This is only my second Slayer record so I am certainly not as knowledgeable about the change of sound as actual fans of this band. It’s also been a while since I heard the previous record, so it’s additionally hard.
Category: 1988
Bull Durham (1988, Ron Shelton)
Somehow, despite growing up a baseball fan, and despite having seen a Tin Cup (which is the baseball Bull Durham, right?), I missed Bull Durham until now. I think I saw a scene sometime in my teens and decided I had watched it so never thought I should.
It Takes a Nation of Millions to Hold Us Back (1988) by Public Enemy
Though I have no one coming on the podcast to help me with this record, I made a promise to listeners and myself that I would try not to ignore major hip hop releases, even if I feel like an imposter when I try to talk about music I have no context for. So, here …
A Bell Is a Cup Until It Is Struck (1988) by Wire
I am a long-time fan of both Pink Flag and especially Chairs Missing but have somehow never managed to get to any of their other material. Having not heard their first album after they reunited either, this is a surprise.
Our Beloved Revolutionary Sweetheart (1988) by Camper Van Beethoven
Perhaps for the first time they acknowledge their debt to Kaleidoscope by covering a song Kaleidoscope covered (“O Death”). If I didn’t think these guys were the ’80s College Rock Kaleidoscope before, I do now.
Lovesexy (1988) by Prince
To the extent that I know Prince, I know him as the dynamic performer who effortlessly combines aspects of R&B (funk, soul, etc.) with elements of rock (psychedelia, art rock, hard rock) and pop. Well, he’s dialed down the ambition at this point in his career and I’m not sure that’s a good thing.
Vivid (1988) by Living Colour
This is a pretty great, albeit over-produced, fusion of funk and soul music with mainstream metal, with some extremely political lyrics.
Melissa Etheridge (1988)
I know virtually nothing about the history of queer/LGBT performers and especially singer-songwriters in popular music. Depending upon how you feel about the queerness of David Bowie or Freddie Mercury, I may know absolutely nothing. So I don’t truly know how much of a landmark this record is, by a woman who was out, if …
Life’s Too Good (1988) by The Sugarcubes
For Bjork fans coming to this after listing to her solo career, this album feels like a bit of glimpse into Bjork in utero: her voice is already fully formed and distinct but much of the other stuff that make Bjork Bjork seems missing or replaced by a rock band which sometimes has a male …
History of a Time to Come (1988) by Sabbat
I am, on some level, a sucker for thrash. Yes, this was released in 1988. Yes, it is heavily influenced by the major American thrash bands. No, there isn’t the kind of genre-creating and genre-defining additions to trash that other late ’80s bands were able to create, on this particular record. I don’t care. Its’ …
Tracy Chapman (1988)
Chapman’s self-titled album is the introduction of a strong new, one might even say necessary, voice. She offers what was likely a very unique perspective in late 1980s, that of a folk-singing African American woman. Excuse my ignorance but I’m not sure there was much precedent for her, even by 1988. (When I say folk, …
Green Thoughts (1988) by The Smithereens
This is one of those records that basically just fails to move me. I understand that it’s all very competent and I do not dislike the aesthetic, really, but something here is missing for me.
Viva Hate (1988) by Morrissey
One of my reasons for my antipathy towards Morrissey (and the Smiths) is the music, and I must say the music here is much artier and weirder than I was expecting. (I think we can thank Vini Reilly for that. He’s a musically interesting guy in ways that Street and Morrissey normally are not.)
I’m Your Man (1988) by Leonard Cohen
So many of these songs have made it into the broader culture – either through covers or through the songs actually getting played places I would hear them – that I actually thought I had heard this record before. I can’t find any record of that, but I sure got a sense of musical deja …
What Up, Dog? (1988) by Was (Not Was)
Imagine if you can a musically less sophisticated but infinitely slicker, but lyrically more earnest Steely Dan, recording with the very latest in ’80s musical technology, and featuring mostly guest vocalists, and you maybe get some idea of what Was (Not Was) sounds like. You also have to up the R&B quotient while dropping the …
Confederation Part II: Canadian Pacific Scandal and The Saskatchewan Rebellion (part of The History of the Village of Small Huts) Live at Soulpepper Thursday July 27
We liked Part I of this section of The History of the Village of Small Huts so much that we went back for more.
Knussen: Horn Concerto, Whitman Settings, The Way to Castle Yonder, Flourish with Fireworks (1996) by Various Artists
This is a collection of Knussen’s orchestral music.
Knussen: Symphonies Nos. 2-3, Trumpets, Ophelia Dances, Coursing, Cantata (1988) by Various
This is a compilation of a few of Knussen’s pieces, which, far as I can figure, are performed by three different ensembles, including an ensemble conducted by Knussen himself.
How to Work a Room (1988, 2013) by Susan RoAne
There are parts of this book that are helpful if you are shy – the author claims that most of us are shy, which may or may not be true and I have trouble believing most of us are as shy as I used to be – or if you don’t know how to go …
Holst: A Winter Idyll (1993) by David Atherton et al.
This is a collection of short orchestral pieces and excerpts of longer ones, by Holst. It is not performed by the same group throughout (as it’s a compilation) though, as far as I can tell (listening to a digital copy), the conductor is the same throughout (David Atherton).
Grieg: Piano Concerto; Holberg Suite (1988) by Various Artists
This is one of those extremely annoying compilations where there is virtually no information: we know the performers of the pieces but not when or where. Labels like Quintessence get their hands on recordings that don’t have copyright protection in North America and release these recordings to unsuspecting consumers such as libraries, which is how …
Symphony No. 8; Ballade; Slavonic Festival (1988) by Alexander Glazunov, performed by Various Artists
I really don’t like these arbitrary compilations, where there’s one major work fleshed out with other smaller works, and when the performances are by different orchestras / performers, it’s all the more frustrating.
Carlo Gesualdo Madrigaux a 5 voix (1988) by Les Arts Florissants conducted by William Christie and Tenebrae responsories for Maundy Thursday (2004) by the King’s Singers
How we remember the past is always fascinating. They say the winners write history and that’s fine when it comes to political violence, but how relevant is that to art? Why exactly was Gesualdo forgotten for a couple centuries? Very briefly, the story with Gesualdo is that he was considered a minor Renaissance composer and …
Dvorak: Symphony No. 8 / Brahms: Symphony No. 3 (1988) by Wiener Philharmoniker, Herbert von Karajan
In 2013, I wrote the following: At first this seemed to me like an arbitrary combination (something which I generally dislike) but for some reason the two works seem to mesh well together, and it’s not just because they were written within five years of each other. They seem (at least on my first listens) …
The Chess Box (1988, Chess) by Willie Dixon
So Dixon is unlike pretty much all the other major figures in post-war blues in that he rarely led groups. He was more of a songwriter and producer (and, of course, bassist). He’s only the frontman on something like 5 or 6 of these songs.
Movies
One of the things I did in Florida was watch a lot of movies. Because that’s what you do in Florida when it’s dark and you’ve got crazy American cable with 30+ movie channels. That’s not to say that’s all I did (though this list will give you that impression), but I definitely watched a …