Move to Newcastle upon Tyne.
On the cusp of the 1980s I hit 30 years old and got a new job in North Tyneside. My young family and I moved from Sheffield up to Whitley Bay on the North East coast. From a musical point of view this was a very good move. Newcastle City Hall had many more mainstream gigs than its equivalent in South Yorkshire. Having been virtually starved of live music in the last half of the 70s, I was now presented with a veritable feast of concert opportunities throughout the bulk of the new decade. However, my most indelible musical memory of the 80s was not at the City Hall but at Newcastle United’s football ground, St James’s Park. Here, in the summer of 1985, I was lucky enough to see Bruce Springsteen and the E Street Band on their fabulous “Born in the USA” World Tour. From a live music point of view, it was one of those “Road to Damascus” moments. Acquiring a friend of a friend’s spare ticket, I accidently stumbled upon the most dynamic and thrilling live rock show in the World.( and I’ve seen a few.)
The Ups and Downs of the Decade.
The 1980s was to be a tumultuous decade, both personally and musically. Those 10 years witnessed the birth of our son, who joined his 2 sisters to complete the family; a crisis at work which resulted in me being granted a year’s secondment to study at Newcastle University; a crisis at home which led to the break up of my marriage; a mid-life crisis (as I approached the dreaded 40), and eventually setting up in a place of my own. All these events were played out to a background of popular music. I partied to Frankie Goes to Hollywood and Soft Cell and drowned my sorrows with Tracey Chapman or The Cure. I had music to suit most occasions and moods. I wasn’t a depressed teenager so the downbeat offerings of The Smiths did not initially appeal to me. So it was only later that I came to appreciate their haunting melodies and provocative lyrics. The same thing happened with The Stone Roses. I discovered them in subsequent decades but now revere their peerless first album as a timeless classic. Better late than never as they say. I tried the same trick with The Joy Division, belatedly purchasing their second album “Closer”, but never got into their depressing, doom-laden sound.
Trying to Keep Up.
Obviously, by the time of the 1980s I had left my adolescence far behind. I no longer had the luxury of listening to pop music whenever I pleased. I had other priorities such as: teaching career, family and political campaigning to take up much of my time. Therefore it was impossible to keep up with the myriad of musical trends, the latest releases or new artists. I fell further and further behind, such that whole movements and major new performers appeared on the scene with me only being vaguely aware of them. As well as a constant “to do” list , I also had a “to listen to” list which I never got near to the bottom of. For a time I beat myself up for not keeping up, but I then sensibly decided to do just what I could and not worry about falling behind. After-all, it was not a race and nobody was judging me except perhaps myself. This was still a pre-Internet age for the majority of the public, including myself. Getting to know new music was not a question of You-Tubing, Spotifying or instantly downloading. One had to tune-in to lots of radio or spend hours in the listening- booths of the high street record stores – all very time-consuming.
The task of keeping up became all the more complicated in the 80s because of the multiplicity of styles and genres that appeared. Once upon a time, life had seemed so simple — a straight choice between classical and pop. Now the popular music scene was fragmenting at a frantic pace. I was faced with a mind-boggling choice between: rap, hip hop, techno, House, funk, soul, folk, reggae, country, blues, New Romantic, New Wave, heavy metal, hard rock, soft rock, Indie, Goth, synth pop, post punk and uncle Tom Cobbly and all! It gives me a headache just to think about it all. As one commentator noted, it was a decade that refused to be pinned down.
Watching Top of the Pops.
We still watched Top of the Pops on Thursday nights as a family. It was past its sell by date and had included lots of gimmicky novelty- acts in the latter years of the 70s. However it helped us to keep up with some of the latest musical trends and fashions even though many of them didn’t appeal. I was still a rock fan really. So the soundtrack of the family as we moved north was the driving, aggressive rock of Chrissie Hinde’s “Pretenders” and the witty, jazz-infused rock ‘n roll of Ian Dury and the Blockheads. “Brass in Pocket” and “Hit Me With Your Rhythmn Stick”, both Number 1 singles at the turn of the decade, were big hits in our family too. We went on to buy multiple albums by both groups. Apparently, Dury and his group was a top live act of “New Wave” music, so that’s at least one item ticked off the above list. But labels like “New Wave” don’t really appeal to me. They are often artificial constructions made up for the convenience of music journalists. I wasn’t bothered whether they were New Wave or not. I was just attracted by the driving rhythms and Dury’s amusing Music Hall- style word- play. I was later lucky enough to attend gigs by both The Pretenders and Dury’s Blockheads ( just before he prematurely died) in Newcastle. Both put on dynamic and exciting performances. And it had all started with good old Top of The Pops!
The New Romantics.
