30 records in 30 days goes into the 28th round: Me and Jane in Plane.
Another musical hook before we enter the final musical sprint tomorrow. Two important memories connect me with this record. The first concerns the musical style, swing jazz. My father was an avowed fan of this style of music and this band. And – in contrast to his other musical preferences – I liked the music immediately. I even listened to the record often when he wasn’t around. The second memory concerns my father. I can still remember very well how on some Sundays in the morning he put on the record very tidily and enjoyed the music with a lot of commitment.
30 records in 30 days goes into the 27th round: Honni soit qui mal y pense.
Another musical hook. This is the only classical LP I bought when I was young. I got into classical music quite early and still found some inherited pieces in my record collection. Probably not in great condition. I would have bought more classical albums for sure, but in the beginning the pocket money wasn’t enough, later I bought the CDs. Back to the Bolero. There’s not much to say, just great. Almost structured like a modern piece of music. A drum loop and then successively all the other instruments fade in. Have a nice Sunday.
30 records in 30 days goes into the 26th round: Who is afraid of the haunted house?
The end is near. And we’re hitting another musical hook today, towards rap, hip-hop and (according to Wikipedia) e-funk. Whodini’s album was one of the big surprises during this challenge. I couldn’t remember ever owning anything like it. Grandmaster Flash was still hiding somewhere in the depths of my memory, but this album was off my radar. When I then listened to the songs in iTunes, I was surprised again. They are really good. Nevertheless, I never really warmed up to rap and hip-hop, that’s why I only got two LPs. Tomorrow there will be the next hook.
30 records in 30 days goes into the 25th round: Aren’t we all a bit Shango?
A friend of mine infected me with the funk virus when we were in the army together. In 1982-1984, a few limited-edition records called Funk You! were released on the Metrovynil label. The lyrics triggered red ears and stuttering at the time, but the music was the best you could get out of the funk corner.
Unfortunately, you couldn’t buy these albums at my local record store in my hometown and even in bigger towns it was insanely difficult to get them. I had a quick look last night and you can still get them, but at a sporty price (in good condition, more than 20€). I will probably buy them.
Back to Shango. Infected with the aforementioned virus, I was even more pleased that this record was available in normal record shops. The best song on the whole record is the Message. The raw power of funk packed into one song. Simply brilliant. And today‘s message is “Are You ready for the Weekend? Listen to the message! Listen to Shango!”
30 records in 30 days goes into the 24th round: I am not your Father…
Today I present you a musical hook: Kid Creole and the Coconuts, Tropical Gangsters. Funky, Latin, with a strong touch of disco. The ideal music for these gloomy times.
Time for a musical outing: I openly admit it, I’m a child of the disco generation and I love Saturday Night Fever. The dialogues are senseless, the plot – well. But the dance scenes… Dance to Kid Creole. It’s paaaaaaaarty time.
30 records in 30 days goes into the 23rd round: A piece of your heart can be found in every good car.
Today we will close my musical new wave era with one of the best albums from my whole collection, Hard by Gang of 4. As always, I took a quick look at Wikipedia to get an assessment of the music genre. It was quite surprising what I found about Gang of 4:
“The band played a stripped-down mix of punk rock, funk and dub, with a lyrical emphasis on the social and political ills of society. Gang of Four are widely considered one of the leading bands of the late 1970s/early 1980s post-punk movement. […] Their early 80s albums (Songs of the Free and Hard) found them softening some of their more jarring qualities, and drifting towards dance-punk and disco.”
30 records in 30 days goes into the 22nd round: love will tear us apart, and then we travel to Warshaw.
After talking about the commercialization of punk yesterday, today we’re going to take a step back. Joy Division is for me – similar to Alien Sex Fiend – a missing link between the synthesizer-heavy new wave music and the punk of the seventies. This album is really good, but the group lacks the anarchistic sound and synth experiments of Adrian Sex Fiend.
Don’t misunderstand, this in no way devalues the group’s sound, they are just different. Joy Division are so unexcitingly punk-oriented to me that this album is simply a joy to listen to. Quite typical for me: “Leaders of man” and “Warshaw”. It is also not aggressive (nice sample “Love will tear us apart”), like some other punk records, where you would like to tear down the neighbor’s house after two times listening.
30 records in 30 days goes into the 21st round: no more love songs….
This song is a very nice example of what can happen when you get pulled onto the commercial side of the force. Or in other words: what happens when the hard core punks start making money.The Sex Pistols singer Jonny Lydon founded PIL (Public Image Limited), his personal successor band to the Sex Pistols. The pure punks will have despised him for it, I celebrated him. And by the way: this is not a white sheet of paper, this is the original record cover.
30 records in 30 days goes into its twentieth round: I’m gone for a while.
Now we come to one of the groups I celebrated not only during my student days, but right up to here and now. The Sisters of Mercy. And for once, there’s a story to go with them. I will never forget the one and only Sisters concert I went to with a friend. I’ve forgotten the location, because of course I didn’t keep the ticket.
The atmosphere was fascinating. The singer Andrew Eldritch in a black coat, the rest of the band members in black clothes on stage. In the middle of a dry ice fog. Indirectly lit from the back of the stage. That’s how I remember the whole stage set-up. Ingenious.
The fact that you could only see the four of them dimly created a very strange, unreal atmosphere. As if there were no people on stage, but ghosts or aliens. Brilliantly done. Something like that should be realised in a club.
Here are the two most popular tracks from the maxi-single: