1980s – Page 41 – PowerPop… An Eclectic Collection of Pop Culture

Blue Öyster Cult – Burnin For You

It is not the more cowbell song but I like it. I never owned a Blue Oyster Cult album in my life and probably never will but I liked a couple of their popular songs. The song peaked at #40 in the Billboard 100 in 1981. This would be their last Top 40 hit but it was a #1 hit on Billboard’s Mainstream Rock chart.

Lead guitarist Don “Buck Dharma” Roeser wrote this with Richard Meltzer, a rock writer who often contributed lyrics to the band. Dharma initially planned to release this song on his solo album, Flat Out, but was later convinced to include it on Blue Öyster Cult’s Fire Of Unknown Origin.” Dharma sang lead, as he did on many of BÖC’s songs.

Band manager Sandy Pearlman, claimed that the name came to him when he saw Blue Point oysters on a menu.

From Songfacts

When Richard Meltzer wrote the lyrics, he titled the song “Burn Out The Night,” a reference to an evening of rock and roll. Blue Öyster Cult had a “band house” where their band members and associates (including their manager, Sandy Pearlman would bring in song ideas and lyrics.

Joe Bouchard, who was their bass player at the time, told the metal magazine Chips & Beer that he and Buck Dharma came across Meltzer’s lyrics at the same time, and each wrote their own song around it. Dharma’s version, with the title changed to “Burnin’ For You,” was the one that got recorded.

Along with Black Sabbath, Blue Öyster Cult was one of the first heavy metal bands. They issued their first album in 1972 and grew a modest following before scoring a hit with “(Don’t Fear) The Reaper” (also written by Buck Dharma) from their 1976 album Agents of Fortune, which hit #12 and became embedded on rock playlists.

In the book MTV Ruled the World – The Early Years of Music Video, frontman Eric Bloom tells the story of the “Burnin’ For You” video: “We went out to California, and our management found a video company, and we did two videos in 24 hours – ‘Burnin’ For You’ and ‘Joan Crawford.’ MTV wouldn’t show the ‘Joan Crawford’ video, because there was something about it that was too racy for them. But ‘Burnin’ For You’ got a ton of airplay on MTV in 1981 and 1982.”

Bloom continues: “We made it in the storm drains of LA. If anyone has seen the movie about giant ants, called Them!, with James Whitmore, it was filmed in the same place.” Later he adds: “We thought the car on fire was very Hollywood, very cool. They had to have a Hollywood film/pyro guy there, who was licensed to burn s–t up. He had propane tanks, and he had to have a hunk of car to burn.”

These videos were directed by Richard Casey, who directed the 1985 movie Horror House on Highway Five.

Burnin For You

Home in the valley
Home in the city
Home isn’t pretty
Ain’t no home for me

Home in the darkness
Home on the highway
Home isn’t my way
Home will never be

Burn out the day
Burn out the night
I can’t see no reason to put up a fight
I’m living for giving the devil his due

And I’m burning, I’m burning, I’m burning for you
I’m burning, I’m burning, I’m burning for you

Time is the essence
Time is the season
Time ain’t no reason
Got no time to slow

Time everlasting
Time to play b-sides
Time ain’t on my side
Time I’ll never know

Burn out the day
Burn out the night
I’m not the one to tell you what’s wrong or what’s right
I’ve seen signs of what (freezing their eyes) went through

Well I’m burning, I’m burning, I’m burning for you
I’m burning, I’m burning, I’m burning for you

Burn out the day
Burn out the night
I can’t see no reason to put up a fight
I’m living for giving the devil his due

And I’m burning, I’m burning, I’m burning for you
I’m burning, I’m burning, I’m burning for you

Ruth Gordon

Probably the most well-known role she played was the character of Maude in Harold and Maude. She is also remembered as Minnie Castevet in Rosemary’s Baby. Ruth Gordon was also a member of the Algonquin Round Table. She was a brilliant writer and actress. She was a stage actress mostly until the 1940s when she started to appear in films. She went back to the stage until the 60s where she started to be in films up to her death.

Ruth was born in 1896 in Wollaston, Massachusetts. She was a very successful writer and actress.

In 1915 she made her Broadway debut in Peter Pan in the role of Nibs. Her performance endeared her to the New York critic Alexander Woollcott, who introduced her to the famous Algonquin Round Table, a group that included George S. Kaufman, Robert Benchley, Edna Ferber, Alice Duer Miller, Heywood Broun, Dorothy Parker, and Harpo Marx.

Throughout the next three decades, Ruth appeared in several plays by playwrights such as Henrik Ibsen, Anton Chekhov, and Booth Tarkington. She enjoyed her greatest stage triumph in a 1936 production of The Country-Wife at London’s Old Vic.

