The Lightbowne Cowboy
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I love 80s music on the whole but 1987 is without doubt my least favourite year.
Rock Evolution – The History of Rock & Roll - 1988 - (page 224)
- Thread starter RobMCFC
- Start date
RobMCFC
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The problem with most of you lot on here, you just don’t appreciate the right kind of music :)
Manc, indie blah blah blah.
Protein Junkie
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2003 is still free MES. You need to do this year. It was the birth of a very popular quiz show the name of which escapes me.
Mad Eyed Screamer
Moderator
I’ll have to decline. 79 to around 95 is my range. Too busy changing nappies after that to be bothering with new music. With the exception of Morrissey, Belle and Sebastian and a couple of Doves, James and The Thrills albums I couldn’t do any year after 95 any justice at all.
Mad Eyed Screamer
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This is bannable language in these parts….
Black&White&BlueMoon Town
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0 for 2 from my personal vantage point, but I like a good amount of Rob's music too, so I just smile and give him the pass that MCD hopefully gives us both for our certain Canadian rock band leanings. ;-)
Since we have extra time until the next year in 80's turns over in the new year, I do plan on weighing in on 1987, I just haven't had the time yet to put in a proper write-up. That and having lots to do for that new/next year... ;-)
threespires
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Spawned the greatest use of a deckchair in the history of moving pictures.
RobMCFC
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Added to the coda.
Added to the main list, but please try to stick to the deadlines next time :)
Black&White&BlueMoon Town
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The History of Rock & Roll - 1987
We don't serve your country, don't serve your king
White man listen to the songs we sing
White man came, took everything
We carry in our hearts the true country
And that cannot be stolen
We follow in the steps of our ancestry
And that cannot be broken
Happy New Year to my fellow History Of Rock crew here. Before we jump into 1988 next week, a mention of 1987 should be in play here. Kudos to @RobMCFC for an enjoyable intro read and start of the playlist for this year. From the intro lyrics here, Midnight Oil's "The Dead Heart" was the standout song, and I'm glad this track was picked out of all of the ones available off that fantastic album. Rehearing this again reminded me why and how I enjoyed this song so much, as this was the first year I and most would hear this band in their commercial breakthrough. High marks to Mellencamp, U2, The Hooters and Rush, and for Tom Petty's track, though I much prefer "Runaway Trains" as the standout musical and vocal track on that album. The Prince track was new to me, and it almost seemed too uncanny to the Roxette similar track that was soon to come, but Prince was first.
The Big Winner
“The Cross” – Prince, I wasn't listening to this album as much as I had heard Purple Rain prior, but this guitar-led track was really powerful. A spiritual Christian song that I wasn't anticipating, this track really was a standout. Kudos to @Saddleworth2 for nominating this non-single track. I've already re-listened to JCM's album from this year, and Prince is also on my list to check out from this track.
Top New Songs
Top Songs I Knew Quite Well
On Second Thought
I was not much of a George Michael fan in the 1980's, but the vocals delivered in “Father Figure” is some of the best and emotional ones I’ve heard. A very powerful R&B and gospel led song that sounds almost Prince-like, no wonder it hit #1 in many countries. Shirley Lewis’s backing vocals on this track also make it very memorable. I enjoyed revisiting this song and it sounding much better than I remember.
We don't serve your country, don't serve your king
White man listen to the songs we sing
White man came, took everything
We carry in our hearts the true country
And that cannot be stolen
We follow in the steps of our ancestry
And that cannot be broken
Happy New Year to my fellow History Of Rock crew here. Before we jump into 1988 next week, a mention of 1987 should be in play here. Kudos to @RobMCFC for an enjoyable intro read and start of the playlist for this year. From the intro lyrics here, Midnight Oil's "The Dead Heart" was the standout song, and I'm glad this track was picked out of all of the ones available off that fantastic album. Rehearing this again reminded me why and how I enjoyed this song so much, as this was the first year I and most would hear this band in their commercial breakthrough. High marks to Mellencamp, U2, The Hooters and Rush, and for Tom Petty's track, though I much prefer "Runaway Trains" as the standout musical and vocal track on that album. The Prince track was new to me, and it almost seemed too uncanny to the Roxette similar track that was soon to come, but Prince was first.
The Big Winner
“The Cross” – Prince, I wasn't listening to this album as much as I had heard Purple Rain prior, but this guitar-led track was really powerful. A spiritual Christian song that I wasn't anticipating, this track really was a standout. Kudos to @Saddleworth2 for nominating this non-single track. I've already re-listened to JCM's album from this year, and Prince is also on my list to check out from this track.
Top New Songs
- "Brighter" - The Railway Children, it never ceases to amaze me how much great music that I’ve not heard should have been more accessible. I immediately thought of this band as the UK’s version of early R.E.M., so I wasn’t surprised at all to read that they supported that band on their European tour at that time. Well matched indeed. Some great bass, jangly guitars, and a strong drum finish with great vocals, this was quite a find. Nearly the big winner, and I suppose we will not have heard the last of them. Great nomination, MES!
- "Song of Bernadette" – Jenifer Warnes, one other thing I really enjoy about the thread is the context on certain songs that the nominator provides, and I could really feel the look-back aspect and personalized lyrics of this song, quite powerful. We mostly fall, we mostly run…
- "Born in a Storm / Raintown " – Deacon Blue, in another year this could have been tops too, so this speaks to the quality depth this year. A great UK pop band from Glasgow that I know I know the name of, just not familiar with their material. Strong backing vocals by Lorraine McIntosh make the 2nd track.
- "This Corrosion" – Sisters of Mercy, an enjoyable track that sounded very Bowie-like, as if this was the type of music I wish he was making in the late 80s before he found his way again later on.
- "The Grat Commandment" - Camouflage, uncanny sound from this German band that I initially would have sworn was Depeche Mode, but was inspired by, and sounded good in the same genre.
- "Everyone Thinks He Looks Daft” and “A Million Miles” - The Wedding Present, strong guitars and some solid UK indie rock from a band I’d not heard of.
- "Paid In Full" – Eric B & Rakim, Marley Marl, not my typical genre, but a very good ryhmin’ hip hop song.
- “That Time of the Night” and “Incommunicado” – Marillion, it doesn’t surprise me that my Gabriel Genesis leaning friends were very partial to Marillion. Uncanny resemblance.
- "She Watch Channel Zero" – Public Enemy, see above, not what I was listening too, but a good song musically. Flavor Flav was very strong on this song. Doug Williams likely smiling for the timely shout out. Your blind, baby…
Top Songs I Knew Quite Well
- "King Of Birds" – R.E.M., not as big on this album as I once was, but this track is a standout lesser known gem off of that more commercial release.
- "Little Wing" - Sting, the whole 2nd solo album was fantastic, but this jazzy remake is one of his best.
- "Never Let Me Down Again" – Depeche Mode, song still sounding good, recently prominently well used in The Last of Us miniseries.
- "Did Ye Get Healed" – Van Morrison, I rediscovered this years after the fact, but a good period of lesser known tunes from Van in the 80’s.
- "Animal" – Def Leppard, their slower ballads are sometimes better than the more popular hits, this one and the title track of Hysteria being prime examples of what I still enjoy from them today.
- "Learning To Fly” – Pink Floyd, not to be compared to the former band version, but I was still a fan of David Gilmour’s led band with smoother vocals and that trademark guitar sound.
- "Stop Me If You Think You’ve Heard This One Beore" - The Smiths, one of my favourite songs from this band that by then, I as more enjoying during my college years
- “Have A Little Faith In Me” – John Hiatt, from the same album that soon gave us a Bonnie Raitt classic, this piano led vocal masterpiece was quite an emotional performance.
On Second Thought
I was not much of a George Michael fan in the 1980's, but the vocals delivered in “Father Figure” is some of the best and emotional ones I’ve heard. A very powerful R&B and gospel led song that sounds almost Prince-like, no wonder it hit #1 in many countries. Shirley Lewis’s backing vocals on this track also make it very memorable. I enjoyed revisiting this song and it sounding much better than I remember.
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Saddleworth2
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I did ok with The Cross, Raintown and Father Figure then mate. Honestly, I believe George is one of the very best white soul singers that ever lived. Some of his vocals are sublime. More on that soon :-)
Saddleworth2
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They have made some very strong albums so there is a fair amount to discover. Lorraine was initially a band 'groupie'. Not in the usual sense, she just really liked the bands music and would go to as many of their gigs as possible and stand at the front and sing along with all their songs. Rickie Ross the lead singer and main songwriter liked her voice and invited her up on stage one night to accompany his vocals. The rest is history. Oh and he ended up marrying her too. Their two albums after Raintown are also very good - 'when the world knows your name' and 'fellow hoodlums'. I also like their 2014 album 'a new house'. Ross is a good songwriter and vocalist.
More helpful/useless info:
Their drummer who has been in the band from the get go is Dougie Vipond who has also made a name for himself as a presenter on BBC1 Scotland. He is the mainstay of their farming/country programme and pops up a lot on TV in gods own country. I know of him through a third party and by all reports he is as nice in real life as he comes across on screen and in the band.
RobMCFC
Well-Known Member
Well, you learn something everyday. I've seen him on a couple of shows and I never knew he was Deacon Blue's drummer.
RobMCFC
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Just had a listen to When the World Knows Your Name, an album I own, for the first time in probably 30-odd years.
"Queen of the New Year" and "Fergus Sings The Blues" still really hit the mark.
Sometime in early 1989, I was listening to Roger Scott on The Saturday Sequence and he played "Queen of the New Year" to kick off the show. Obviously he didn't state the name of the artist, and knowing that John Mellencamp was due a new album soon, I thought "Here we go!" when I heard all those fiddles, until I heard Rocky Ross singing! Anyway, it's a very good album and I bought it on the back of hearing this fantastic song.
Saddleworth2
Well-Known Member
they are such fun live. I saw them just before Christmas a few years ago at the Usher Hall in Edinburgh and my god what a party it was. They still make decent music. I mentioned 'A New House' which is relatively recent and some of the songs are as good as anything they have done. Inspired by memories, nature and Scotlands future it was released just priorto the Independence referendum and Ross's political leanings are pretty obvious on one or two tracks. Don't let that put you off though it is a fine album.
PS. Their 2025 album The Great Western Road is worth a listen too.
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Black&White&BlueMoon Town
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Ahhhhhh, that's where I know Deacon Blue from - "Fergus Sings The Blues"!
My first visit to the UK was with my then-girlfriend in June 1989 and upon renting our red small car in London and driving through England with little or no sleep listening to the limited radio stations, I distinctly remember having that song worn out on my ears during that trip, so much that we both (used to) goof on it for being the one song we'd hear over and over.
Now I know.... the rest of the story. Thank you Rob for reminding me of this! ;-)
Nice. Surely the memories are still strong with this band! ;-)
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Mancitydoogle
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I was a big Deacon Blue fan back in the day, bought all their early albums after hearing ‘Dignity’,I saw them live a couple of times.Ricky Ross is a big Springsteen fan and you can hear the influences on some songs .I listened to the album ‘Hipsters’ a few years ago which I quite liked so must give the two you mentioned a spin.
OB1
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Cool. Thanks.
Protein Junkie
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Really looking forward to the review of 1988.
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Black&White&BlueMoon Town
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Black&White&BlueMoon Town
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Blue Moon Rock Evolution – 1988
Whenever I’m asked about the most stressful time I remember back in college, I think back to the end of 1987 when having to create and program an Operating System as part of that mandatory core class. I spent much of the November Thanksgiving break procrastinating and trying to get going on something that to me (and others in the class), was pretty daunting. Since freshman year, that project and class within the Computer Science curriculum taken during the start of junior year was well known as the most challenging and intimidating. Its reputation well preceded it. That along with relationship challenges during 1988 for me would be remembered as times I’d rather forget, or at least less remember than others. This time overall still gives me bit of anxiety today, despite knowing how it all turned out. I suppose that is probably why I’ve procrastinated on putting this write-up together over the holidays, always finding something else needing to be seen to first, or rather putting this off as if 6 Jan wasn’t going to ever arrive. Days away, I realize it will and sooner than anticipated, so here I go…
1988 spanned both the end of junior year and the start of my senior year in college. This was the time that big decisions were to be made on what’s next afterwards, and I was well on my way to getting that all sorted out. I suppose I didn’t realize that this didn’t just involve what might happen next after my degree, but also where things would land on a personal level too. I spent the summer of 1988 back in my home state working on computer programs and systems intern work for the largest company in that Small Wonder of a state, to see how I might like things back there. During that fall, I would enjoy traveling to many states to interview for potential job positions while deciding where I might next start my first full-time job. Highlights included skiing in Colorado around a visit there, seeing NYC during the snowy holiday season, and numerous trips to the NoVA area. Government jobs in the DC area always involved a 6 month+ wait time for a security clearance. Enduring something like that pre-internet was not something I was willing to go through, not to mention having little desire to live in that traffic-challenged and congested region after already having experienced such in years past. No, I wanted to do something different. That wouldn’t all get sorted out until the spring of 1989, but exploring a decent number of potential options this year was a good thing.
Music was of course a main focus for me that year, but not so much on the concert front, mostly due to how remote my college was to the primary touring major metro stops. I still bitterly recall having to part with backstage passes to see Rush in Hampton, VA on 14 Jan 1988 due to multiple projects due and tests held the next day on Friday the 15th. Driving 9 hours round trip just wasn’t going to be possible to see that show. How did I nab backstage passes to see Rush in the first place? Back during Thanksgiving break as noted earlier, I originally had tickets to see Rush on Saturday 28 November in the prior year at that same venue, but Geddy Lee was suffering from laryngitis, so that show got postponed until the following January. Those that were waiting in line at the Coliseum for General Admission floor tickets were handed backstage passes by the roadies as a nice gesture for when the show would take place there, but that show postponement ultimately and eventually meant I wouldn’t get to see them on their Hold Your Fire Tour. However, that November 1987 night wasn’t a total loss as my brother and I made the best of the Rush postponement and went to see Yes playing in Richmond on The Big Generator tour on that same night. Sometimes luck can help too to make the best of an unfortunate situation as that venue was already on our way back to our college as it was.
But before we talk about the music of 1988, some memorable events during the year included the following:
Politics & Conflict
(What this actually means is the final track mentioned below here is a playlist closer and will ultimately be the final song on this playlist before any Coda gets added. If you haven’t figured out by now, I’m pretty particular/OCD about a closing track).
I-I had a feeling I could be someone, be someone, be someone
Singer-songwriter Tracy Chapman released this folk-rock track as her debut lead single on 6 April from her self-titled debut studio album. Chapman's appearance at the Nelson Mandela 70th Birthday Tribute concert in June helped the song become a Top 10 hit in the US, reaching #6 on the Billboard Hot 100 and led the album to top the Billboard 200. This track received three nominations at the 31st Annual Grammy Awards: Record of the Year, Song of the Year, and Best Female Pop Vocal Performance, the last of which it won.
I very well remember being mesmerized by this song and its simple guitar led approach – so simple, yet so powerful chords and stunningly iconic vocals. I nominated this song in our most recent Blue Moon Song Cup and it didn’t go far, but I maintain it is one of the best solo songs ever crafted and performed. As someone who was very much working out what was going to be next in my life, despite the lyrics struggles and situation described being much harder than mine, it was a song I could easily identify with in paying for college on my own and finally seeing hard work hopefully soon pay off.
