It soon became the hottest track in New York, soundtracking moves by Paradise Garage dancers and breaking b-boys alike. All the power lies within the extreme, barely-editorialized brevity, capturing and presenting a real life moment with the purest, most direct translation possible. However, in recent years the music has found another life and a larger audience through YouTube bootlegs, blogs, and file sharing services. Thanks for reading and listening. It’s since been sampled by everyone from Warren G to Montell Jordan, but when it was released, "Juicy Fruit" was a hit that made its way to roller skating rinks and nightclubs courtesy of a nocturnal groove tailored for summertime cookouts. Music that maintains a steady trance-like pulse, but still swings. into military trim and upgrading their tommy guns to jet-fired laserbeams. In the late '60s, Caetano Veloso and Gilberto Gil invited Tom Zé to join the Tropicálistas and light a fire under Brazil’s military dictatorship. That shout continues to be echoed by everyone from C+C Music Factory to 50 Cent, an old-school party-starter nearly three decades later. Of course, the JBs’ urban jungle was even more merciless than Flash’s. The sonic overhaul was revelatory, a glimmering network of teasing bass pops, crisp programmed beats, deep-freeze synth zaps. "The animals, the cannibals will do you in," Mike G raps. The list comes from the book Billboard's Hottest Hot 100 Hits by Fred Bronson (4th Edition, 2007). Moonwalk down memory lane with the top pop songs of the 1980s.
Turiya Sings was not particularly well known or well distributed at the time of its release. The futuristic, laidback sound (Zapp's robotic vocals sound like proto-Daft Punk) lent itself well to EPMD's early, unhurried swagger rap. At the time of its release in 1984, Strafe’s "Set It Off" was at the nexus of New York City’s underground street musics: hip-hop, electro, and boogie, when the borders separating each genre were permeable. It was the first true masterpiece of the jazz-rap movement, but compared to some of the more sophisticated albums that followed in its footsteps, it’s almost crude. It was juvenile, maybe, but not for its own sake—it complemented the reality-grounded, borderline mundane writing style. Not convinced? "That image, and air of a bully, was floating in the air," says Obi. Much like Arthur Russell's World of Echo, it's music that sounds like it was beamed in from a private universe, an artifact that's from the past, but not of it. Not so much a band as a production outfit, the Italian trio Kano were formative to the emergence of Italo Disco, which added a mechanical pulse to dance music via the use of drum machines and synthesizers. : "Stop", Four years on from Wham!’s "Careless Whisper", 1988’s "Teardrops" provided not only the decade’s other, superior take on the pitfalls of infidelity, but also its best argument for pop powered by restraint rather than excess.
Including unforgettable classics and old school dance hits, the list of '80s pop songs features popular artists, like Michael Jackson, Whitney Houston, Prince, and David Bowie. Ah, the 80s - whatever you thought of the fashion, 80s music was absolutely splendid? Even if Middle Eastern geopolitics have become way too complicated over the ensuing three decades for anyone to suggest that Western rock music could topple caliphates, the unifying potential of "Rock the Casbah" remains undiminished. —Renato Pagnani. But in 1982, Rodgers and his partner Bernard Edwards used it to develop a post-disco pop song performed by Carly Simon, "Why". "I was experimenting with how to take less and make it sound more," he explained of the track.
A spiky, wonderfully avant-garde highlight, ’s title track makes literal Zé’s claim that he’s "a composer of only one piece." "You Gots to Chill" stands out for the coolness of its insistence on its own greatness. The song has a very different character from her full band work on Impulse! Often, the movement’s musical element wed exuberant, traditionally Brazilian sounds with a rock'n'roll pose and jarring descriptions of political violence and social unrest; Zé, a firebrand among revolutionaries, was particularly concerned with the folly of "globarbarization."
Hayes turned the band’s well-oiled grooves into one of the loveliest singles of the late-disco period, building a plush arrangement of piano, layered harmonies, moody bass, and Byrd’s own effervescent trumpet detailing. Later that decade, David Byrne chanced upon Zé’s music and released a compilation on his Luaka Bop label. After three decades of being entranced by he of the magnificent bouffant, maybe it's time we concede the point. Isaacs’ relatively edgy repose stood in contrast to the peppy glam of countryman Bob Marley, garnering him the nickname the Cool Ruler.