She married screenwriter and director Garson Kanin in 1942. Ruth and Garson collaborated on many plays and screenplays together.

She appeared in a handful of films during the early 1940s, including Abe Lincoln in Illinois (1940), Dr. Ehrlich’s Magic Bullet (1940), Two-Faced Woman (1941; Greta Garbo’s final film), Edge of Darkness (1942), and Action in the North Atlantic (1943). She then returned to the stage and did not appear in another film for 22 years.

She came back to film in1965 with Inside Daisy Clover ( best-supporting-actress Oscar nomination). She won an Oscar for her supporting role in Rosemary’s Baby (1968), and she developed a strong cult following with her offbeat characters in Where’s Poppa (1970) and Harold and Maude (1971). She appeared in many television programs and made-for-TV movies during the 1960s and ’70s and won an Emmy in 1979 for her role on an episode of the popular sitcom Taxi. Gordon and Kanin also collaborated on one more writing project, the TV movie Hardhat and Legs (1980).

Ruth Gordon died on August 28, 1985, and Garson Kanin died on March 13, 1999.

Awards from IMDB

Academy Awards

1969 Winner
OscarBest Actress in a Supporting Role
Rosemary’s Baby (1968)

1966 Nominee
OscarBest Actress in a Supporting Role
Inside Daisy Clover (1965)

1953 Nominee
OscarBest Writing, Story and Screenplay
Pat and Mike (1952)
Shared with: Garson Kanin

1951 Nominee
OscarBest Writing, Story and Screenplay
Adam’s Rib (1949)

Shared with: Garson Kanin

1948 Nominee

OscarBest Writing, Original Screenplay
A Double Life (1947)

Shared with: Garson Kanin

https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/gordon-ruth-1896-1985

Talking Heads – And She Was

This song is about an acid trip. According to David Byrne, it was written about a girl he knew who used to take LSD in a field next to the Yoo-Hoo drink factory. it took me a while to warm up to The Talking Heads but I ended up really liking them. They always made interesting videos.

The song peaked at #54 in the Billboard 100 and #17 in the UK in 1985. The song was off of the “Little Creatures” album that peaked at #20 in the Billboard Album Charts. Byrne is listed as the sole author of Little Creatures’ nine songs, with the band credited only with arrangements.

It is a very good… catchy pop song.

From Songfacts.

The video was the first created by Jim Blashfield, who pioneered a collage-animation style with his short film, Suspicious Circumstances. That got the attention of Talking Heads, which wanted a similar motif for their “And She Was” video. The resulting clip earned MTV Video Music Award nominations for Best Group Video and Best Concept Video. Blashfield was commissioned for more videos in this style; his work can be seen in “The Boy in the Bubble” (Paul Simon), “Sowing the Seeds of Love” (Tears For Fears) and “Leave Me Alone” (Michael Jackson).

And She Was

Hey!

And she was lying in the grass
And she could hear the highway breathing
And she could see a nearby factory
She’s making sure she is not dreaming

See the lights of a neighbor’s house
Now she’s starting to rise
Take a minute to concentrate
And she opens up her eyes

The world was moving she was right there with it and she was
The world was moving she was floating above it and she was
And she was

And she was drifting through the backyard
And she was taking off her dress
And she was moving very slowly
Rising up above the earth

Moving into the universe and she’s
Drifting this way and that
Not touching the ground at all and she’s
Up above the yard

The world was moving, she was right there with it and she was
(Hey, hey)
The world was moving, she was floating above it and she was
(Hey, hey, hey)

She was proud about it, no doubt about it
She isn’t sure about what she’s done
No time to think about what to tell him
No time to think about what she’s done and she was
(Hey hey, hey hey, hey)

And she was looking at herself
And things were looking like a movie
She had a pleasant elevation
She’s moving out in all directions oh, oh oh

Hey, hey, hey
Hey-hey, hey, hey
Hey, hey, hey-hey hey!

The world was moving, she was right there with it and she was
(Hey, woo hoo)
The world was moving, she was floating above it and she was
(Hey, hey)

Joining the world of missing persons and she was
Missing enough to feel all right and she was

And she was
And she was
And she was
And she was
And she was
Hey!
And she was!
And she was
And she was!

Full Moon

I bought this book in the 1980s and in America was called “Full Moon” and in the UK it was called “Moon the Loon”. It was written by Chris Trengove and Dougal Butler, Dougal was Keith’s personal assistant. Dougal doesn’t try to justify Moon’s actions, he just tells the stories that are now legendary.