Any place is better
Starting from zero, got nothing to lose
Maybe we'll make something
Me, myself, I got nothing to prove
“Fast Car” - Tracy Chapman
With light in my head, You in my arms
This track was also the title of the fourth studio album by the Waterboys, released in October. The album marked a change in the band's sound, with them abandoning their earlier grandiose rock sound for a mixture of traditional Irish, Scottish, and country music, and rock and roll. Critics were divided on its release with some disappointed at the change of direction and others ranking it among their best work. This album became the band’s best selling one, reaching #13 on the UK charts, and #76 on the Billboard 200. The title song from the album reached #3 on the US Billboard Modern Rock Tracks chart, #13 in Ireland, and #32 in the UK.
The track was often described in having a “Dylanesque folk". It has a very distinct and effective use of the mandolin and fiddle being prominent on it within for that folksy Irish and Scottish vibes that it gave off. I distinctly remember hearing this single when it came out that fall of 1988 and it soon became a Rock 105 favourite to hum and sing along to. It would be years later here on BlueMoon where @Mancitydoogle would re-introduce me to the fullness of their prior album This Is The Sea from the Album Review club that I really enjoyed, but it all mostly started with this track for me in hearing this band and music back then.
For I know I will be loosened
From bonds that hold me fast
That the chains all hung around me
Will fall away at last
“Fisherman’s Blues” – The Waterboys
Wish I knew what you were looking for
Back in February, Rock 105 also heavily promoted this Australian band releasing their 5th studio album. This song was another example of an early alternative rock sound that had instruments and sounds I’d not yet heard used in this way. This track was written by The Church’s lead vocalist and bass guitarist Steve Kilbey and his then-girlfriend Karin Jansson of the Aussie alt-rock band Curious (Yellow). Kilbey noted of this song that, "I smoked a joint and started playing the piano and she came in the room and we just made it up." According to a press release issued with the album Starfish, the title is from an Amsterdam music and cultural venue, Melkweg (Dutch for "Milky Way"), which Kilbey used to frequent. Kilby noted that he just stumbled upon it and for some reason it has struck this wonderful sense of universality with people that most of his songs don't.
This track features a 12-string acoustic guitar melody, along with a solo composed with an EBow on a Fender Jazzmaster and recorded on a Synclavier, leading to a sound reminiscent of bagpipes. Jansson later noted on helping to write that song that "it's a very spontaneous thing. It's not as if someone has put us together to write a hit song. It's more like sometimes when we write together, a song comes knocking on the door".
My wife and I finally got to see the Church live in 2023 at a small venue in the front row and that performance and this song was quite magical. The lyrics spoke of both uncertainty and possibility back then, asking questions of what each of us wanted, so this tune above all others from them remains a significant memory for us both. The Church will be touring in 2026 this summer at another nearby local small venue, and we hope to catch them there as well.
And it's something quite peculiar
Something shimmering and white
It leads you here, despite your destination
Under the Milky Way tonight
“Under The Milky Way” – The Church
Well, I sleep like this because I never feel secure
Sometimes a band and song/album will reach out when you least expect it, and that’s what has happened here these past few weeks. When @Mad Eyed Screamer nominated “Brighter” from The Railway Children on the 1987 playlist, I noted I had not ever heard them before. However, I really enjoyed that song, so much that I listened to the entire next album Recurrence from this British indie band that opened up on tour for R.E.M. on their European legs in 1987. It’s no wonder, this song and many others from the band sound very much like early R.E.M. to me with some strong vocals and jangly guitars from Gary Newby and his bandmates from Wigan. While I hadn’t planned on this song making my initial 10 from the playlist, I’ve since learned that Nothing’s Shocking and Jane’s Addiction can be scooped up by someone else here.
Introduce me to your will
I'm in your hands
Just one more fine pleasure in mind
And that means you
“A Pleasure” – The Railway Children
(We are agents of the free)
Is R.E.M. colorblind? What band titles their album Green but releases it in the color orange? R.E.M., that’s who on their 6th studio album released that year. The album title was actually a playful wink at their new record deal with Warner Bros. With the release of Document the prior year, R.E.M. had fulfilled its contract with I.R.S. Records. Frustrated that its records with that label did not see satisfactory overseas distribution, in early 1988 the band told I.R.S. that it was leaving the label. Guitarist Peter Buck also explained that his group felt it was being pressured to sell well by the label, yet felt I.R.S.'s distributor MCA Records did not consider the band a priority. R.E.M.'s management then approached any record companies that had expressed interest in the band. Though other labels offered more money, R.E.M. ultimately signed a deal with Warner Bros. Records—reportedly between $6 - $12 million—due to the company's assurance of total creative freedom.
Green marked the departure of the jangle pop and college rock styling of the band's previous albums. Peter Buck described Green as an album that didn't feature any typical R.E.M. songs. Describing the band's standard output as "Minor key, mid-tempo, enigmatic, semi-folk-rock-balladish things", the guitarist noted that here, "We wrote major key rock songs and switched instruments." Singer Michael Stipe had reportedly told his bandmates to "not write any more R.E.M.-type songs". Bassist Mike Mills argued that Green was an experimental record, resulting in an album that was "haphazard, a little scattershot".
This song was released as the first single. It was not commercially released in the US despite reaching number one as a promotional single on both the Mainstream and Modern Rock Tracks (where, at the time, it had the record for longest stay at number one with eight weeks, beating U2). It peaked at number 28 on the UK Singles Chart, making it the band's then-highest chart hit in Britain, where they promoted the song by making their debut appearance on Top of the Pops.
The song's title refers to the chemical defoliant Agent Orange manufactured by Monsanto Corporation and Dow Chemical for the U.S. Defense Department and used in the Vietnam War. Stipe opened the song during the Green World Tour by singing the US Army recruiting slogan, "Be all you can be... in the Army." Stipe's father served in the Vietnam War. The album was released on 8 November in the US to coincide with the 1988 presidential election, and used its increased profile during the period to criticize Republican candidate George H. W. Bush while praising Democratic candidate Michael Dukakis.
I've got my spine, I've got my orange crush
(Collar me, don't collar me)
I've got my spine, I've got my orange crush
“Orange Crush” - R.E.M.
Turn this boat around, back to my loving ground
It had been eight years since Led Zeppelin had disbanded after the untimely and shocking death of drummer John Bonham. Robert Plant had released three prior solo albums and had some successful songs, but nothing near the level or style of what he had accomplished with his former band. Plant’s 4th album Now and Zen was aided by Plant’s collaboration with English keyboardist and songwriter Phil Johnstone, who also co-produced the album. Johnstone was a Led Zeppelin fan himself who was eager to help Plant both honor his illustrious past and shift away from it. Plant also performed with Jimmy Page on a studio album for the first time since the band’s breakup on the first two singles. On the album liner notes, Page's participation on the songs is noted with a Zoso symbol.
This track was the third single from the album and was a lovely ballad that well demonstrated Plant's vocal subtlety. It reached #76 on the UK singles chart, #84 on the Billboard Hot 100 and #3 on the Billboard Mainstream Rock chart. It was Plant's tenth top-10 solo hit on the Mainstream Rock chart. Cash Box called it "one of the best songs Plant has ever written and recorded" with "beautiful melodies and power lyrics. There have been lots of artists I’m fond of that have released a song with this title (Karl Wallinger of World Party and Doves in particular), but Plant’s song has always been special to me. To me, this was the standout track on his album that was a return to form and a sure sign that Plant would go on to have some strong solo and collaborative albums both embracing the past, and having strong vocal contributions as well.
Beneath a lover's moon I'm waiting
I am the pilot of the storm, adrift in pleasure I may drown
I built this ship, it is my making
And furthermore, my self-control, I can't rely on anymore
“Ship of Fools” – Robert Plant
And I been high and I been low, and I don't know where to go
The Godfathers are an English alternative rock band from London with strong influences from R&B and punk. I remember first hearing them this year with this song on heavy Rock 105 rotation, and it became a shout-out and sing-along fixture. This song was the title track of their sophomore album that year that really helped their exposure in the US on their biggest hit here. The Godfathers sound have been described as "brass-knuckled punches in the form of menacing, explosive riffs; venom-spewing, nihilistic vocals; body-slamming percussion." One publisher, Trouser Press touted that the album "seethes with the anger and aggression that seems to have all but gone out of non-hardcore British post-punk rock.”
This song summarizes a cynical or nihilistic view of the modern, mundane human life cycle. It highlights a repetitive, linear existence focused on societal expectations—education and labor—leading inevitably to death, pretty much omitting personal fulfillment. When I first heard this song on the radio, I was thinking to myself, “is this going to be all that there is?”, it sounded pretty bleak, and I was only still at the “school” phase. To me, it is one of those reflective songs that makes you want and search for something much more than is being described. I’m not sure that’s the approach to take on this, but that’s at least that’s how I looked at the song at the time in contemplating my transition from school to work soon. After close to 38 years on the “work” phase, I can say that in this most recent year that I’ve grown pretty tired of that, but I’ve got much more planned before I hit that last item.
Tomorrow's still another day
Birth, school, work, death
Birth, school, work, death
“Birth, School, Work, Death” – The Godfathers
Everything is temporary anyway
Another new artist of this year in addition to Tracy Chapman was Edie Brickell. Her debut album, Shooting Rubberbands at the Stars was released in August by her and her American alternative rock/folk band Edie Brickell & New Bohemians. The album went double platinum in the US. They are best known for their debut single, "What I Am," which rose to #7. This track was the next single, and it peaked at #48, and it turned out to be the last chart entry for the band. Both of these mellow, introspective songs went against the trends of the times, which favored dance beats and R&B grooves. Guitarist Robbie Blunt, who previously had worked with Robert Plant earlier in the decade on his solo albums, guest joined Edie and the band on this album, and his signature playing is very apparent, especially on this song.
I remember getting this CD when it first came out, and as much as I liked the popular single, it was this track that grabbed me the most for the lyrics and heartfelt vocal delivery, which you can very much feel. Cash Box noted on this song that "The key to this here is Brickell’s breathy intensity. Supported by an acoustic-slanted track, she manages to sell the unusually dark lyric shadings”. In not knowing what would be next for me as I was entering my final year of undergraduate studies, this song spoke to me. Even while often surrounded by friends at school, having things struggle in a relationship and uncertainties of the future had me more relating to this track off of that great debut album.
Me, I'm a part of your circle of friends
And we noticed you don't come around
“Circle” – Edie Brickell and the New Bohemians
It hurts like never before
Playlist edit note: I had planned to have the Traveling Wilburys’ Roy Orbison-led hit “Not Alone Any More” as my selection here, but since the start of 2026, most all of the Traveling Wilburys’ songs have been since removed from Spotify, world-wide. I still have a placeholder on my playlist for this song as I had this created before the break (and was quite enjoying, I might add), but sadly it has since been removed – for now.
6 Jan edit: This situation has since been addressed in Spotify so the original track from the Traveling Wilburys' is now solely in the playlist.
That said, I had planned to honor Roy Orbison and his passing on 6 December at the end of 1988 with his signature Wilburys song, but instead, for something to have us play on the playlist, I’m opting for “You Got It” off of his final album, released posthumously 3 Jan, 1989 after his passing. Orbison gave his only public rendition of this song at the Diamond Awards Festival in Antwerp, Belgium, on 19 November, just 17 days before his death and before the single was released. This footage was incorporated into the song's music video. This song was written by Orbison and his Traveling Wilburys bandmates Jeff Lynne and Tom Petty, their first songwriting collaboration. It was written during the Christmas season of 1987 and recorded in Mike Campbell's garage in Los Angeles in April 1988. Lynne, Petty, former Beatle and fellow Wilbury George Harrison and Phil Jones provided other instrumentation and background vocals. Harrison went uncredited on the track.
I remember hearing this blockbuster song right after the success of Orbison with the Traveling Wilburys had rightfully reignited his career, and simply wondered “what if?”. His vocal delivery on both songs stands so stark and haunting, and it’s no wonder that he got lots of accolades and a rebirth of his music towards what would end up being the end of his career. Many artists have been inspired by Roy Orbison and his contributions to sad and haunting songs from prior decades in country, rockabilly, and in the earliest years of rock and roll. Bruce Springsteen has frequently cited Orbison as one of his greatest musical influences, famously stating that when recording his 1975 breakthrough album, Born to Run, he wanted to "sing like Roy Orbison". This admiration is immortalized in his song "Thunder Road," which features the lyric "Roy Orbison singing for the lonely". Springsteen also inducted Orbison into the Rock and Roll Hall of Fame in January 1987. During the ceremony, they performed "Oh, Pretty Woman" together.
The Traveling Wilburys were formed from an idea George Harison had with Jeff Lynne, who was co-producing Cloud Nine, Harrison’s 1987 solo album. Harrison stated he wanted to start a group after that album was completed and play “with his mates” that he enjoyed collaborating with. When it came down to discussing who the other members might consist of, Harrison chose Bob Dylan and Lynne opted for his musical idol, Roy Orbison. Harrison later became fast friends with Tom Petty on his European tour while Petty was supporting Dylan, and that’s how the final group member got added. The term "Wilbury" also originated during Harrison’s Cloud Nine recording sessions. Referring to recording errors created by faulty equipment, Harrison jokingly remarked to Lynne, "We'll bury 'em in the mix." Thereafter, they used the “Wilbury” term for any small error in performance. Harrison first suggested "the Trembling Wilburys" as the group's name; at Lynne's suggestion, they amended it to "Traveling Wilburys.
The Wilburys song I had planned was sung by Roy Orbison and serves as his main contribution to the Traveling Wilburys’ debut album. The song was written mainly by Jeff Lynne, although all five members of the Wilburys are credited as songwriters.
A longtime admirer of Orbison, Lynne wrote this track a vehicle for the singer's operatic vocal style. The song's lyrical theme of loneliness similarly recalls Orbison's dark ballads of the early 1960s. On release, the song was much admired by music critics. With the commercial success of the Wilburys, and the recognition afforded Orbison following his death, it marked his full return from the career downturn he had experienced since the mid-1960s.
RIP, Lefty Wilbury.
“Not Alone Any More” - Traveling Wilburys (previously was: “You Got It” – Roy Orbison temporarily)
I look out the window, I don't see your America
Another strong debut album and group this year was Living Colour’s Vivid. This group and album just seemed to come across at the right time when music listeners were yearning to hear something new with rock having become a bit stale. This album musically has been described as spanning hard rock, heavy metal, funk metal, alternative metal, and funk rock, all with elements of soul, jazz, pop, rap, punk, and avant-garde jazz. In short, this band and album had it all and was on heavy rotation with me after initially hearing on Rock 105 in spring of that year. This debut release turned out to be one of the most popular albums of the year, peaking at #6 on the US Billboard 200 chart and being certified double platinum.
It rightfully obtained high praise from numerous musical critics as well. Ken Tucker of The Philadelphia Inquirer noted that Living Colour "defies musical stereotypes by evincing influences that include Lynyrd Skynyrd, Jimi Hendrix, Roxy Music and Sly Stone to yield a fierce, funny album." Mark Sinker of NME likewise highlighted the band's diversity of influences, including their embrace of older musical styles "that even metal heads haven't taken seriously" and concluded that Vivid "lives up, simultaneously, to the pinhead directness of Zeppelin and the total Texas-New Yorker strangeness of Ornette Coleman's Prime Time." David Fricke of Rolling Stone wrote that “Vivid is an open letter to rock & roll itself, a demand for equal time and respect from a music that is Living Colour's birthright." He added that the album "will not change the world single-handedly, but it's a timely reminder of why it's always worth trying."
There were 5 singles from this album, highlighted by “Cult Of Personality” and “Glamour Boys”, which were great tunes to lure fans in. The band, led by guitarist and songwriter Vernon Reid had blistering solos and an approach and style which was very iconic and soon recognizable at the time. Corey Glover as lead singer, had a beautiful vocal range which successfully spanned the various genres that the band covered quite well. Glover would also be remembered by having a small but significant part (Francis) in Oliver Stone’s Platoon as an actor a few years prior.
