Lazy River was part of the soundtrack of my summer in Nashville. I love that track and the album is great.
Black&White&BlueMoon Town
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threespires
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If we're going to have iffy pop songs on the coda then let's have some good ones in the main list ;-)
Toss up between The Blow Monkeys and the Tefal headed but nonetheless alluring Belinda Carlisle. The bowler hat wins the day...
The Blow Monkeys - It Doesn't Have To Be This Way
Toss up between The Blow Monkeys and the Tefal headed but nonetheless alluring Belinda Carlisle. The bowler hat wins the day...
The Blow Monkeys - It Doesn't Have To Be This Way
threespires
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10,000 Maniacs are often viewed as a bit lightweight and not worthy of their alt rock peers. Whether this is because of their softer folk and pop influences, or Natalie Merchants vocal delivery I don't know. In 1987 they put out an album that covered domestic abuse, addiction, illiteracy and depression amongst other things. Possibly their mistake was making it all a bit too accessible.
10,000 Maniacs - Don't Talk
10,000 Maniacs - Don't Talk
GoatersLeftShin
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I was going to nominate "Pump Up The Volume" but just seen Rob did! I think this is another landmark track that quite simply just sounded like nothing else. The contrast to this song compared to the likes of the guitar bands on the tracklist/coda is something else and again, it's showing that the age of the guitar being the 'tool' of the rock star is changing. Samples, drum machines and a general lack of structure (eg no chorus as such) really stands out. me and my friend who borrowed the school music teachers 4 track tried to make something like this and, obviously, failed!
I do think when we look at the mid-late 80s we are still missing a couple of major players of the time. Without question, Stock Aitken Waterman dominated the UK charts and whilst I don't like the song it has become a classic signature of tune of theirs. I don't know how many singles they got to #1 but it was a lot and probably rivalled many of the great bands. Wikipedia says they had an astonishing 100 Top 40 hits which is quite something. And maybe their best known track is:
Rick Astley - Never Gonna Give You Up
The late 80s are also a hotbed of rap - Run DMC, Eric B & Rakim and of course Public Enemy are some of the names around this time.
Last year saw the release of Slayers "Reign in Blood" which is an iconic album in the history of thrash metal. To take the riff from the Angel of Death and then put this over the top of the Funky Drummer by James Brown to create a new track isn't something most people would think of doing. Public Enemy did and the whole thing just sounds amazing. I know rap won't be many peoples go-to style on here, but honestly the sound of Chuck D and Flavor Flav is almost 'THE' sound of rap.
Public Enemy - She Watch Channel Zero?
Whilst we're a year off the Second Summer Of Love, the basic building blocks for Acid House and that iconic sound are here now. It has everything that is going to follow and is another landmark of this year. Firstly, it has that drum machine with the Roland 303 bass over the top and that unmistakable sound of the 'squelch'. This sound is coming straight from the clubs in Chicago and will land in Manchester and change the fortune of the city, fundamental in helping to drive the coming rave scene. These tracks are absolutely pivotal in changing the culture across the UK, particularly in Manchester.
Again, just listen to the contrast between songs from (say) U2 to M/A/R/R/S to this - they are so far apart that it's incredible to think these are all from the same year!
Phuture - Acid Tracks
I do think when we look at the mid-late 80s we are still missing a couple of major players of the time. Without question, Stock Aitken Waterman dominated the UK charts and whilst I don't like the song it has become a classic signature of tune of theirs. I don't know how many singles they got to #1 but it was a lot and probably rivalled many of the great bands. Wikipedia says they had an astonishing 100 Top 40 hits which is quite something. And maybe their best known track is:
Rick Astley - Never Gonna Give You Up
The late 80s are also a hotbed of rap - Run DMC, Eric B & Rakim and of course Public Enemy are some of the names around this time.
Last year saw the release of Slayers "Reign in Blood" which is an iconic album in the history of thrash metal. To take the riff from the Angel of Death and then put this over the top of the Funky Drummer by James Brown to create a new track isn't something most people would think of doing. Public Enemy did and the whole thing just sounds amazing. I know rap won't be many peoples go-to style on here, but honestly the sound of Chuck D and Flavor Flav is almost 'THE' sound of rap.
Public Enemy - She Watch Channel Zero?