The book will have you physically burst out laughing at different parts of it. Keith left a trail of wrecked cars, wrecked drums, wrecked hotel rooms, wrecked nerves, wrecked bars, and many smiles.

Dougal doesn’t try to tell Moon’s life history. If you want Keith’s life get Dear Boy, a terrific and thorough bio on Keith by Tony Fletcher. Full Moon highlights the tales of Mr. Keith John Moon…Patent British Exploding Drummer. It is a very quick read at around 250 pages. The audio version is approximately 9 hours long.

Butler worked for Moon for ten years and was right there during much of the craziness. He was behind the wheel of Moon’s AC Frua 428 as it flipped end-over-end through a field off Chertsey Lane after Moon decided to grab the shifter and downshift at around 120 mph.

The book also touches on Moon’s long-suffering wife Kim who endured all the craziness she could and finally leaves Keith. He had the ability or curse of not being able to be embarrassed…this a fun book to read. It was originally published in 1981. It was a collector’s item for a long time but it was republished in 2012.

The audiobook format is read by British actor Karl Howman, a friend of both Moon and Butler, who features in some of the book’s stories and is thus well familiar with the subject matter. Karl reads it in a cockney voice and it fits perfectly.

This book will not give you a history of The Who…just some great stories of my favorite drummer.

U2 – Angel of Harlem

This song has an old feel and a lot of power. It was on the Rattle and Hum album. I’ve talked to many U2 fans who don’t like the album a lot but it was a favorite of mine at the time. It broke a little from their previous albums. The Edge backed off the reverb some on this album.

The “Angel of Harlem” is Billie Holiday, a Jazz singer who moved to Harlem as a teenager in 1928. She played a variety of nightclubs and became famous for her spectacular voice and ability to move her audience to tears. She dealt with racism, drug problems, and bad relationships for most of her life, and her sadness was often revealed in her songs. She died of cirrhosis of the liver in 1959 at age 44.

The song peaked at #14 in the Billboard 100 and #9 in the UK in 1989. Rattle and Hum peaked at #1 in the Billboard 200 in 1988. The album had live and studio cuts included and a film.

Angel of Harlem was recorded at Sun Studio in Memphis.

From Songfacts

Billy Holiday’s nickname was “Lady Day.” That’s where they got the line, “Lady Day got diamond eyes, she sees the truth behind the lies.”

This is a tribute to the blues, jazz and gospel music U2 heard while touring America.

U2 recorded this at Sun Studios in Memphis while the band was touring the US in 1987. It features the Memphis Horns, who recorded on many of the blues and soul classics recorded there.

This was produced by “Cowboy” Jack Clement, who worked with Sam Phillips at Sun Studios in the ’50s before moving to Nashville and working with a variety of Country singers. When U2 asked him to work on this album, he had never even heard of them, but fortunately some of his friends were familiar with U2 and made it clear to Clement that working with them would be a good career move. By using Clement, U2 was able to recreate the famous Sun Studios’ sound they were looking for.

The line “On BLS I heard the sound…” refers to New York radio station WBLS, where U2 heard the blues and soul music that influenced this track.

This was used in the U2 documentary Rattle And Hum, which followed the band on their 1987-1988 tour of North America.

U2 played this live for the first time at the Smile Jamaica concert on October 16, 1988 in London, a benefit for the victims of Hurricane Gilbert. >>

The band was inspired by their first trip to New York City. “I wrote about it in a song. ‘Angel of Harlem,'” Bono explains in the book U2 by U2. “We landed in JFK and we were picked up in a limousine. We had never been in a limousine before, and with the din of punk rock not yet faded from our ears, there was a sort of guilty pleasure as we stepped into the limousine. Followed by a sly grin, as you admit to yourself this is fun. We crossed Triborough Bridge and saw the Manhattan skyline. The limo driver was black and he had the radio tuned to WBLS, a black music station. Billie Holiday was singing. And there it was, city of blinding lights, neon hearts. They were advertising in the skies for people like us, as London had the year before.”

During the recording session, Bono learned the important lesson that alcohol and horn players do not mix. “I thought I would lighten the session up, so I sent out for a case of Absolut Vodka. I was giving it to the horn players and we were all having a little laugh and Cowboy came up to me. Cowboy was a guy who knew how to get into trouble but he also knew when not to get into trouble. He said, ‘Bono, how long you been doing this?’ I said, ‘Ten years, nearly.’ He said, ‘Ten years and you don’t know not to give the horn section Absolut Vodka? You can give it to anybody else but you can’t give a horn section Absolut.’ I asked, ‘Why, particularly, the horn section?’ Cowboy said, ‘Listen, stupid, you try playing a horn when your lips won’t work.’

Angel of Harlem

It was a cold and wet December day
When we touched the ground at JFK
Snow was melting on the ground
On BLS I heard the sound
Of an angel

New York, like a Christmas tree
Tonight this city belongs to me
Angel

Soul love, this love won’t let me go
So long, angel of Harlem

Birdland on fifty three
The street sounds like a symphony
We got John Coltrane and a love supreme
Miles, and she’s got to be an angel

Lady Day got diamond eyes
She sees the truth behind the lies
Angel

Soul love this love won’t let me go
So long angel of Harlem
Angel of Harlem

She says it’s heart, heart and soul
Yeah yeah (yeah)
Yeah yeah (right now)

Blue light on the avenue
God knows they got to you
An empty glass, the lady sings
Eyes swollen like a bee sting
Blinded you lost your way
Through the side streets and the alleyway
Like a star exploding in the night
Falling to the city in broad daylight
An angel in Devil’s shoes
Salvation in the blues
You never looked like an angel
Yeah yeah angel of Harlem

Angel angel of Harlem
Angel angel of Harlem
Angel angel of Harlem
Angel angel of Harlem

Squeeze – Tempted

Paul Carrack sang lead on this. He also sang with the bands Ace (“How Long”) and Mike And The Mechanics (“The Living Years”). In 1987, he had a solo hit with “Don’t Shed a Tear.”

This was the first Squeeze song to crack the charts in America. Squeeze was already a big deal in their native England, where they had 7 Top-40 hits to this point. They managed just 2 more US hits: “Hourglass” and “853-5937,” but “Tempted” remains their only top ten hit. It peaked at #8 in the Billboard 100.

From Songfacts

Squeeze singer and guitarist Chris Difford wrote the lyrics to this song. He explains: “Tempted was written in a cab on the way to Heathrow, I just wrote down what I saw and how I felt as we wormed our way through the traffic. I also must have anticipated a good time on tour as the chorus suggests.”
Carrack was with Squeeze for their East Side Story album, replacing Jools Holland on keyboards and also contributing vocals. He rejoined Squeeze in 1993 for their album Some Fantastic Place, and sang on a new version of “Tempted” that the band recorded for the soundtrack of the 1994 movie Reality Bites.

Elvis Costello produced this track. You can hear him singing on the second verse.

Glenn Tilbrook, who writes the music for Squeeze, considers this one of his favorites. Says Tilbrook: “It was a sort of breakthrough song for us, in spite of the fact that it wasn’t a hit, it was our first song. It was when we grew up, really, as a band. When we finished it I couldn’t quite believe it was us.” (Read more in our interview with Glenn Tilbrook and Chris Difford of Squeeze.)

In the US, this was used in a commercial for Burger King, and another for Heineken. It’s a good fit for advertisements where someone is “tempted” by their product.

At many Squeeze shows, fans would throw toothbrushes (Rocky Horror-style) on stage at the opening line: “I bought a toothbrush…”

Tempted

I bought a toothbrush, some toothpaste
A flannel for my face
Pajamas, a hairbrush
New shoes and a case
I said to my reflection
Let’s get out of this place

Passed the church and the steeple
The laundry on the hill
Billboards and the buildings
Memories of it still
Keep calling and calling
But forget it all, I know I will

Tempted by the fruit of another
Tempted but the truth is discovered
What’s been going on
Now that you have gone

There’s no other
Tempted by the fruit of another
Tempted but the truth is discovered

I’m at the car park, the airport
The baggage carousel
The people keep on [Incomprehensible]
Ain’t wishing I was well
I said it’s no occasion
It’s no story I could tell

At my bedside empty pocket
A foot without a sock
Your body gets much closer
I fumble for the clock
Alarmed by the seduction
I wish that it would stop

Tempted by the fruit of another
Tempted but the truth is discovered
What’s been going on
Now that you have gone

There’s no other
Tempted by the fruit of another
Tempted but the truth is discovered

I bought a novel, some perfume
A fortune all for you
But it’s not my conscience
That hates to be untrue
I asked of my reflection
Tell me what is there to do?

Tempted by the fruit of another
Tempted but the truth is discovered
What’s been going on
Now that you have gone

There’s no other
Tempted by the fruit of another
Tempted but the truth is discovered

Tempted by the fruit of another
Tempted but the truth is discovered
Tempted by the fruit of another
Tempted but the truth is discovered

Violent Femmes – Blister In The Sun

In the mid-eighties, a girl I knew kept playing this song over and over. It got on my nerves but after a while I found myself liking it. I ended up liking the song more than I did the girl. A Blister In The Sun was released in 1983.

