Good morning! Some old school hip hop yousall. It’s not PC, the vocals are all over the place, but the humour’s there and so is that Freddie Scott sample. Biz Markie in 1989…
Formed from the ashes of Lost Pandas, The Wedding Present were founded in Leeds in 1985. For me, their best work was in 1989 with the release of their long player Bizarro. At its heart is ‘Kennedy’, the work of singer/songwriter David Gedge. It was the same year that The Stone Roses released their eponymous and revered debut. The drumming of the Weddoes’ Simon Smith was surely influenced by the artistry of Reni. Have a great week.
This record defined the dancefloor in 1989. The creation of Chicago house producer Marvin (Lil) Louis Burns, ‘French Kiss’ was raw, unrelenting and a little bit rude. The zeitgeist – a perfect example of how the constant repetition of the right loop will eventually let your mind slip away.
Released on Warp Records a year before LFO’s self-titled banger, ‘Testone’ might not have been quite the touchpaper that its successor was, but it certainly had the heritage. Sweet Exorcist was a collaboration between Cabaret Voltaire’s Richard H. Kirk and Richard Barratt (aka DJ Parrot)… ah, the sound of early techno: Atari bleeps, snappy hi-hats and deep base. And what’s more, Jarvis Cocker directed the video.
Pixies released their underground rock blueprint Doolittle in 1989. Buried in its eclectic B-side was ‘Hey’. It has everything you would want from a Pixies track: Black Francis’s arresting start; the longing lyrics; the groovy bass guitar; and that siren solo from Joey Santiago. “We’re chaaaiiiined.”
‘This Woman’s Work’ originally featured on the soundtrack of the John Hughes movie She’s Having a Baby. A year later, the song was then released as the second single and penultimate track from Bush’s long-awaited album The Sensual World. The song ended the decade just how this woman’s work had started it. Beautiful music. And that was the 1980s. Have a great weekend.
Recorded “in a cupboard” at their home in Sevenoaks, ‘Chime’ put Phil and Paul Hartnoll front and centre of the burgeoning UK house music scene. Typical of the time, the sound was dominated by the simplicity of the Roland TB-303 synthesiser. It was originally pressed on Jazzy M’s Oh-Zone records and later picked up as a full release on Pete Tong’s FFRR record label.
There is only one way I can end this recollection of the 1980s. In 1989, The Stone Roses released their eponymous debut album, perhaps one of the great albums. The record opened with unmistakable soundscape of Mani and John Squire’s guitars. ‘I Wanna Be Adored’ would become a song/lyric that would define Ian Brown, a band and a generation. Have a great weekend.
Arguably, ‘Here Comes Your Man’ was the Pixies breakthrough single, despite a canon or work that already included the classic albums Come On Pilgrim and Surfer Rosa. Black Francis had written and played the song by 1987, but was reticent to release until the 1989 long player Doolittle. No doubt about its quality, and more a question of confidence rather than subject matter. The song’s about hobos travelling on the train (“boxcar”), while an earthquake hits.
‘Doowutchyalike’ is the fantastic sound of a non-stop party – a party at which George Clinton is the main man. While the West Coast was being saturated by Parliament-Funkadelic infused gangsta-funk, these gents from San Francisco Bay Area remained true to Clinton’s original sensibility – sex and humour. This boastful song features on the aptly named 1989 album Sex Packets, which is full of such debauchery. Digital Underground didn’t take themselves seriously, but they were no novelty act. For starters, Humpty Hump, his false nose and his merry men were the first to bring Tupac Shakur into the studio.
Apologies to those that already received this post earlier in the week. I am blaming recent blog glitches on festive hiccups, but this song was always going to be a hard one to hold back. ‘Debaser’ is a straight-up post-punk classic by the Pixies. It is the first song on their 1989 album Doolittle. Frontman Black Francis may take the plaudits for the vocal onslaught, but David Lovering’s drumming actually swings. For those with a little time and humour, it is worth checking out the acapella version on SoundCloud by IsolatedVocals.
Despite the stateside voguing in the video, Ultra Naté’s ‘It’s Over Now’ and its remixes were much loved by UK house heads. It filled dance floors when it was originally released as a single in 1989 and would feature on the diva’s debut album Blue Notes in the Basement two years later. Have a great weekend.