While the singles on Vivid were quite strong and helped carry the band to instant fame and accolades, it is the final song to end the album that has always stuck with me as a song I still know by heart, and a very well written and sobering composition. Bassist Muzz Skillings in particular on this track lays down a very funky bassline that is quite a prominent part of the song flow. This track is a strong social commentary highlighting the stark divide between the prosperous, idealized America shown on TV ("your America"), and the harsh reality of systemic racism, poverty, and injustice experienced by marginalized communities ("my America"). The song acts as a critique of class disparity and a demand to find the path to true equality. I don’t think anything else I could say could come close to what the song conveys on its own.
I change the channel
Your America's doing fine
I read the headlines
My America's doing time
“Which Way To America” - Living Colour
(Reminder: the final track mentioned below here is a playlist closer and will ultimately be the final song on this playlist before any Coda gets added.).
You say you want your love to work out right
I will borrow some notes on this next track as I have previously covered it in the Playlist Review thread under the category of “Love”, and there never was consideration for any other song to end my list in 1988 either.
This song was the album finale to U2's mix of live/studio songs on their Rattle and Hum release. I remember seeing this movie in the theatre in college with my then-girlfriend, and in three years later, my wife. That time, that album, and later seeing that movie once it was released in the theatre that year together in late November brings back lots of memories.
I enjoyed a few new select songs from that album including early singles "Angel of Harlem" and "When Love Comes to Town" (with B.B. King) being very nice standalone and collaborative tribute songs. However, it is another non-single track in “Heartland” that is one of the most pronounced and vividly beautiful non-performance memories in that film. That song just shows the band looking out over the Mississippi River in Memphis to see the sun go down after visiting Graceland that remains another favourite of mine. As I’ve had to travel to Memphis for numerous customer trips over the years and have had some vacation moments while there with Mrs. B&W&BMT, I often have brought up that song and the exact scenes from the movie I’ve recognized at that river, and remember watching this movie for the first time together.
This final track from the album I am choosing instead of all those mentioned is a deep, unconditional love song written by Bono for his wife, expressing that her acceptance of his flaws and commitment to him, even amidst broken promises and life's challenges, is all that truly matters, transcending material desires or grand gestures. The lyrics portray Bono’s wife’s perspective, valuing her husband's presence above any riches or perfect promises, highlighting a profound, accepting love that grounds them from "the cradle to the grave".
Benmont Tench from Tom Petty's Heartbreakers adds the keyboards, and Van Dyke Parks who collaborated with the Beach Boys, Little Feat, Randy Newman, and many others, adds in the striking strings heard throughout, and especially at the end. And Edge of course sure can play that gee-tar!
But all the promises we make
From the cradle to the grave
When all I want is you
"All I Want Is You" - U2
That is it for me for now on 1988, and hopefully I have again left plenty of great options, bands, and songs to touch upon for you and what you might have been listening to or was into musically at that time. I didn’t know when initially agreeing to do the write-up for this year how I would feel upon reflection back to that time and period as a whole. But I do know that it is the tough times, spoken or unspoken and whatever they might be, that makes you stronger and hopefully along with the music that might have gotten you through it, that gives you the true appreciation for what matters for you.
Whenever I’m asked about the most stressful time I remember back in college, I think back to the end of 1987 when having to create and program an Operating System as part of that mandatory core class. I spent much of the November Thanksgiving break procrastinating and trying to get going on something that to me (and others in the class), was pretty daunting. Since freshman year, that project and class within the Computer Science curriculum taken during the start of junior year was well known as the most challenging and intimidating. Its reputation well preceded it. That along with relationship challenges during 1988 for me would be remembered as times I’d rather forget, or at least less remember than others. This time overall still gives me bit of anxiety today, despite knowing how it all turned out. I suppose that is probably why I’ve procrastinated on putting this write-up together over the holidays, always finding something else needing to be seen to first, or rather putting this off as if 6 Jan wasn’t going to ever arrive. Days away, I realize it will and sooner than anticipated, so here I go…
1988 spanned both the end of junior year and the start of my senior year in college. This was the time that big decisions were to be made on what’s next afterwards, and I was well on my way to getting that all sorted out. I suppose I didn’t realize that this didn’t just involve what might happen next after my degree, but also where things would land on a personal level too. I spent the summer of 1988 back in my home state working on computer programs and systems intern work for the largest company in that Small Wonder of a state, to see how I might like things back there. During that fall, I would enjoy traveling to many states to interview for potential job positions while deciding where I might next start my first full-time job. Highlights included skiing in Colorado around a visit there, seeing NYC during the snowy holiday season, and numerous trips to the NoVA area. Government jobs in the DC area always involved a 6 month+ wait time for a security clearance. Enduring something like that pre-internet was not something I was willing to go through, not to mention having little desire to live in that traffic-challenged and congested region after already having experienced such in years past. No, I wanted to do something different. That wouldn’t all get sorted out until the spring of 1989, but exploring a decent number of potential options this year was a good thing.
Music was of course a main focus for me that year, but not so much on the concert front, mostly due to how remote my college was to the primary touring major metro stops. I still bitterly recall having to part with backstage passes to see Rush in Hampton, VA on 14 Jan 1988 due to multiple projects due and tests held the next day on Friday the 15th. Driving 9 hours round trip just wasn’t going to be possible to see that show. How did I nab backstage passes to see Rush in the first place? Back during Thanksgiving break as noted earlier, I originally had tickets to see Rush on Saturday 28 November in the prior year at that same venue, but Geddy Lee was suffering from laryngitis, so that show got postponed until the following January. Those that were waiting in line at the Coliseum for General Admission floor tickets were handed backstage passes by the roadies as a nice gesture for when the show would take place there, but that show postponement ultimately and eventually meant I wouldn’t get to see them on their Hold Your Fire Tour. However, that November 1987 night wasn’t a total loss as my brother and I made the best of the Rush postponement and went to see Yes playing in Richmond on The Big Generator tour on that same night. Sometimes luck can help too to make the best of an unfortunate situation as that venue was already on our way back to our college as it was.
But before we talk about the music of 1988, some memorable events during the year included the following:
Politics & Conflict
- Soviet Withdrawal from Afghanistan: The USSR completed its pullout after nine years of involvement.
- US Presidential Election: Former vice-president George H.W. Bush won the US presidency by a sizeable margin over Michael Dukakis, in what was largely a desired continuation of the Reagan years over the past 8 years in this decade. This would be the first year I was of voting age, and in the grand scheme of things given what is happening now, this result pales in comparison on the “disaster scale” of election night outcomes.
- Margaret Thatcher's Milestone: Became the longest-serving UK Prime Minister in the 20th century.
- Iran-Iraq War Ends: The devastating eight-year war concluded.
- Pakistan's First Female PM: Benazir Bhutto became the first woman to lead a Muslim-majority country.
- On December 21, Pan Am Flight 103 was blown up by a Libyan terrorist bomb over Lockerbie, Scotland, killing a total of 270 people. This was a tragic event affecting residents of that town by falling debris (11 killed and many others injured), as well as all who perished on the flight, many from both the US (190) and UK (43). That sad and tragic event remains the deadliest terrorist attack in the history of the United Kingdom. In 2003, Libyan terrorist leader Muammar Gaddafi paid more than US$1 billion in compensation to the families of the victims of the Lockerbie bombing. In 2011, during the First Libyan Civil War, former Minister of Justice Mustafa Abdul Jalil said that Gaddafi personally ordered the bombing.
- Ramstein Air Show Disaster: Three military jets collided and crashed into a crowd in Germany, killing 69.
- Hurricane Gilbert: Slammed Jamaica and caused massive damage in Mexico.
- Morris Worm: The first widely known internet worm spread, affecting a significant portion of the early internet.
