Amongst the wealth of new exciting new sounds and styles in music that the 80s heralded was a band that always stood out from the crowd – Shriekback. Their quirky dark lyrics and odd arrangements appealed to me.
I wrote a brief piece about Steve Winwood’s album Arc of a Diver quite a while back. On listening to the album again recently I’ve been inspired to re-work the article and re-share some info about a remarkable talent and an album that captures a period of my life that I call ‘The Cape Town Years’ perfectly.
I have always been a fan of Crowded House’s music and so many of their songs became a part of the soundtrack of my life, particularly the 1985 – 96 period when they produced hit after hit. Today I’ve decided to share a couple of my favourite tracks and a little backstory behind the band.
Hip-Hop can be a polarizing topic amongst older music-lovers. I always found that British Hip-Hop tends to be more melodic and easier on the ear than its American counterpart. Although pure Hip Hop and RAP are not be my favourite genre, their impact is undeniable. The genre outlived trend status and has been incorporated into numerous musical styles.
Whenever I hear the song Vienna I have an overwhelming urge to join in and belt out the wonderfully dramatic hook. Dependent on the scenario, this normally results in others joining me, or raised eyebrows and mumbled comments, I’m used to both! By the time the Vienna album was released a lot of water and history had passed under the Ultravox bridge, and today I’ll attempt to take you on a quick trip through the history and background of this remarkable band.
Next week marks the 36th anniversary of a landmark event in South African musical history, the concert held to benefit Operation Hunger at Ellis Park (Johannesburg) in 1985. What made it so important is that it was the first time that the stringent apartheid laws were ignored and 125,000 multi-racial fans took the chance to celebrate our country’s diverse musical talent in a 12-hour festival that went off without a hitch, no violence (except for the vocalist of USA band Feather Contol being hit on the head by a bottle – a statement against non-local music methinks), and a wake-up call that the youth had had quite enough of being told what to think, what to believe and what music to listen to.
I can’t imagine having the surname Bourgeois, and when I first heard of the band Bourgeois Tagg back in the 80s I thought it was a social statement rather than the surnames of the founder members of this 2-album-only band. Bourgeois Tagg.
Having grown up in the hippy influenced kaftan and bead-clad years of the 60s, the first thing that attracted me to the New Romantics were the fashions. The theatricality of the movement struck a chord in me and heralded yet another colourful era. Then there was the emerging synth-pop sound that was so refreshing at a time when most of the offerings from the old-guard were starting to become ‘more of the same’.