As I switched on my screen or turned the pages of the music press in the early 80’s it soon became apparent that mainstream musical fashion had changed yet again. I was no longer confronted with angry, foul mouthed punks festooned with piercings and thrashing their guitars to death. ( as you can see I wasn’t very enamoured of the Punk Rock movement). Now, I was faced with groups festooned in flamboyant clothes such as frilly fop shirts, and sporting a variety of extravagant hairstyles. These were the “New Romantics” who in many ways reminded me of the mods from the 60s. Some of them, following in the footsteps of Bowie and Roxy Music, wore cosmetics such as eye-liner and lipstick, cultivating an androgynous, gender-bending look. However, although it obviously appealed to the latest generation of teenagers, it did not grab me, mainly because I saw it as a fashion movement rather than a musical progression. Thus I never took groups such as Ultravox, Spandau Ballet or Duran Duran seriously. To me they were just pretty “boy bands” who had little musical merit. I found their offerings overwrought and largely vacuous. Another popular group I rejected was Adam and the Ants, who thought make-up and silly costumes could compensate for lack of talent. Their commercial success was another example of the triumph of style over substance. As you can see, I was now starting to show my age by dismissing the younger generation’s musical choices ( just as my own teenage music had been derided by my parents and their peers, back in the 60s.) Life goes on and history constantly repeats itself.
MTV and the Pop Video.
Part of the reason for the rise of the image- driven “New Romantics” was the emergence of the pop video as a major way of marketing music. This huge new development was kick-started by the creation of MTV, an American television channel that played wall to wall music videos. It was the time when viewers in America were no longer restricted to a few main TV channels but now had many more cable channels of varying quality, to choose from. This development was parodied by Springsteen in his song:”69 Channels and Nothing On.” The cable and satellite TV revolution was to follow in Britain a little later and we now have many more channels than a mere 69. The actual video tape was also a completely new thing for most people in the 1980s. Before, we could only watch a TV programme when it was broadcasted. It was very restricting. Now, with the aid of a video tape, one could choose to watch a programme or a film whenever one wanted, could pause the entertainment in order to make a cup of coffee, could rewind to see an important scene again and could fast forward through the boring bits. All this is taken for granted these days but was a wonderfully liberating new piece of technology in the 80s. I remember going to friends for video evenings which also featured another new 80s development in Britain — the take- out pizza delivered to your door. It was all very exciting and novel. MTV and the advent of the pop video completely transformed the music scene. It was a god-send for TV shows like TOTP because they no longer had to book the live artist to perform their song. Now it was just a simple case of playing their video.
Reservations about Pop Videos.
All this sounds great but I had several reservations. Instead of being judged on their musical merits, artists were now judged on the qualities of their videos. People who had the glossiest, slickest videos got more TV airplay and publicity than those who had less flashy offerings or could not afford to produce anything at all. In other words, the new system discriminated against musicians who did not have much money to splash around. It seemed so unfair. This was even criticised by some successful groups such as Dire Straits in their facetious top seller “Money for Nothing.”
I also thought the video often seriously hampered the listening experience. No longer were we allowed to just listen to the lyrics and paint a picture in our minds. Now a film director and photographer were hijacking our imaginations and imposing their own vision of what the song was about. It was all very irritating and distracting. I was annoyed that a moderate singer like Madonna, a purveyor of routine dance music, was quickly elevated to super-star status on the back of her mastery of image, media manipulation and marketing. It seemed that musical ability and vocal skills were now of secondary importance. Duran Duran also swept to the top of the charts on the back of their expensive videos in exotic locations, even though their music was distincly run of the mill. Musical giants such as Springsteen didn’t even bother with videos, until forced to by their record companies and broadcast media demands. MTV has a lot to answer for! It’s heavily ironic that the very first music video played on the game-changing channel was The Buggles’ “Video Killed the Radio Star.” Focus had changed from music and lyrics to fashion and theatrics.
Masters of the Pop Video.
Of course some of the videos were great and despite everything, actually enhanced the music. A prime example was David Bowie who quickly transferred his flair for performance art from stage to screen. I enjoyed both his music and his vivid imagery. Also memorable were the dynamic productions of Michael Jackson in support of his record selling “Thriller” album. I enjoyed his urgent singing and whirlwind dancing but never actually bought the album as I didn’t fancy listening to track after track of relentless dance music.
