To me, he's more than just a Master at Adult animation, and I can't be clearer when I think Ralph Bakshi almost single mindedly changed animation. Though written off as fey-novelty when they debuted with “Just Can’t Get Enough” in 1981, the band kept working. Mark Hollis sings enough just to barely sing, quivering out artful melodic squiggles with his radiant chest-cold tone, slinging spiritual poetry drenched in fog.
“Brass in Pocket” remains an infectious classic.—Tim Basham, Call it post-rock, call it psych-jazz, call it experimental mumbo-jumbo. Power, Corruption and Lies is filled with themes of loneliness, anger and loves lost; it’s easy to see how New Order has influenced everyone from The Smiths to M83.
(It’s a tough decision, but a-Ha wins.)
Search. But for the art majors and quirky townies in the Classic City, Pylon was the local embodiment of the post-punk scene, proving you didn’t have to be in London or New York to create something special.
Not Costello’s greatest work, but a landmark, highly influential first album.—Mark Baker.
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/etc/php/7.2/fpm/conf.d/20-ctype.ini, A blend of school boy naughtiness and inside humor—offered up with a wink and a nod—their attitude hinted at the fact that they never took things quite as seriously as their critics would believe. In response, Depeche Mode released Music For The Masses, a collection of songs that were, if anything, far more epic in scope that any American arena band at the time; “Never Let Me Down Again” alone had a towering low-end that could shame anything on Headbanger’s Ball. Thematically the band tackles major life issues like love, marriage and even religion with melodic and lyrical acuity. /etc/php/7.2/fpm/conf.d/20-sockets.ini, And just when you can’t take another experiment like Summers’ Freudian horror-laughfest “Mother” or the jazz-a-nova “Miss Gradenko,” they intuitively snap back into 1983’s best pop that wasn’t made by a Jackson: “Synchronicity II,” “Every Breath You Take” and the astronomically delicate “King of Pain.” All one after another.—Dan Weiss, When Joy Division fell apart with the death of Ian Curtis, the remaining members formed the band New Order and with their second album Power, Corruption and Lies, created a synth-pop album that evolved beyond Joy Division while still being heavily influenced by that band’s trademark sound. Seeing how bored he was with the conventions of the day, he seemed to single handedly forge a path of controversy and success right through the animated world of the 70's and 80's.Love or hate his work, Ralph Bakshi's impact on animation can't be denied. Take your time. But for those who bothered to listen beyond the opening title track, Rip It Up was an overlooked post-punk gem with funk rhythms, angular guitars and catchy melodies. But New Clear Days (a pun on “nuclear” days) is a smart, New Wave power-pop record through and through, dripping with satirical lyrics and jagged hooks. It’s a mix of punk and rock and balladry with generous amount so synthesizers from Steve Winwood, but it’s Faithfull’s smoky, cracked voice singing vulnerable songs about sex and heartbreak that led to a Grammy nomination and critical acclaim.—Tom Lanham, As members of Split Enz, singer/songwriter Neil Finn and drummer Paul Hester enjoyed a commanding presence on the Australian and New Zealand charts, but found lasting American success elusive; it wasn’t until the band broke up—and they hooked up with bassist Nick Seymour, christening themselves Crowded House—that they broke the platinum barrier in the U.S. You no doubt remember the melodies of this album’s two Top 10 hits, “Don’t Dream It’s Over” and “Something So Strong,” but what you may not have heard is the bittersweet melancholy that pervades Finn’s lyrics, serving as a poignant counterpart to the songs’ barbed hooks and sunny ’80s production. /etc/php/7.2/fpm/conf.d/20-readline.ini, This program is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. The B-52’s remains a lost classic of post-punk/New-Wave, delivering more fun-per-minute than almost any other LP of the past four decades.—Ryan Reed, On Tin Drum, Japan’s fifth and final LP, the British band adds a layer of worldliness to their lush art-pop, immersing themselves in Asian instrumentation (Chinese reed instrument suona) and imagery (“Visions of China”). This movement emerged from the SF magazines edited by John Carnell., ISBN 9781479400416 . For the uninitiated, Tallulah is a great introduction, featuring several signature works by the group’s chief writers, most notably McLennan’s infectiously chorused shoulda-been-hits “Right Here” and “Bye Bye Pride,” as well as such characteristically edgy Forster compositions as the undertowing “House That Jack Kerouac Built” and “The Clarke Sisters,” a haunting character study of spinsters that perfectly captures its author’s eye for detail.
Together with Budgie’s punishing drums and Steven Severin’s frenetic bass, they created the perfect bed for Siouxsie’s lovely, haunting vocals. /etc/php/7.2/fpm/conf.d/20-pdo_sqlite.ini, /etc/php/7.2/fpm/conf.d/15-xml.ini, It’s a rock ’n’ roll record that would make Buddy Holly happy to have Costello wearing those glasses.—Josh Jackson, Fear of Music was leaning out of the ‘70s, dropping in August of 1979. But there’s nary a bad cut on here.
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