Whilst we're a year off the Second Summer Of Love, the basic building blocks for Acid House and that iconic sound are here now. It has everything that is going to follow and is another landmark of this year. Firstly, it has that drum machine with the Roland 303 bass over the top and that unmistakable sound of the 'squelch'. This sound is coming straight from the clubs in Chicago and will land in Manchester and change the fortune of the city, fundamental in helping to drive the coming rave scene. These tracks are absolutely pivotal in changing the culture across the UK, particularly in Manchester.
Again, just listen to the contrast between songs from (say) U2 to M/A/R/R/S to this - they are so far apart that it's incredible to think these are all from the same year!
Phuture - Acid Tracks
Saddleworth2
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At the time I thought it was an amazing album. My thought on U2 have since been tarnished a little by Bono being a bit of a cock. I haven’t played it in years. I wonder if I would still enjoy it as much - must try.
RobMCFC
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I’m the other way. I only knew the singles in 1987 and wasn’t too fussed, but over the years I have listened to it, it’s grown on me as an album.
RobMCFC
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Coda Part 2 – Rock Classics
- “Hazy Shade of Winter” – The Bangles
- “Check It Out” – John Cougar Mellencamp
- “Never Tear Us Apart” – INXS
- “With of Without You” – U2
- “Little Lies” - Fleetwood Mac
- “The One I Love” - REM
- “Somewhere Down The Crazy River” - Robbie Robertson
- “Tunnel of Love” – Bruce Springsteen
- "Alone" - Heart
- “Got My Mind Set On You” - George Harrison
- “Dude Looks Like A Lady” – Aerosmith
- “Hazy Shade of Winter” – The Bangles
- “Check It Out” – John Cougar Mellencamp
- “Never Tear Us Apart” – INXS
- “With of Without You” – U2
- “Little Lies” - Fleetwood Mac
- “The One I Love” - REM
- “Somewhere Down The Crazy River” - Robbie Robertson
- “Tunnel of Love” – Bruce Springsteen
- "Alone" - Heart
- “Got My Mind Set On You” - George Harrison
- “Dude Looks Like A Lady” – Aerosmith
OB1
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LOL - Yeah.
OB1
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That knocks a few off my short list.
I’d have gone for “Cherry Bomb” and “Permanent Vacation” though.
threespires
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For my last song I've gone for something a bit atypical. Jennifer Warnes will probably be best remembered for being a partner in crime on two less than universally loved power ballads of the 80s, both huge hits from blockbuster movies. Imo this is a shame because she is a talented singer and songwriter and has lent her skills to many artists most notably Leonard Cohen with whom she worked for many, many years.
In 1987 (technically released in ‘86 but didn’t make any impact till ‘87) she released the album Famous Blue Raincoat, an album of (mostly) Cohen covers several of which she had sung on the originals and, in some cases, done the vocal arrangement. The album cover refers to itself as ‘Jenny Sings Lenny’. Notwithstanding the very 80s production values, it shows off her voice and his songs equally well. But the track I’m choosing is a track that was written by Warnes in conjunction with Cohen.
Though you can reasonably argue that a great song shouldn’t need any context to understand, the track in question is an example of how a little bit of context can elevate a song. It’s a ballad called Song of Bernadette, and on first listen you could be forgiven for thinking it a bit schmaltzy. You might even raise an eyebrow that Cohen lent a hand in the writing, that is until a bit context is added.
Originally Warnes was given the birth name Bernadette, it was only changed to Jennifer after lobbying from her siblings in the days following her birth. In the late 70’s Warnes was touring in France with Leonard Cohen and as a form of self-reflection and examination, she began to write letters between her current self, the Jennifer who was by this point worldly wise, and Bernadette the other ‘version’ of her who hadn’t had chance to be corrupted by the world. The tour bus passed nearby Lourdes, which as a Catholic who had briefly entered a convent before embarking on her music career, Warnes would have known was the home of the famous shrine commemorating the visions that a young girl, Bernadette Soubirous, had had of the Virgin Mary.
So, the shared name and reflection on Warnes imagined other self, resulted in a song that initially sounds like a simple invocation of St Bernadette of Lourdes as a model of compassion but on closer inspection turns into something more. When she sings the lines
‘I just want to hold you, come on let me hold you, like Bernadette would do’
the phrase seems to take on two different but entwined meanings. It’s seemingly an offer to provide comfort in the way the saint might; but it can be read not simply as an offer, it’s a also request (‘I just want to’, ‘let me’) or even a prayer for the opportunity to become closer to the Bernadette she once was, the babe in arms who doesn’t carry with her the litany of bad choices, wounds inflicted and received over the years. Imo it’s a simple but incredibly eloquent piece of writing worthy of Cohen himself.
I think the use of the words ‘hold you’ is also very intentional and in keeping with her understanding of the true spirit of Lourdes. There is no offer to ‘fix’ the person, simply to hold them, to be with them. Many people misunderstand the nature of shrines associated with pilgrimage, especially Lourdes. They assume that people go to them in the hope of a miraculous cure, and they see the gaudy circus surrounding these places and can easily, and not unreasonably, conclude that what they are seeing is the exploitation of the vulnerable or gullible or perhaps desperate people resorting to self-delusion. However, this is to misunderstand the motivation of pilgrims who journey to these shrines. They rarely travel in expectation of a miracle cure, the healing they seek is almost always of a much humbler nature. They go to be given comfort and strength to carry on, to be amongst people who understand their pain be it physical or otherwise, to not be judged or seen as a burden but as someone important and loved and, even if only for the most fleeting of moments, to be at peace. They go to be held. Sometimes physically but always metaphysically. But more than that, I never cease to be amazed that some of the most compassionate and caring people in these environments are themselves pilgrims who are shouldering more than their own share of suffering. They find healing not just in being held but in the holding of others and in doing so become something more than they were. I think ultimately that’s true of all of us.
This song understands that and articulates it in a simple but for me quietly profound way.
Jennifer Warnes – Song of Bernadette
In 1987 (technically released in ‘86 but didn’t make any impact till ‘87) she released the album Famous Blue Raincoat, an album of (mostly) Cohen covers several of which she had sung on the originals and, in some cases, done the vocal arrangement. The album cover refers to itself as ‘Jenny Sings Lenny’. Notwithstanding the very 80s production values, it shows off her voice and his songs equally well. But the track I’m choosing is a track that was written by Warnes in conjunction with Cohen.
Though you can reasonably argue that a great song shouldn’t need any context to understand, the track in question is an example of how a little bit of context can elevate a song. It’s a ballad called Song of Bernadette, and on first listen you could be forgiven for thinking it a bit schmaltzy. You might even raise an eyebrow that Cohen lent a hand in the writing, that is until a bit context is added.
Originally Warnes was given the birth name Bernadette, it was only changed to Jennifer after lobbying from her siblings in the days following her birth. In the late 70’s Warnes was touring in France with Leonard Cohen and as a form of self-reflection and examination, she began to write letters between her current self, the Jennifer who was by this point worldly wise, and Bernadette the other ‘version’ of her who hadn’t had chance to be corrupted by the world. The tour bus passed nearby Lourdes, which as a Catholic who had briefly entered a convent before embarking on her music career, Warnes would have known was the home of the famous shrine commemorating the visions that a young girl, Bernadette Soubirous, had had of the Virgin Mary.
So, the shared name and reflection on Warnes imagined other self, resulted in a song that initially sounds like a simple invocation of St Bernadette of Lourdes as a model of compassion but on closer inspection turns into something more. When she sings the lines
‘I just want to hold you, come on let me hold you, like Bernadette would do’
the phrase seems to take on two different but entwined meanings. It’s seemingly an offer to provide comfort in the way the saint might; but it can be read not simply as an offer, it’s a also request (‘I just want to’, ‘let me’) or even a prayer for the opportunity to become closer to the Bernadette she once was, the babe in arms who doesn’t carry with her the litany of bad choices, wounds inflicted and received over the years. Imo it’s a simple but incredibly eloquent piece of writing worthy of Cohen himself.