Another dominant feature of early 80s music was the synthesizer. So many groups based their sound on it that the term “Synth Pop” was coined. I had first heard and enjoyed the synthesizer in the late 60s and early 70s when it was a central component of the music of The Moody Blues. It had also been pioneered by Kraftwork and Tangerine Dream in the 70s. However, guitars and drums mostly continued to dominate until suddenly it seemed that almost every new group had to consist of a singer backed by a synth player. Leading the charge into the charts were : Yazoo, Gary Numan, The Thompson Twins ( all 3 of them), Soft Cell, The Pet Shop Boys and of course Eurythmics. At first synthesizer-driven pop and rock sounded a bit artificial, mechanical and even sterile. It lacked the warmth and subtleties provided by other instruments. However it was something new and interesting and we all quickly got used to it. Although I never liked Numan’s cold, robotic offerings, I did enjoy quite a few of the others. Yazoo had a great singer: Alison Moyet, whom I still like to listen to today. The Pet Shop Boys produced moody epics about seedy urban life. I found their music evocative and atmospheric and often listened to it on my headphones late at night when I was in a melancholy mood. I loved Marc Almond’s Soft Cell with his sexually ambiguous looks, and soulful singing, also focussing on the sleazy side of life, all to an insistent electronic beat. “Tainted Love” and especially “Goodbye and Hello” were favourite tracks of mine.
Pre-eminent though were “Eurythmics”, who were to become one of my top groups of the 80s and beyond. Lennox’s superb singing whether belting out a rocker or extracting more subtle and gentle emotions was one of their main assets. But the songs were memorable too with driving, hypnotic beats, haunting, minor key melodies and increasingly dark, obsessive lyrics that lingered in the mind. They were masters of style and image too, producing powerful and unusual videos to back up their excellent music. Annie sported a whole range of striking looks and was not afraid to do a bit of gender bending. Like Madonna, Lennox was a stylistic chameleon, but unlike Madonna, Annie could sing with real feeling and the group she was in produced original and memorable music. As the decade progressed, so did Eurythmics. They were a movable feast. They morphed into a rock group with Stewart on electric guitar, they employed other musicians and backing singers as they saw fit, and they were not afraid to indulge in electronic experimentation in the studio. They constantly pushed the boundaries, driven on by Stewart’s creative musicianship ( it’s not surprising that he later went into production) and Lennox’s superb songs. Eurythmics provided a consistent soundtrack to my decade.
Straits and Stranglers.
I still loved guitar groups though. I continued to follow Mark Knoppler’s “Dire Straits” especially when he sang about the area where we lived — Cullercoats and Whitley Bay on the lyrical album “Making Movies”. I went to see them 2 or 3 times at Newcastle City hall, including taking my teenage daughter Joanna. They were all great gigs. However I slowly tired of them when they added extra musicians ( keyboard and sax players) and started to cultivate a grandiose, bigger sound. I found it overblown. As they become more full of themselves they became more middle of the road, used as background at dinner parties and played in many a BMW.( I imagine.) I didn’t even bother buying their massive selling “Brothers in Arms”. Another City Hall favourite were The Stranglers, who had calmed down a bit from their wild punk days and began to produce hypnotic, keyboard based, mood music based on the excellent songs of Hugh Cornwall. I adored their single “Golden Brown” even though it was about drug taking. In a way their music reminded me a bit of The Doors with their emphasis on organ riffs. I enjoyed most of their 80s output and their concerts were great. It could get pretty wild at the City Hall. I remember fans rushing on to the stage in the middle of Stranglers gigs and being thrown back into the crowd by the bouncers. I’m glad I wasn’t sitting on the first few rows! However, when Cornwell left in an acrimonious split, I lost interest, as he was the creative heart and soul of the group. Also at Newcastle City hall I enjoyed concerts by Lloyd Cole and the Commotions and bought their first 2 excellent albums.
American rock bands were always high on my listening agenda. Springsteen and the E Street band with their energetic, stunning live shows took pride of place. I saw them at the aforementioned St James’ Park and later at Bramhall Lane, Sheffield on the equally brilliant “Tunnel of Love” tour. Both of those nights lived long in the memory.( I have already written about them on a previous blog, so I won’t go on now.) Other American rockers I followed were Bob Seger ( and the Silver Bullet band) and Tom Petty ( plus his Heartbreakers.) Petty was also a leading light in the Traveling Wilburys, a sort of loose “super-group” formed by George Harrison and friends in the late 8o’s The other members were Bob Dylan, Roy Orbison and Jeff Lynn. They were a staple of every party I attended at that time, and I loved their easy-going, chugging along, catchy songs.
Live Aid and Mandela Day.
The 1980s had two big musical events which were given wall- to- wall coverage on the TV — one was Live Aid, to raise funds for the victims of the Ethiopian famine and the other was a celebration of Nelson Mandela’s 80th birthday which doubled up as a protest against South African Apartheid. You can tell how long ago it was as Mandela was still languishing in jail. Both events brought a lot of new music to my ears and the great opportunity to see artists performing live. The Live Aid event was actually two 2 simultaneous music extravaganzas, one in London, the other in Philadelphia. It was a great opportunity to catch up. Queen were supposed to have stolen the London show but I had no time for their pretentious, over the top showiness. The groups who caught my eye (and ears) were U2 and Simple Minds, both darlings of big stadium, anthemic rock. I found their performances exciting and immediate and followed up by purchasing several albums. These included U2’s classic ” The Joshua Tree. They were one of my favourite acts for a while but after they achieved worldwide fame and became increasingly bombastic, I gradually tired of them. I followed a similar trajectory with Simple Minds, losing interest after they became mainstream. This was a trait of mine — to turn away from many artists once they were famous. I was still more comfortable with undiscovered, so called “Underground” musicians.
