Tunes Du Jour Presents 1988

In 1988, hip-hop didn’t just make noise; it made history. Rob Base & DJ E-Z Rock’s “It Takes Two” lit up clubs and car stereos alike, while Eric B. & Rakim’s “Paid in Full (Seven Minutes of Madness)” remix turned the genre into a playground for sonic experimentation. Public Enemy’s “Bring the Noise” brought urgent political commentary to the mix, and LL Cool J’s “Going Back to Cali” offered a sleek, stylized West Coast daydream. Among them, Salt-N-Pepa’s “Push It” stood as a genuine milestone—a breakthrough for women in rap and, at the time, the biggest-selling hip-hop single to date. Though not on the playlist due to its hit version being unavailable on Spotify, its absence in no way reflects its cultural weight.

Elsewhere, 1988 was rich in songs that combined sincerity with staying power. Tracy Chapman’s “Fast Car” offered social commentary through intimate storytelling, and Michael Jackson’s “Man in the Mirror” turned self-reflection into an anthem. “Wishing Well,” performed by the artist then known as Terence Trent D’Arby, brought soul swagger to the top of the charts, while Prince’s “Alphabet St.” reminded listeners he was still capable of keeping them on their toes. Songs like Kylie Minogue’s “I Should Be So Lucky” and Rick Astley’s “Never Gonna Give You Up,” both produced by the UK’s Stock Aitken Waterman, were pure pop that have endured far beyond their original chart runs, largely due to their catchiness and an occasional boost from internet-era rediscovery.

Dance floors were equally alive with invention. M/A/R/R/S’s “Pump Up the Volume” and S’Express’s “Theme from S’Express,” the latter missing from the playlist due to its unavailability on Spotify, helped define a new frontier of UK club music that was steeped in sampling and shaped by emerging house and techno scenes.

INXS’s “Need You Tonight” merged rock and funk with a modern sheen, while The Cure’s “Just Like Heaven” and Morrissey’s “Everyday Is Like Sunday” balanced emotion with pop craftsmanship. The Pixies’ “Where Is My Mind?” and Dinosaur Jr.’s “Freak Scene” would prove even more influential in hindsight, while Mudhoney’s “Touch Me I’m Sick” gave an early signal of what would soon be called grunge.

Both the UK and Australia contributed standout tracks that reflected their national scenes’ strength. From the UK, Depeche Mode’s “Never Let Me Down Again” and Erasure’s “Chains of Love” explored emotional depth through electronic textures, while Pet Shop Boys teamed with Dusty Springfield on “What Have I Done to Deserve This?” to bridge classic and contemporary pop. Australia’s Midnight Oil brought urgency and political purpose with “Beds Are Burning,” The Church crafted dreamlike melancholy in “Under the Milky Way,” and Nick Cave & The Bad Seeds delivered stark intensity with “The Mercy Seat.” All three pointed to a vibrant and diverse Australian presence in global music that year.

The year also held room for collaboration, reinvention, and the unexpected. Traveling Wilburys’ “Handle With Care” saw rock legends joining forces without sounding self-indulgent. my bloody valentine’s “You Made Me Realise” hinted at the hazy swirl of shoegaze to come. The Bangles’ cover of “Hazy Shade of Winter” showed that ‘60s source material could thrive in a late-’80s rock context, and Anita Baker’s “Giving You the Best That I Got” offered polished, grown-up soul amid the noisier trends. Nineteen wighty-eight wasn’t about any one genre dominating the conversation; it was about cross-pollination, with club tracks rubbing shoulders with indie rock, hip-hop expanding its reach, and pop songs finding new ways to stick.

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Your (Almost) Daily Playlist: 9-29-24

Shortly after British rock band Suede released their debut album in the US in 1993, they encountered a trademark issue. An American lounge singer named Suzanne deBronkart had been performing under the name “Suede” since the 1980s and had already trademarked the name for musical performances in the US. She sued for trademark violation.

Two years later, the British band reluctantly agreed to use the name “The London Suede” for all their US releases and performances. This compromise allowed them to maintain their original name in other parts of the world while respecting the existing trademark in the United States.

This name change applied to all their album releases, merchandise, and concert promotions in the US throughout their career.