- World Wide Web Discussed: The concept was first discussed at CERN. Al Gore was not in attendance.
- Near the end of the year, the first proper and official Internet connection between North America and Europe is made between Princeton, New Jersey, United States, and Stockholm, Sweden.
- 1988 in Unix time, the Operating System of my personal PC in college, was measured as 567993600 – 599615999.
- Photoshop: Adobe released the first version of its iconic image editing software.
- Global Warming Term: NASA scientist James Hansen used "global warming" in testimony to Congress.
- English Football League
- Manchester City finished 5th in the Second Division. They were one of 5 teams that are currently in the EPL playing in the second division, so familiar teams were also there.
- The Dippers kept the Rags in second place in the First Division. In better news, Chelsea was relegated to the Second Division.
- Olympics: Both Winter (Calgary) and Summer (Seoul) Olympics were held.
- The Winter Olympics featured the debut of the Jamaica national bobsleigh team and challenges from the weather, amazingly ranging from −30 to 22 °C (−22 to 72 °F), which impacted event start times. The Soviets (29) and East Germans (25) by far collected the most overall medals. Canada, as host nation, did not win any gold medal, totaling two silver and three bronze medals. Canadian hopes for a gold rested on the shoulders of figure skater Brian Orser, the reigning World champion and silver medalist at the Sarajevo Games. A tight contest with Brian Boitano of the United States ended with the American taking the Olympic title in a battle of the “Brians”.
- The Summer Olympics medals were led by the Soviets (132) and East Germans (102) for the final time for those countries, because little as they knew it, change would be on the way for both of them. These Olympics featured track stars like Florence Griffith Joyner. Flo-Jo set an Olympic record (10.62) in the 100-metre dash and a still-standing world record (21.34) in the 200-metre dash to capture gold medals in both events. She added a gold in the 4×100 relay and a silver in the 4×400. This was also the last time the US was represented by an all-amateur basketball team that did not feature NBA players. That basketball team included Vernell “Bimbo” Coles from my university’s basketball team.
- The American Football team from Washington, DC won the Super Bowl demolishing the John Elway led Denver Broncos 42-10. They were led by MVP Doug Williams at QB, the first black QB to win a Super Bowl as Flavor Flav rapped about in the prior year as noted.
- The LA Dodgers defeated the Oakland A’s 4-1 in the Baseball World Series. The series is best known for the Game 1 pinch-hit walk-off home run by star Dodgers outfielder Kirk Gibson, who did not start because of injuries to both legs yet hit the winning homer against Athletics closer Dennis Eckersley. MVP for the series was LA pitcher Orel Hershiser.
- Notable Films: Die Hard (so many classic lines from this holiday film, “Yippee Ki-Yay, MFer” topping them all), Beetlejuice, and Who Framed Roger Rabbit were released.
- In US television, The Wonder Years premiered and would become one of my favourite all-time shows through the 90’s. NBC still dominated Thursday nights with the same lineup I had noted in 1986.
- World AIDS Day: The first World AIDS Day was observed.
- Space Shuttle: NASA resumed shuttle launches after the Challenger disaster two years prior.
- Supreme Court: Anthony M. Kennedy was sworn in as a Justice.
(What this actually means is the final track mentioned below here is a playlist closer and will ultimately be the final song on this playlist before any Coda gets added. If you haven’t figured out by now, I’m pretty particular/OCD about a closing track).
I-I had a feeling I could be someone, be someone, be someone
Singer-songwriter Tracy Chapman released this folk-rock track as her debut lead single on 6 April from her self-titled debut studio album. Chapman's appearance at the Nelson Mandela 70th Birthday Tribute concert in June helped the song become a Top 10 hit in the US, reaching #6 on the Billboard Hot 100 and led the album to top the Billboard 200. This track received three nominations at the 31st Annual Grammy Awards: Record of the Year, Song of the Year, and Best Female Pop Vocal Performance, the last of which it won.
I very well remember being mesmerized by this song and its simple guitar led approach – so simple, yet so powerful chords and stunningly iconic vocals. I nominated this song in our most recent Blue Moon Song Cup and it didn’t go far, but I maintain it is one of the best solo songs ever crafted and performed. As someone who was very much working out what was going to be next in my life, despite the lyrics struggles and situation described being much harder than mine, it was a song I could easily identify with in paying for college on my own and finally seeing hard work hopefully soon pay off.
Any place is better
Starting from zero, got nothing to lose
Maybe we'll make something
Me, myself, I got nothing to prove
“Fast Car” - Tracy Chapman
With light in my head, You in my arms
This track was also the title of the fourth studio album by the Waterboys, released in October. The album marked a change in the band's sound, with them abandoning their earlier grandiose rock sound for a mixture of traditional Irish, Scottish, and country music, and rock and roll. Critics were divided on its release with some disappointed at the change of direction and others ranking it among their best work. This album became the band’s best selling one, reaching #13 on the UK charts, and #76 on the Billboard 200. The title song from the album reached #3 on the US Billboard Modern Rock Tracks chart, #13 in Ireland, and #32 in the UK.
The track was often described in having a “Dylanesque folk". It has a very distinct and effective use of the mandolin and fiddle being prominent on it within for that folksy Irish and Scottish vibes that it gave off. I distinctly remember hearing this single when it came out that fall of 1988 and it soon became a Rock 105 favourite to hum and sing along to. It would be years later here on BlueMoon where @Mancitydoogle would re-introduce me to the fullness of their prior album This Is The Sea from the Album Review club that I really enjoyed, but it all mostly started with this track for me in hearing this band and music back then.
For I know I will be loosened
From bonds that hold me fast
That the chains all hung around me
Will fall away at last
“Fisherman’s Blues” – The Waterboys
Wish I knew what you were looking for
Back in February, Rock 105 also heavily promoted this Australian band releasing their 5th studio album. This song was another example of an early alternative rock sound that had instruments and sounds I’d not yet heard used in this way. This track was written by The Church’s lead vocalist and bass guitarist Steve Kilbey and his then-girlfriend Karin Jansson of the Aussie alt-rock band Curious (Yellow). Kilbey noted of this song that, "I smoked a joint and started playing the piano and she came in the room and we just made it up." According to a press release issued with the album Starfish, the title is from an Amsterdam music and cultural venue, Melkweg (Dutch for "Milky Way"), which Kilbey used to frequent. Kilby noted that he just stumbled upon it and for some reason it has struck this wonderful sense of universality with people that most of his songs don't.
This track features a 12-string acoustic guitar melody, along with a solo composed with an EBow on a Fender Jazzmaster and recorded on a Synclavier, leading to a sound reminiscent of bagpipes. Jansson later noted on helping to write that song that "it's a very spontaneous thing. It's not as if someone has put us together to write a hit song. It's more like sometimes when we write together, a song comes knocking on the door".
My wife and I finally got to see the Church live in 2023 at a small venue in the front row and that performance and this song was quite magical. The lyrics spoke of both uncertainty and possibility back then, asking questions of what each of us wanted, so this tune above all others from them remains a significant memory for us both. The Church will be touring in 2026 this summer at another nearby local small venue, and we hope to catch them there as well.
And it's something quite peculiar
Something shimmering and white
It leads you here, despite your destination
Under the Milky Way tonight
“Under The Milky Way” – The Church
Well, I sleep like this because I never feel secure
Sometimes a band and song/album will reach out when you least expect it, and that’s what has happened here these past few weeks. When @Mad Eyed Screamer nominated “Brighter” from The Railway Children on the 1987 playlist, I noted I had not ever heard them before. However, I really enjoyed that song, so much that I listened to the entire next album Recurrence from this British indie band that opened up on tour for R.E.M. on their European legs in 1987. It’s no wonder, this song and many others from the band sound very much like early R.E.M. to me with some strong vocals and jangly guitars from Gary Newby and his bandmates from Wigan. While I hadn’t planned on this song making my initial 10 from the playlist, I’ve since learned that Nothing’s Shocking and Jane’s Addiction can be scooped up by someone else here.