The song had a cult following and was favorite on American college radio in the 1980s. In the early 1990s, an alternative and modern rock radio stations went on the air, it got a lot of airplay because it was considered a classic of the genre. The album gradually sold over one million copies and earned the Violent Femmes a large fan base.

From Songfacts

Written by Violent Femmes lead singer Gordan Gano, this song sure sounds like an ode to masturbation:

Body and beats
I stain my sheets
I don’t even know why
My girlfriend, she’s at the end
She is starting to cry

Gano says it isn’t, and that he didn’t hear that interpretation until years later. “I don’t think there’s a whole lot to understand with the lyrics,” he told the Village Voice. “But I can see where people could get that idea.”

Gano is coy in discussing the song, but he has explained that it’s about the strung-out feeling that comes from drug abuse. The girlfriend is at her wit’s end because he keeps staining the sheets, as he lacks sexual control.

This is the first song on the first Violent Femmes album, introducing the band with the famous guitar riff and snare hits. The band made inroads with songs like this one about adolescent insecurities delivered in a deprecating tone. Gordon Gano was just 19 when the album was released.

The line, “Big hands I know you’re the one” is in the song because Gano has small hands. In the song, he’s in a self-loathing state where he knows the girl is just going to take up with some big-handed guy.

In 2007, this was used in commercials for the fast food purveyor Wendy’s. Gordon Gano authorized its use, which triggered a lawsuit by the group’s bass player Brian Ritchie, who stated: “I don’t like having my sound misappropriated to sell harmful products, such as fast food… that’s not why we made the music. It should not be hijacked.” Ritchie cited misappropriation of jointly owned intellectual property as the basis for his suit.

Ritchie also blasted Gano in the publication OnMilwaukee, where he wrote, “When you see dubious or in this case disgusting uses of our music you can thank the greed, insensitivity and poor taste of Gordon Gano, it is his karma that he lost his songwriting ability many years ago, probably due to his own lack of self-respect as his willingness to prostitute our songs demonstrates. Neither Gordon (vegetarian) nor me (gourmet) eat garbage like Wendy’s burgers.”

The band was still touring when this went down, but they broke up soon after. They didn’t return to action until 2013, when they played the Coachella festival.

This was featured in the 1997 John Cusack film Grosse Pointe Blank. The soundtrack includes two versions of the song, the original 1982 release and a remake entitled “Blister 2000.” The remake is slower and has kind of a funky instrumental sax solo in the middle. >>

A multi-instrumental cover of the song was used in a 2012 television commercial for the Hewlett-Packard DV6T notebook. In the ad, the song in played in various styles, including gospel, Mariachi and metal.

The barefoot child peeking into an old building on the album cover is three-year-old Billie Jo Campbell, who photographer Ron Hugo spotted walking with her mother in Los Angeles. Speaking to MTV News in 2007, Campbell recalled: “I remember looking into that building, and they kept telling me there are animals in there. I had no idea there were photographers there. I was pissed off that I couldn’t see the animals.”

Blister in the Sun

When I’m out walking
I strut my stuff
And I’m so strung out
I’m high as a kite
I just might stop to check you out

Let me go on like I
Blister in the sun
Let me go on
Big hands, I know you’re the one

Body and beats,
I stain my sheets
I don’t even know why
My girlfriend, she’s at the end,
She is starting to cry

Let me go on like I
Blister in the sun
Let me go on
Big hands, I know you’re the one

When I’m out walking
I strut my stuff
And I’m so strung out
I’m high as a kite
I just might stop to check you out

Body and beats,
I stain my sheets
I don’t even know why
My girlfriend, she’s at the end,
She is starting to cry

When I’m out walking
I strut my stuff
And I’m so strung out
I’m high as a kite
I just might stop to check you out

Let me go on like I
Blister in the sun
Let me go on
Big hands, I know you’re the one

Joe Walsh – All Night Long

Joe has to be one of the most likable guys in Rock and Roll. Along with having a good time he is one of the best rock guitarists. All Night Long peaked at #19 in the Billboard 100 and #13 in Canada in 1980.

“All Night Long” was released as a single, in addition to being included in the legendary soundtrack to Urban Cowboy. It became one of Joe Walsh’s four Top 40 charting songs in his solo career. The song also found its way onto a live Eagles album.

From Songfacts

Independent of the single’s chart record, the soundtrack album made #1 on the Country Albums Chart, #3 on the Billboard 200, #2 on the Canadian RPM Country Albums Chart, and #21 on Canadian RPM Top Albums. Quite a bit of success for songs from a movie that cast John Travolta as a cowboy (inverting the concept of a “spaghetti western”), which makes about as much sense as casting John Wayne as Genghis Khan, and yet here we are still talking about it.

