Ice Cream for Crow (1982) by Captain Beefheart and the Magic Band

Categories: 1982 and Music.

If you have come at the Captain through his earliest works, this record might feel like not much or a man settling into his mid life. It’s far less radical than his most radical work of the early ’70s, wherein he basically pioneered the intersection of blues and free jazz and other things. Read More

Forever Now (1982) by The Psychedelic Furs

Categories: 1982 and Music.

This is my first Furs record so I cannot comment on whether or not it’s some kind of sell out (doesn’t sound like it!) or some kind of compromise of their earlier sound, which I have never heard. I can comment on the music and try to comment on the context, as I am an avid British post punk listener. Read More

Under the Blade (1982) by Twisted Sister

Categories: 1982 and Music.

If you grew up in the 80s as I did, you were inundated by certain music videos and two of them were “I Wanna Rock” and “We’re Not Gonna Take it.” And through my entire life this is all I’ve known of this band, aside from Dee Snyder testifying before congress, which definitely upped my respect level. Read More

Screaming for Vengeance (1982) by Judas Priest

Categories: 1982 and Music.

Every time I listen to Priest I get a different feeling than I do with their NWOBHM contemporaries (I am not saying Priest is NWOBHM), and that is that they are a little more concerned with selling records. Maybe that’s because Priest were always interested in doing that (I have never heard any of their early albums) but Priest always strikes me as more accessible than Maiden or some of the other bands of this era. There’s just something about them. Read More

Imperial Bedroom (1982) by Elvis Costello and the Attractions

Categories: 1982 and Music.

Though I haven’t heard the couple previous albums to this one, this still feels like a pretty big stylistic left turn for Costello. The production and arrangements are both noticeably different from the first Attractions record (or his first few solo albums). It’s a brave move (if it is indeed a move) as he could easily have just put out a new set of songs without deliberate messing with his style. Read More

Mauricio Kagel (2003) by Alexandre Tharaud

Categories: 1969, 1972, 1976, 1982, 1984, 2003, and Music.

This collection is a little confusing in part because of the confusing nature of Rrrrrrr…, which can apparently be performed independently. The disc appears to be a compilation of his piano-based music. Calling “piano music” would be a misnomer, as there are lots of other instruments on a number of the pieces. The pieces from Rrrrrrr… are all over the place in terms of style, starting with ragtime and running the gamut of styles, through pretty traditional to really avant garde stuff (a prepared piano, a “raga”). I like how Kagel turns music on its here but here I have Read More

Vox Humana? / Finale / Fürst Igor Strawinsky (1991) by Mauricio Kagel, performed by Ensemble 2e2m, Lyon National Opera Chorus conducted by Paul Méfano

Categories: 1979, 1981, 1982, and Music.

This record collects three of Kagel’s longish “choral” pieces. Kagel was a weirdo is the best ways. Listening to Kagel’s work, rather than watching it, is a bit of a problem, because Kagel’s work is often “theatrical” not just in the sense of being influenced by the theatre, but of having the musicians act out parts. Listening to the music online you miss that aspect. (Something big definitely happens 10 minutes in, when there is a giant scream.) That being said… This piece sure reminds me of Berio at his most theatrical (in a good way). It is about a Read More

3rd From the Sun (1982) by Chrome

Categories: 1982 and Music.

My first exposure to Chrome; I’m surprised how melodic it is, as I was expecting a lot more of the noise side of things (though I guess that’s a different era of the band). There’s a strong krautrock influence filtered through an almost gothic sensibility (others have said “doomy,” which also feels appropriate). A number of the instruments are a little too treated for me, and I think that’s the barrier I find between seeing this as interesting music and classic. If the production had dated better, I might be a little more into it than I am. I don’t Read More

The Gift (1982) by The Jam

Categories: 1982 and Music.

The Jam go from ripping off post punk (particularly PIL and Gang of Four) and David Bowie (and the Beatles!) to ripping off soul. I don’t know Northern Soul, so I don’t know if this is derivative of that, but you can hear echoes of southern (American) soul as well as the usual Jam influences. Because this is the Jam, there are plenty of good songs. But this feels like a new set of clothes after they got tired of the previous set they donned for Sound Affects. I could take this or leave it. 6/10 Read More

Love and Dancing (1982) by The League Unlimited Orchestra

Categories: 1982 and Music.

This is a series of “instrumental” remixes of the Human League’s Dare which aimed to capitalize on that album’s success. It’s not really instrumental – the vocals are kept on some songs – and the songs don’t really sound that different (though I guess that’s most remix albums). It certainly doesn’t have a reason to exist. There’s nothing about this that is better than the original album, and there’s nothing about it that’s revelatory either. It feels like a cash grab and it’s boring. 3/10 Read More

Austeria (1982, Jerzy Kawalerowicz)

Categories: 1982 and Movies.

This is a Polish neo-realist film covering the first day of World War I as it affects a community of Jews. It breaks with realist tradition by having flashbacks, but those are treated in the same way as the present. (I believe it only covers 24 hours, outside of the flashbacks.) This is pretty unexplored territory, to my knowledge. And that makes the film rather unique. It is also believable and naturalistic, like the best realist films. It’s interesting that Kawalerowicz NARCed on his fellow filmmakers who were in the Solidarity movement because this film feels like a bit of Read More

Portrait of a ‘60% Perfect’ Man: Billy Wilder (1982, Annie Tresgot)

Categories: 1982 and Movies.

This is an interesting, if brief and slight, documentary about Billy Wilder. It’s mostly just an interview and it’s edited together in such a way that it sort of hops around between his films, his personal life, his hobbies, and, at the end, maybe a real bit of his true persona. Lemmon and Mathau show up for a bit too. Worth watching if you’re interested in interviews with old directors. Otherwise, it’s nothing you need to see. 6/10 Read More

Seven Words; Silenzio; In croce (1995) by Sofia Gubaidulina, performed by Maria Kliegel, Elsbeth Moser et al.

Categories: 1995 and Music.

This is just an awesome set of really challenging modern chamber music, sort of smaller versions of what Penderecki was up to, I guess. The set contains three works by Gubaidulina centered around the cello and the bayan, a Russian version of the accordion. “In croce” is a duet for cello and bayan, and ranges from almost horror-movie film score intensity to a sort of meandering exploration of space. And then that builds back – there is a really strong use of dynamics. And the cello really gets into its upper register. I have always had a thing against pieces Read More

Glassworks (1982) by Philip Glass

Categories: 1982 and Music.

Glass freely admits that he wrote this set in order to attract a more diverse, perhaps even younger crowd, and that it was geared towards people being able to listen to it on walkmans (i.e. it would have to fit on a single tape, which would be a major problem for much of his work). And you can really tell, as this is the most accessible work of his I’ve heard outside of some of his film score music. This is both a good thing and a bad thing. On the one hand, it’s an excellent entry point for anyone Read More

Acnalbasac Noom (1973, 1982) by Slapp Happy

Categories: 1973 and Music.

So apparently this is the original album, which was rejected by their label and then re-recorded and released as the appropriate name. Then the original was released in the early 80s, or something like that. I haven’t heard the polished second version so I cannot judge whether or not it was the right decision by the record company but my personal bias would say ‘probably not’. What we have hear is catchy but odd-enough pop rock with utterly unique vocals and enough quirks to keep things interesting. It’s hard to know what a record company would have been expecting from Read More