Introduce me to your will
I'm in your hands
Just one more fine pleasure in mind
And that means you
“A Pleasure” – The Railway Children
(We are agents of the free)
Is R.E.M. colorblind? What band titles their album Green but releases it in the color orange? R.E.M., that’s who on their 6th studio album released that year. The album title was actually a playful wink at their new record deal with Warner Bros. With the release of Document the prior year, R.E.M. had fulfilled its contract with I.R.S. Records. Frustrated that its records with that label did not see satisfactory overseas distribution, in early 1988 the band told I.R.S. that it was leaving the label. Guitarist Peter Buck also explained that his group felt it was being pressured to sell well by the label, yet felt I.R.S.'s distributor MCA Records did not consider the band a priority. R.E.M.'s management then approached any record companies that had expressed interest in the band. Though other labels offered more money, R.E.M. ultimately signed a deal with Warner Bros. Records—reportedly between $6 - $12 million—due to the company's assurance of total creative freedom.
Green marked the departure of the jangle pop and college rock styling of the band's previous albums. Peter Buck described Green as an album that didn't feature any typical R.E.M. songs. Describing the band's standard output as "Minor key, mid-tempo, enigmatic, semi-folk-rock-balladish things", the guitarist noted that here, "We wrote major key rock songs and switched instruments." Singer Michael Stipe had reportedly told his bandmates to "not write any more R.E.M.-type songs". Bassist Mike Mills argued that Green was an experimental record, resulting in an album that was "haphazard, a little scattershot".
This song was released as the first single. It was not commercially released in the US despite reaching number one as a promotional single on both the Mainstream and Modern Rock Tracks (where, at the time, it had the record for longest stay at number one with eight weeks, beating U2). It peaked at number 28 on the UK Singles Chart, making it the band's then-highest chart hit in Britain, where they promoted the song by making their debut appearance on Top of the Pops.
The song's title refers to the chemical defoliant Agent Orange manufactured by Monsanto Corporation and Dow Chemical for the U.S. Defense Department and used in the Vietnam War. Stipe opened the song during the Green World Tour by singing the US Army recruiting slogan, "Be all you can be... in the Army." Stipe's father served in the Vietnam War. The album was released on 8 November in the US to coincide with the 1988 presidential election, and used its increased profile during the period to criticize Republican candidate George H. W. Bush while praising Democratic candidate Michael Dukakis.
I've got my spine, I've got my orange crush
(Collar me, don't collar me)
I've got my spine, I've got my orange crush
“Orange Crush” - R.E.M.
Turn this boat around, back to my loving ground
It had been eight years since Led Zeppelin had disbanded after the untimely and shocking death of drummer John Bonham. Robert Plant had released three prior solo albums and had some successful songs, but nothing near the level or style of what he had accomplished with his former band. Plant’s 4th album Now and Zen was aided by Plant’s collaboration with English keyboardist and songwriter Phil Johnstone, who also co-produced the album. Johnstone was a Led Zeppelin fan himself who was eager to help Plant both honor his illustrious past and shift away from it. Plant also performed with Jimmy Page on a studio album for the first time since the band’s breakup on the first two singles. On the album liner notes, Page's participation on the songs is noted with a Zoso symbol.
This track was the third single from the album and was a lovely ballad that well demonstrated Plant's vocal subtlety. It reached #76 on the UK singles chart, #84 on the Billboard Hot 100 and #3 on the Billboard Mainstream Rock chart. It was Plant's tenth top-10 solo hit on the Mainstream Rock chart. Cash Box called it "one of the best songs Plant has ever written and recorded" with "beautiful melodies and power lyrics. There have been lots of artists I’m fond of that have released a song with this title (Karl Wallinger of World Party and Doves in particular), but Plant’s song has always been special to me. To me, this was the standout track on his album that was a return to form and a sure sign that Plant would go on to have some strong solo and collaborative albums both embracing the past, and having strong vocal contributions as well.
Beneath a lover's moon I'm waiting
I am the pilot of the storm, adrift in pleasure I may drown
I built this ship, it is my making
And furthermore, my self-control, I can't rely on anymore
“Ship of Fools” – Robert Plant
And I been high and I been low, and I don't know where to go
The Godfathers are an English alternative rock band from London with strong influences from R&B and punk. I remember first hearing them this year with this song on heavy Rock 105 rotation, and it became a shout-out and sing-along fixture. This song was the title track of their sophomore album that year that really helped their exposure in the US on their biggest hit here. The Godfathers sound have been described as "brass-knuckled punches in the form of menacing, explosive riffs; venom-spewing, nihilistic vocals; body-slamming percussion." One publisher, Trouser Press touted that the album "seethes with the anger and aggression that seems to have all but gone out of non-hardcore British post-punk rock.”
This song summarizes a cynical or nihilistic view of the modern, mundane human life cycle. It highlights a repetitive, linear existence focused on societal expectations—education and labor—leading inevitably to death, pretty much omitting personal fulfillment. When I first heard this song on the radio, I was thinking to myself, “is this going to be all that there is?”, it sounded pretty bleak, and I was only still at the “school” phase. To me, it is one of those reflective songs that makes you want and search for something much more than is being described. I’m not sure that’s the approach to take on this, but that’s at least that’s how I looked at the song at the time in contemplating my transition from school to work soon. After close to 38 years on the “work” phase, I can say that in this most recent year that I’ve grown pretty tired of that, but I’ve got much more planned before I hit that last item.
Tomorrow's still another day
Birth, school, work, death
Birth, school, work, death
“Birth, School, Work, Death” – The Godfathers
Everything is temporary anyway
Another new artist of this year in addition to Tracy Chapman was Edie Brickell. Her debut album, Shooting Rubberbands at the Stars was released in August by her and her American alternative rock/folk band Edie Brickell & New Bohemians. The album went double platinum in the US. They are best known for their debut single, "What I Am," which rose to #7. This track was the next single, and it peaked at #48, and it turned out to be the last chart entry for the band. Both of these mellow, introspective songs went against the trends of the times, which favored dance beats and R&B grooves. Guitarist Robbie Blunt, who previously had worked with Robert Plant earlier in the decade on his solo albums, guest joined Edie and the band on this album, and his signature playing is very apparent, especially on this song.
I remember getting this CD when it first came out, and as much as I liked the popular single, it was this track that grabbed me the most for the lyrics and heartfelt vocal delivery, which you can very much feel. Cash Box noted on this song that "The key to this here is Brickell’s breathy intensity. Supported by an acoustic-slanted track, she manages to sell the unusually dark lyric shadings”. In not knowing what would be next for me as I was entering my final year of undergraduate studies, this song spoke to me. Even while often surrounded by friends at school, having things struggle in a relationship and uncertainties of the future had me more relating to this track off of that great debut album.
Me, I'm a part of your circle of friends
And we noticed you don't come around
“Circle” – Edie Brickell and the New Bohemians
It hurts like never before
Playlist edit note: I had planned to have the Traveling Wilburys’ Roy Orbison-led hit “Not Alone Any More” as my selection here, but since the start of 2026, most all of the Traveling Wilburys’ songs have been since removed from Spotify, world-wide. I still have a placeholder on my playlist for this song as I had this created before the break (and was quite enjoying, I might add), but sadly it has since been removed – for now.
6 Jan edit: This situation has since been addressed in Spotify so the original track from the Traveling Wilburys' is now solely in the playlist.
That said, I had planned to honor Roy Orbison and his passing on 6 December at the end of 1988 with his signature Wilburys song, but instead, for something to have us play on the playlist, I’m opting for “You Got It” off of his final album, released posthumously 3 Jan, 1989 after his passing. Orbison gave his only public rendition of this song at the Diamond Awards Festival in Antwerp, Belgium, on 19 November, just 17 days before his death and before the single was released. This footage was incorporated into the song's music video. This song was written by Orbison and his Traveling Wilburys bandmates Jeff Lynne and Tom Petty, their first songwriting collaboration. It was written during the Christmas season of 1987 and recorded in Mike Campbell's garage in Los Angeles in April 1988. Lynne, Petty, former Beatle and fellow Wilbury George Harrison and Phil Jones provided other instrumentation and background vocals. Harrison went uncredited on the track.