Joe Walsh fun fact: he played a prisoner in the 1980 film The Blues Brothers; during the “Jailhouse Rock” scene he was the first jumpsuit up on the table.

This was Walsh’s very next single after “Life’s Been Good.” Uh oh… Here comes a flock of WAH-WAHS!

All Night Long

We get up early and we work all day.
We put our time in ’cause we like to stay up
All night long. All night long.

We keep on grinnin’ ’til the weekend comes.
Just a pinch between your cheek and gums.
All night long. All night long.

Start in the morning and get the job done.
Take care of business and we have some fun.
All night long. All night long.

We like a long neck and a good old song.
Turn it up and then we’ll sing along. Sing along.
Oh, we’re stayin’ up all night long.

All night long.
All night long.
All night long.
All night long.

The Jam – Town Called Malice

The Jam was a mod band in the late seventies who were hugely popular in the UK but their only charting song in America was Town Called Malice that peaked at #31 in the Mainstream rock charts in 1982. This song went to #1 in the UK and #19 in Canada.

In the UK they had 4 number 1s, 9 top ten hits, and 24 top forty hits. They had company with bands like The Small Faces and Slade who were much more popular in the UK than America. Paul Weller left the Jam in 1982 and found The Style Council with Mick Talbot in 1983.

From Songfacts

The title of Nevil Shute’s A Town Like Alice inspired the title, but the inspiration for the song came from Paul Weller’s friend Dave Waller by means of describing urban life. The song is about unemployment in a working town and Paul Weller confessed, “It could have been written about any suburban town, but it was in fact written about my hometown of Woking.” (quote from 1000 UK #1 Hits by Jon Kutner and Spencer Leigh)

This was a double A-sided UK #1 along with “Precious.” The Jam became the first act since The Beatles, who performed “Day Tripper” and “We Can Work It Out” to perform both tracks of double A side on the BBC pop music show Top Of The Pops.

The song lasted a mere eight weeks on the chart, four of which were in the Top 10 and of that four, three were spent at #1.

This caused an industry furor after EMI objected to this being available in a studio-recorded 7-inch version and a live 12-inch version. The feeling was that the Jam’s fans were buying both versions of the single and so stopping “Golden Brown” by the Stranglers on the EMI label from reaching #1.

Many of Weller’s songs reflected his anger with right of center politics and the video for this number featured a cue-card with the slogan “If we ain’t getting through to you, you obviously ain’t listening.” Prompted by Conservative Party leader David Cameron’s comment that the music of the Jam “meant a lot,” the Guardian newspaper asked Weller, if it had been suggested in the early ’80s that there were ardent Tories coming to Jam concerts, what would he have thought? He replied: “I’d have been really, really surprised. I think I pretty much nailed where I was at to the mast. But people come to gigs for different reasons: it isn’t necessarily about what the person on stage is singing. But at the same time, you do think, ‘Well, maybe this’ll change their minds.”

The Walking Dead Season 7 third episode starts with a montage of the Saviors’ Sanctuary soundtracked by this song.

Town Called Malice

Better stop dreaming of the quiet life
Cause it’s the one we’ll never know
And quit running for that runaway bus
Cause those rosy days are few
And, stop apologizing for the things you’ve never done,
Cause time is short and life is cruel
But it’s up to us to change
This town called malice
Rows and rows of disused milk floats
Stand dying in the dairy yard
And a hundred lonely housewives clutch empty milk
Bottles to their hearts
Hanging out their old love letters on the line to dry
It’s enough to make you stop believing when tears come
Fast and furious
In a town called malice

Struggle after struggle, year after year
The atmosphere’s a fine blend of ice
I’m almost stone cold dead
In a town called malice

A whole street’s belief in Sunday’s roast beef
Gets dashed against the Co-op
To either cut down on beer or the kids new gear
It’s a big decision in a town called malice

The ghost of a steam train, echoes down my track
It’s at the moment bound for nowhere
Just going round and round
Playground kids and creaking swings
Lost laughter in the breeze
I could go on for hours and I probably will
But I’d sooner put some joy back
In this town called malice

Eurythmics – Here Comes The Rain Again

It took a while for me to warm up to the Eurythmics in the 80s but I did. Here Comes the Rain Again peaked at #4 in the Billboard 100 in 1984. Annie Lennox’s voice is so distinguishable, strong, and versatile that they didn’t have just one style. They did this and then the next year they had the more R&B song Would I Lie To You.

Here Comes The Rain Again was recorded in an old church that was converted into a studio – except the studio wasn’t finished yet and they brought in the orchestra anyway. About 30 string players had to improvise by playing in corridors and even the toilet. The song was mixed blending the orchestra on top of electronic sounds created by a sequencer and drum machine.

From Songfacts

The Eurythmics were vocalist Annie Lennox and instrumentalist Dave Stewart. Both were members of The Tourists before forming Eurythmics in 1980. They met when Lennox was working as a waitress in Stewart’s home town of Sunderland; they lived together for four years before forming Eurythmics and ending their romantic relationship while forging ahead as a duo. Writing and recording as ex-lovers created an interesting tension in their songs.

In our interview with Dave Stewart, he explains that creating a melancholy mood in his songs is something he excels at. Says Stewart: “‘Here Comes The Rain Again’ is kind of a perfect one where it has a mixture of things, because I’m playing a b-minor, but then I change it to put a b-natural in, and so it kind of feels like that minor is suspended, or major. So it’s kind of a weird course. And of course that starts the whole song, and the whole song was about that undecided thing, like here comes depression, or here comes that downward spiral. But then it goes, ‘so talk to me like lovers do.’ It’s the wandering in and out of melancholy, a dark beauty that sort of is like the rose that’s when it’s darkest unfolding and blood red just before the garden, dies. And capturing that in kind of oblique statements and sentiments.”

Instead of the conventional verse-chorus-verse, this song alternates an A section (“Here comes the rain again?”) and a B section (“So baby talk to me?”) with very little variation between repetitions – just a short instrumental bridge in the middle of the song. This creates the feeling of monotony, as the rain keeps falling.

The Eurythmics were named after a mime performed by Emile Jacques-Dalcrose. They had nine UK Top 10 hits and three in the US, including the #1 “Sweet Dreams (Are Made of This).” In 1987, Stewart married Siobhan Fahey of Bananarama. Lennox left in 1990 but the pair reunited in 1999.

In The Dave Stewart Songbook, Stewart explains that he and Lennox wrote this song when they were staying at the Mayflower Hotel in New York City. Writes Stewart: “I’d been out on 46th Street and bought an early Casio keyboard, about 20 inches long with very small keys. It was an overcast day. Annie was sitting in my room, and I was playing some little riff on the keyboard sitting on the window ledge, and I was playing these little melancholy A minor-ish chords with the B note in it. I kept on playing this riff, and Annie was looking out the window at the slate grey sky above the New York skyline and just sang spontaneously, ‘Here Comes The Rain Again.’ And that was all we needed. you see, like with a lot of our songs, you only need to start with that one line, and that one atmosphere, that one note, or that intro melody. And the rest of it was like a puzzle where we needed to just fill in the missing pieces.”

The video was shot at the Orkney islands in Scotland, where Annie Lennox is seen performing the song in and around a scuppered ship. The whole time, we see Dave Stewart recording her with a video camera, appearing to stalk her. “The videos all express an interior world going on between me and Dave — emotional tensions,” Lennox told Q magazine in 1991.

The line, “Talk to me like lovers do” shows up in the 2007 song “Taking Chances,” which Stewart wrote with Kara DioGuardi.

Here Comes The Rain Again

Here comes the rain again
Falling on my head like a memory
Falling on my head like a new emotion
I want to walk in the open wind
I want to talk like lovers do
I want to dive into your ocean
Is it raining with you

So baby talk to me
Like lovers do
Walk with me
Like lovers do
Talk to me
Like lovers do

Here comes the rain again
Raining in my head like a tragedy
Tearing me apart like a new emotion
Oh
I want to breathe in the open wind
I want to kiss like lovers do
I want to dive into your ocean
Is it raining with you

So baby talk to me
Like lovers do

Here comes the rain again
Falling on my head like a memory
Falling on my head like a new emotion
(Here is comes again, here it comes again)
I want to walk in the open wind
I want to talk like lovers do
I want dive into your ocean
Is it raining with you

The Romantics – What I Like About You

I remember this song in the 80s as a throwback to a familiar riff in many 60’s songs. The song peaked at only #49 in the Billboard 100 in 1980. The Romantics’ two Top 40 hits were “Talking In Your Sleep” (#3) and “One In A Million” (#37). Both came in 1983, from their fourth album In Heat.

The Romantics formed in East Detroit in early 1977. The original line-up consisted of singer/guitarist Wally Palmar, singer/drummer Jimmy Marinos, guitarist Mike Skill, and bassist Rich Cole. The band has said their name came from an article on Bryan Ferry in Creem magazine. They were all big fans of Ferry’s band, Roxy Music, and the word “romantic” was used throughout the article.

The group formed in Detroit, Michigan, in 1977. The band’s first show was on Valentine’s Day at My Fair Lady Club, in Detroit, opening for the New MC5 in 1977.