I think the use of the words ‘hold you’ is also very intentional and in keeping with her understanding of the true spirit of Lourdes. There is no offer to ‘fix’ the person, simply to hold them, to be with them. Many people misunderstand the nature of shrines associated with pilgrimage, especially Lourdes. They assume that people go to them in the hope of a miraculous cure, and they see the gaudy circus surrounding these places and can easily, and not unreasonably, conclude that what they are seeing is the exploitation of the vulnerable or gullible or perhaps desperate people resorting to self-delusion. However, this is to misunderstand the motivation of pilgrims who journey to these shrines. They rarely travel in expectation of a miracle cure, the healing they seek is almost always of a much humbler nature. They go to be given comfort and strength to carry on, to be amongst people who understand their pain be it physical or otherwise, to not be judged or seen as a burden but as someone important and loved and, even if only for the most fleeting of moments, to be at peace. They go to be held. Sometimes physically but always metaphysically. But more than that, I never cease to be amazed that some of the most compassionate and caring people in these environments are themselves pilgrims who are shouldering more than their own share of suffering. They find healing not just in being held but in the holding of others and in doing so become something more than they were. I think ultimately that’s true of all of us.
This song understands that and articulates it in a simple but for me quietly profound way.
Jennifer Warnes – Song of Bernadette
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Black&White&BlueMoon Town
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I didn't expect my final selections to make that list, so I'll put them out now, though if the 2nd became near the closure before the Coda, that would be more than fine with me. I'm not sure if Rob had plans or one in mind otherwise.
This band released their 3rd album Earth, Sun, Moon and had their first hit with this track. While the album continued in a psychedelic vein, the band also experimented with a folk-based indie rock sound. Vestiges of a gothic rock sound remained, but the band continued to sound less like their former group, Bauhaus. The more I have thought about my ongoing move to alternative music, this band and song were early on the list of key and strong influencers.
My world is your world
People like to hear their names
I'm no exception
Please call my name
Call my name
"No New Tale to Tell" - Love and Rockets
My final song was released as part of the movie Dirty Dancing that came out that spring. Starring Patrick Swayze (RIP) and Jennifer Grey, it was an unforgettable movie with lots of great songs and even better dancing scenes.
Much of the film was filmed at Mountain Lake in Pembroke, VA, about 30 minutes away from my university. Mountain Lake was a popular summer destination and very picturesque.
Unfortunately, the lake experienced dramatic water level changes due to natural geological shifts, drying up completely in 2008 and staying empty for years.
Just as surprisingly, it began refilling around 2020 as its underground "plumbing" system shifted, revealing a fascinating cycle of draining and refilling that is unique to that location. While the lake isn't back to its former size, the water's return has reignited interest in the resort again. Fans who thought they'd never see the lake again have returned, thrilled to reconnect with the original setting from the movie. After some additional studies, Scientists found that the lake hits a major low about every 400 years.
4 years after the movie was released, my fiancée and I had gone back to Mountain Lake as a consideration for our planned wedding reception. While that location turned out to be a bit more expensive and remote for what we were looking for, this song served as the closer for our wedding reception and we've had it played at most ones since to get everyone involved and on the dance floor.
This song has won a number of awards, including the Academy Award for Best Original Song, the Golden Globe Award for Best Original Song, and the Grammy Award for Best Pop Performance by a Duo or Group with Vocals.
And remember
You're the one thing I can't get enough of
So, I'll tell you something
This could be love, because...
"(I've Had) The Time of My Life" - Bill Medley and Jennifer Warnes
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Black&White&BlueMoon Town
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Uncanny I was writing about one of those two at the same time. Great back story on the artist.
threespires
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Indeed. I don't personally feel very strongly about either song, they're not my cup of tea but I know people who can't be doing with either of them particularly the officer and a gentleman one. I just think it's a shame that most people either think of Warnes as 'just' a backing singer or associate her only with those two songs; in both cases I think it sells a talented lady short.
The contrast in those first two pictures is incredible. Must have been gutting for the local economy.
BimboBob
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I can't be doing with either of them. There, I said it. Feels good. Officer and Dirty Dancing were dog shit. As were the songs. In fact, reading the last few pages, most of this year was dog shit. Robbie Robertson? Debbie Gibson? Fucking Tiffany? And don't get me started on that Funky Town cover.
A year of mostly bland music.
(This opinion might change soon as I've not had a brew yet)
A year of mostly bland music.
(This opinion might change soon as I've not had a brew yet)
Saddleworth2
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what a lovely piece of writing mate.