Welcome to our list of the 200 best songs of the 1980s. Featuring famed Philadelphia session musicians the Ingram brothers and released on disco stalwart West End Records, "Is It All Over My Face" was not a homespun lark. When Tropicália lost the war, Zé sojourned into experimentalism, and in 1984, six years after his previous full-length, he released a revelatory electric opus called. That he made it all work was his genius; that we're still dancing to and celebrating these songs is a triumph of strange. Pitchfork is the most trusted voice in music. In contrast to Joe Strummer and Mick Jones’ traditionally stratified vocal turns, "Rock the Casbah" complements Strummer’s on-the-ground reporting with Jones’ and Paul Simonon's broadcasted chorus; and, even while in the throes of a heroin addiction that would soon get him ousted from the band, drummer Topper Headon supplies the song’s signature piano hook and its proto-house pulse. Ice Cube, Public Enemy, and Biggie (famously on "Going Back to Cali") are among the many artist who followed Erick Sermon and Parrish Smith's lead in lifting from the 1980 funk track. But the unusual singsong cadences in which Woods et al. —Anupa MistrySee also: Gregory Isaacs: "Cool Down the Pace" / John Holt: "Police in Helicopter", EPMD weren't the first group to sample Zapp's "More Bounce to the Ounce", but they certainly helped usher it into the hip-hop mainstream.
But these brief, unfiltered snapshots, delivered with purposeful directness, had an elegance to them, despite the twin-sister threesomes and ill-advised bus sex—entire stories condensed into two simple, vivid lines, delivered with unmistakable confidence. Assembling a wide array of musicians from the funk, jazz, and avant-garde scenes, Russell crafted a rippling funk cut driven by liquid bass and some of the hissingest hi-hats that have ever been put to tape, stretched into four dimensions by Julius Eastman and Jimmy Ingram's dueling organ and electric piano. Unlike its evil twin in 1980s rock, Billy Joel’s “We Didn’t Start the Fire,” the song was not a huge pop hit; on its 1987 album, Document, R.E.M. With "I Cry (Night After Night)", Egyptian Lover not only paved the way for the sad robot music that the likes of Kanye West and Future would go on to push farther and into weirder territory, he also helped establish a trope that rappers still employ to this day: the sad-sack confessional that humanizes their bulletproof tough-guy persona, or in Lover's case, his gift-to-womankind lothario status. There’s a tense moment in the 2014 William Onyeabor documentary, Fantastic Man, when the Nigerian musician’s former distributor Obinna Obi reluctantly discloses "an incident that made people get scared of him." Still, it was not aimed at the charts, recorded with amateur vocalists exclusively under full moons. "Cut your throat, stab you in the back/ The untamed animal just don't know how to act." A spiky, wonderfully avant-garde highlight, Nave Maria’s title track makes literal Zé’s claim that he’s "a composer of only one piece." —Aaron Leitko, If there was an award for most creative metaphor for marijuana then Gregory Isaacs would take it for his soulful lament, "Night Nurse". —Meaghan GarveySee also: Ice-T: "Girls L.G.B.N.A.F.". Gibbons had remixed the likes of Gladys Knight and the Salsoul Orchestra (and would soon make iconic work with Arthur Russell) and started his own label so as to put out the song. On "Shack Up", they landed on a magnetic three-way split between funk, old soul, and the long-raincoat gloom of their hometown labelmates Joy Division. Ad Choices. © 2018 Condé Nast. A minor hit at the time, a sample of "I’m Ready" also forms the backbone of an even more ubiquitous tune: Tag Team’s 1993 hit, "Whoomp! In 1982, "Jagdishwar" might have been written off as new age glop. —Anupa Mistry, See also: Chic: "Soup for One" / Nile Rodgers: "Yum-Yum", Long before the Notorious B.I.G. In the late '60s, Caetano Veloso and Gilberto Gil invited Tom Zé to join the Tropicálistas and light a fire under Brazil’s military dictatorship. They took it to producer Prince Jammy, who slowed the synthesized track down to a more acceptable reggae tempo. Each of those records was risky and expensive, the product of artists not only with ambitious visions but also the budget to realize them. Russell compulsively injected oddities like this into his disco. Paradise Garage resident Larry Levan's more celebrated version highlights Melvina Woods' warbly, off-key vocals; it was a Garage smash and did time on the Billboard dance chart.
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