From Songfacts

The Romantics, so named because they formed on Valentine’s Day 1977 in Detroit, have had only two US Top 40 hits – and this, now their best-known song, wasn’t one of them. It attracted little attention and was only a minor hit when first released in 1980 on their debut album, but found new life later in the decade when it became a popular choice for an advertising jingle, particularly for Budweiser beer. Since then the song has also become a fixture at sporting events, bars and nightclubs, and parties and celebrations of all kinds, and has taken its place as one of the most popular rock anthems of all time.

In another ironic twist, the licensing of this song for advertising, the very thing that sparked the song’s comeback, was apparently handled illegally. It was secured from the band’s management without the band’s knowledge or approval, which sparked a lawsuit lasting several years. Despite now having faded into obscurity, the band stayed together during this time, albeit with several lineup changes, and remain active as of 2012. >>

This song’s resurgence had a lot to do with MTV. The band made a simple performance video for the song that MTV put in rotation when they launched in 1981. It fit the criteria the network was looking for: American band, rock, catchy song, acceptable production quality. Since few American artists made videos at the time, MTV made do with lots of European imports when they started.

The Romantics, who were often compared to The Knack when this song was released, were a four-piece that split lead vocals between their guitarist Wally Palmar and drummer Jimmy Marinos, and it was Marinos who sang lead on this one.

Marinos and Palmar wrote this song with their other guitarist, Mike Skill.

The Texas singer Michael Morales took this song back to the charts in 1989 when his version hit #28 in the US. The song was also covered by 5 Seconds of Summer, who released it in 2014 on their EP She Looks So Perfect. They performed the song at the American Music Awards that year.

What I Like About You

Hey, uh huh huh
Hey, uh huh huh

What I like about you, you hold me tight
Tell me I’m the only one, wanna’ come over tonight, yea

Keep on whispering in my ear
Tell me all the things that I wanna’ to hear, ’cause that’s true (that’s what I like)
That’s what I like about you (that’s what I like)

What I like about you, you really know how to dance
When you go up, down, jump around, think about true romance, yea

Keep on whispering in my ear
Tell me all the things that I wanna’ to hear, ’cause that’s true (that’s what I like about you)
That’s what I like about you (that’s what I like about you)
That’s what I like about you (that’s what I like about you)
That’s what I like about you (that’s what I like)
Wahh!

What I like about you, you keep me warm at night
Never wanna’ let you go, know you make me feel alright, yea

Keep on whispering in my ear
Tell me all the things that I wanna’ to hear, ’cause that’s true (that’s what I like)
That’s what I like about you (that’s what I like)

That’s what I like about you (that’s what I like about you)
That’s what I like about you (that’s what I like about you)
That’s what I like about you (that’s what I like)
That’s what I like about you (that’s what I like)
That’s what I like about you (that’s what I like)
That’s what I like about you (that’s what I like about you)

Hey, uh huh huh, hey hey hey
Hey, uh huh huh, brrr
Hey, uh huh huh, hey

The Traveling Wilburys – Tweeter and the Monkey Man

One of my favorite Dylan songs of the 1980s. Tweeter and the Monkey Man has a cool story and he sprinkles references to Bruce Springsteen songs all through it. The songwriting credit went to all of the Wilburys and George Harrison remembered Bob and Tom writing it and George didn’t understand a lot of it because of the American references. Jeff Lynne and George contributed to the chorus.

It’s a story of two drug dealers, Tweeter and the Monkey Man and an undercover cop chasing them…and to add more drama the undercover cop who had a sister named Jan…and she loved the Monkey Man. it also contains an excellent lyric… In Jersey anything’s legal as long as you don’t get caught.”

Tom Petty talked about the Bruce Springsteen references, “It was not meant to mock him at all. It started with Bob Dylan saying, ‘I want to write a song about a guy named Tweeter. And it needs somebody else.’ I said, ‘The Monkey Man.’ And he says, ‘Perfect, ‘Tweeter and the Monkey Man.” And he said, ‘Okay, I want to write the story and I want to set it in New Jersey.’ “I was like, ‘OK, New Jersey.’ And he was like, ‘Yeah, we could use references to Bruce Springsteen titles.’ He clearly meant it as praise.”

Tweeter and the Monkey Man

Tweeter and the Monkey Man were hard up for cash
They stayed up all night selling cocaine and hash
To an undercover cop who had a sister named Jan
For reasons unexplained she loved the Monkey Man

Tweeter was a boy scout before she went to Vietnam
And found out the hard way nobody gives a damn
They knew that they found freedom just across the Jersey Line
So they hopped into a stolen car took Highway 99