The Mandela event enabled me to see Eurythmics, Sting and Dire Straits ( with Eric Clapton guesting) put in great live performances. It also introduced me to Tracey Chapman, a previously unknown American singer songwriter. I loved her soulful singing style which had such an edge to it. Her subjects were edgy too, dealing with racial tension, violence, revolution and poverty as well as the usual joys and heartaches of sexual politics. Apparently she was given a longer set than planned because Stevie Wonder had had his keyboard, computer and other equipment stolen. Welcome to London! He later appeared to do one song backed by a galaxy of musicians who had scrambled together to help him. Another favourite singer songwriter of mine to emerge in the 80s was Suzanne Vega. I liked her sparse voice backed by subtle guitars and violins. Her melodies were often haunting and her lyrics interesting and clever, featuring word-play such as similes and metaphors. Vega’s subjects ranged from medieval knights, to having a cup of coffee in a café, to serious issues such as child abuse.( in her famous song “Luka.”) I went to see her a couple of times and the concerts were magical and spell- binding. Yet another singer songwriter I liked and admired was Billy Bragg with his overtly political lyrics in support of socialism. His was a necessary voice in that bleak, oppressive era of Thatcherism.
Chance Discoveries of New Artists,
New artists arrived at my door by a variety of means. My post- marriage life was initially sad but at least it gave me opportunities to meet new people and come across new music. Some of it had been around for a while, but it was new stuff to me. In one friend’s house, my ears suddenly pricked up at the magical opening strains of “Fisherman’s Blues”, the folk-rock classic of The Waterboys. Meanwhile, at another friend’s place, I was given a welcome crash-course in the exhilarating Afro-funk rhythms of David Byrne’s “Talking Heads.” Both groups have since established a major presence in my music collection. Catching on to them a little late, I proceeded to embark on a retrospective but exciting exploration of their repertoire. My appreciation of Talking heads was enhanced by the brilliant concert movie “Stop making Sense” by Jonathan Demme. It encapsulated the essence of their live performance and the flair and charisma of Byrne himself.
The African influence was strong on the 80s. Not only did we have Mandela’s “party” which featured leading South African musicians, and the insistent Afro beats of Talking Heads, but we were also treated to the evergreen Paul Simon reviving his career with the inspiring “Graceland” album. Everyone I knew bought it and played it constantly( including me). It was like a huge breath of fresh air — new rhythms, new instruments, new harmonies. And it was all welded together by Simon’s smooth, soothing voice and his clever, quirky lyrics.
My final major musical revelation of the 1980s came via the unusual medium of a glossy Sunday newspaper magazine. I was just settling down to read the sport’s section when my eye caught the headline: “REM — The Worlds Top Rock Band?” I abandoned the football reports and started to read about a great “garage rock” band that had emerged from the south of the USA several years before. I had hardly heard of them I’m ashamed to say. That chance article sent me on another illuminating voyage of discovery covering every album from 1981’s “Murmur” onwards. I now regard them as one of the all time greats.
Summary of My Musical 80s.
Although it is now fashionable to deride the 1980s, for me they were another golden age of music. I have only mentioned a fraction of the stuff I enjoyed. From late night listening to Sade, allowing myself to be enjoyably introspective while listening to the Goth Rock of The Cure, jumping around the kitchen to Bruce, Tina Turner and any number of rockers, grooving to Fleetwood Mac ( “Tango in the Night) and Eurythmics, it was a great decade. I have tried to avoid boring lists and have attempted to give you a flavour of my musical journey through those eventful 10 years. I bought many albums and saw numerous gigs both in the flesh and on the screen. It was a great era for live music.
Cassettes and CDs.
But the 80’s music scene was also driven by technological developments. Apart from the aforementioned music video and MTV, that era was also the golden age of the cassette tape. I spent many a merry hour dubbing compilations to swap with mates or try to impress girlfriends. I always felt a bit guilty ( “Illegal taping is Killing Music”) but couldn’t resist the temptation. I consoled my conscience by buying most of the albums anyway. Finally of course there was the advent of the CD which quickly pushed vinyl on to the dusty attic shelves. ( at least for the time being.) It was a whole new and simpler way of playing music and stopped us worrying about whether we should change that scratchy stylus.
That decade was a typical example of the frenetic, kaleidoscopic world of popular music. I couldn’t have got through all the trials and tribulations of the 80s without it!