I remember hearing this blockbuster song right after the success of Orbison with the Traveling Wilburys had rightfully reignited his career, and simply wondered “what if?”. His vocal delivery on both songs stands so stark and haunting, and it’s no wonder that he got lots of accolades and a rebirth of his music towards what would end up being the end of his career. Many artists have been inspired by Roy Orbison and his contributions to sad and haunting songs from prior decades in country, rockabilly, and in the earliest years of rock and roll. Bruce Springsteen has frequently cited Orbison as one of his greatest musical influences, famously stating that when recording his 1975 breakthrough album, Born to Run, he wanted to "sing like Roy Orbison". This admiration is immortalized in his song "Thunder Road," which features the lyric "Roy Orbison singing for the lonely". Springsteen also inducted Orbison into the Rock and Roll Hall of Fame in January 1987. During the ceremony, they performed "Oh, Pretty Woman" together.
The Traveling Wilburys were formed from an idea George Harison had with Jeff Lynne, who was co-producing Cloud Nine, Harrison’s 1987 solo album. Harrison stated he wanted to start a group after that album was completed and play “with his mates” that he enjoyed collaborating with. When it came down to discussing who the other members might consist of, Harrison chose Bob Dylan and Lynne opted for his musical idol, Roy Orbison. Harrison later became fast friends with Tom Petty on his European tour while Petty was supporting Dylan, and that’s how the final group member got added. The term "Wilbury" also originated during Harrison’s Cloud Nine recording sessions. Referring to recording errors created by faulty equipment, Harrison jokingly remarked to Lynne, "We'll bury 'em in the mix." Thereafter, they used the “Wilbury” term for any small error in performance. Harrison first suggested "the Trembling Wilburys" as the group's name; at Lynne's suggestion, they amended it to "Traveling Wilburys.
The Wilburys song I had planned was sung by Roy Orbison and serves as his main contribution to the Traveling Wilburys’ debut album. The song was written mainly by Jeff Lynne, although all five members of the Wilburys are credited as songwriters.
A longtime admirer of Orbison, Lynne wrote this track a vehicle for the singer's operatic vocal style. The song's lyrical theme of loneliness similarly recalls Orbison's dark ballads of the early 1960s. On release, the song was much admired by music critics. With the commercial success of the Wilburys, and the recognition afforded Orbison following his death, it marked his full return from the career downturn he had experienced since the mid-1960s.
RIP, Lefty Wilbury.
“Not Alone Any More” - Traveling Wilburys (previously was: “You Got It” – Roy Orbison temporarily)
I look out the window, I don't see your America
Another strong debut album and group this year was Living Colour’s Vivid. This group and album just seemed to come across at the right time when music listeners were yearning to hear something new with rock having become a bit stale. This album musically has been described as spanning hard rock, heavy metal, funk metal, alternative metal, and funk rock, all with elements of soul, jazz, pop, rap, punk, and avant-garde jazz. In short, this band and album had it all and was on heavy rotation with me after initially hearing on Rock 105 in spring of that year. This debut release turned out to be one of the most popular albums of the year, peaking at #6 on the US Billboard 200 chart and being certified double platinum.
It rightfully obtained high praise from numerous musical critics as well. Ken Tucker of The Philadelphia Inquirer noted that Living Colour "defies musical stereotypes by evincing influences that include Lynyrd Skynyrd, Jimi Hendrix, Roxy Music and Sly Stone to yield a fierce, funny album." Mark Sinker of NME likewise highlighted the band's diversity of influences, including their embrace of older musical styles "that even metal heads haven't taken seriously" and concluded that Vivid "lives up, simultaneously, to the pinhead directness of Zeppelin and the total Texas-New Yorker strangeness of Ornette Coleman's Prime Time." David Fricke of Rolling Stone wrote that “Vivid is an open letter to rock & roll itself, a demand for equal time and respect from a music that is Living Colour's birthright." He added that the album "will not change the world single-handedly, but it's a timely reminder of why it's always worth trying."
There were 5 singles from this album, highlighted by “Cult Of Personality” and “Glamour Boys”, which were great tunes to lure fans in. The band, led by guitarist and songwriter Vernon Reid had blistering solos and an approach and style which was very iconic and soon recognizable at the time. Corey Glover as lead singer, had a beautiful vocal range which successfully spanned the various genres that the band covered quite well. Glover would also be remembered by having a small but significant part (Francis) in Oliver Stone’s Platoon as an actor a few years prior.
While the singles on Vivid were quite strong and helped carry the band to instant fame and accolades, it is the final song to end the album that has always stuck with me as a song I still know by heart, and a very well written and sobering composition. Bassist Muzz Skillings in particular on this track lays down a very funky bassline that is quite a prominent part of the song flow. This track is a strong social commentary highlighting the stark divide between the prosperous, idealized America shown on TV ("your America"), and the harsh reality of systemic racism, poverty, and injustice experienced by marginalized communities ("my America"). The song acts as a critique of class disparity and a demand to find the path to true equality. I don’t think anything else I could say could come close to what the song conveys on its own.
I change the channel
Your America's doing fine
I read the headlines
My America's doing time
“Which Way To America” - Living Colour
(Reminder: the final track mentioned below here is a playlist closer and will ultimately be the final song on this playlist before any Coda gets added.).
You say you want your love to work out right
I will borrow some notes on this next track as I have previously covered it in the Playlist Review thread under the category of “Love”, and there never was consideration for any other song to end my list in 1988 either.
This song was the album finale to U2's mix of live/studio songs on their Rattle and Hum release. I remember seeing this movie in the theatre in college with my then-girlfriend, and in three years later, my wife. That time, that album, and later seeing that movie once it was released in the theatre that year together in late November brings back lots of memories.
I enjoyed a few new select songs from that album including early singles "Angel of Harlem" and "When Love Comes to Town" (with B.B. King) being very nice standalone and collaborative tribute songs. However, it is another non-single track in “Heartland” that is one of the most pronounced and vividly beautiful non-performance memories in that film. That song just shows the band looking out over the Mississippi River in Memphis to see the sun go down after visiting Graceland that remains another favourite of mine. As I’ve had to travel to Memphis for numerous customer trips over the years and have had some vacation moments while there with Mrs. B&W&BMT, I often have brought up that song and the exact scenes from the movie I’ve recognized at that river, and remember watching this movie for the first time together.
This final track from the album I am choosing instead of all those mentioned is a deep, unconditional love song written by Bono for his wife, expressing that her acceptance of his flaws and commitment to him, even amidst broken promises and life's challenges, is all that truly matters, transcending material desires or grand gestures. The lyrics portray Bono’s wife’s perspective, valuing her husband's presence above any riches or perfect promises, highlighting a profound, accepting love that grounds them from "the cradle to the grave".
Benmont Tench from Tom Petty's Heartbreakers adds the keyboards, and Van Dyke Parks who collaborated with the Beach Boys, Little Feat, Randy Newman, and many others, adds in the striking strings heard throughout, and especially at the end. And Edge of course sure can play that gee-tar!
But all the promises we make
From the cradle to the grave
When all I want is you
"All I Want Is You" - U2
That is it for me for now on 1988, and hopefully I have again left plenty of great options, bands, and songs to touch upon for you and what you might have been listening to or was into musically at that time. I didn’t know when initially agreeing to do the write-up for this year how I would feel upon reflection back to that time and period as a whole. But I do know that it is the tough times, spoken or unspoken and whatever they might be, that makes you stronger and hopefully along with the music that might have gotten you through it, that gives you the true appreciation for what matters for you.
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