(The London) Suede’s Brett Anderson was born on this date in 1967. A handful of the band’s tracks are included on today’s playlist.

Tunes Du Jour Presents 2004

While 2004 may not be remembered as a revolutionary year in music history, it certainly left its mark with a diverse range of sounds that reflected the changing trends of the early 2000s. From catchy pop anthems to rock revival and emerging indie scenes, the year offered a solid foundation for the musical directions that would unfold in the years to come.

In the realm of pop and R&B, established stars and newcomers alike dominated the charts. Britney Spears continued her reign with the provocative “Toxic,” while Usher’s infectious club anthem “Yeah!” featuring Ludacris and Lil’ Jon became a dance-floor staple. Gwen Stefani made a successful foray into solo artistry with “What You Waiting For?”, blending pop with a hint of electronic edge. These tracks, along with hits from Destiny’s Child and Ciara, exemplified the slick production and catchy hooks that defined mainstream music of the era.

Hip-hop saw significant releases from both veterans and newcomers, showcasing the genre’s versatility. Snoop Dogg teamed up with Pharrell Williams for the minimalist masterpiece “Drop It Like It’s Hot,” while Kanye West’s “Jesus Walks” stood out for its bold lyrics and gospel influences, hinting at his future influence on the genre. In the UK, The Streets and Dizzee Rascal pushed the boundaries of British hip-hop with “Dry Your Eyes” and “Fix Up, Look Sharp” respectively, bringing grime to a wider audience.

Rock music in 2004 was marked by a resurgence of garage rock and post-punk influences. Green Day found renewed relevance with their politically charged “American Idiot,” perfectly capturing the frustrations of the early 2000s. Franz Ferdinand’s “Take Me Out” and The Killers’ “Somebody Told Me” brought angular guitar riffs and danceable rhythms to the forefront, becoming surprise radio hits. The Libertines’ “Can’t Stand Me Now” and The Darkness’ “I Believe in a Thing Called Love” added to the garage rock revival energy. Meanwhile, indie rock had its moment with Arcade Fire’s debut album “Funeral,” offering sprawling, emotional soundscapes with tracks like “Neighborhood #1 (Tunnels).”

Beyond the mainstream, 2004 offered glimpses of what was to come in the music world. Tracks like “Slow Hands” by Interpol and “The Rat” by The Walkmen showcased the growing popularity of darker, moodier sounds that would define the latter part of the decade. Modest Mouse gained mainstream attention with “Float On,” while Yeah Yeah Yeahs pushed the boundaries of alternative rock.

In retrospect, 2004 wasn’t a year that rewrote the rulebook of music, but it was a period that gave us a diverse range of memorable tracks. From pop to hip-hop, rock to indie, the year’s music scene was a reflection of a time when genres were both distinct and increasingly willing to blur their boundaries. It provided a soundtrack rich in diversity and creativity, setting the stage for the musical evolution that would follow in subsequent years.

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Tunes Du Jour Presents The Smiths and Morrissey

The Smiths, fronted by the iconic Morrissey, left an indelible mark on the landscape of popular music with their distinct blend of jangly guitars, poignant lyrics, and an often somber, yet ironically humorous, outlook on life. From their debut single “Hand in Glove” to classics like “This Charming Man” and “There Is A Light That Never Goes Out,” The Smiths captured the hearts and minds of listeners in the 1980s and beyond, creating a legacy that continues to influence countless artists today.

At the heart of The Smiths’ sound was the partnership between Morrissey and guitarist Johnny Marr. Morrissey’s unique vocal style and melancholic, introspective lyrics were perfectly complemented by Marr’s melodic guitar work. Tracks like “How Soon Is Now?” and “Bigmouth Strikes Again” showcase this synergy, with Morrissey’s expressive voice riding the wave of Marr’s intricate guitar riffs. Their music often tackled themes of love, alienation, and societal critique, resonating deeply with a generation of fans.

After The Smiths disbanded in 1987, Morrissey embarked on a successful solo career, continuing to explore similar themes but with a broader musical palette. Songs like “Everyday Is Like Sunday” and “The More You Ignore Me, the Closer I Get” highlight his ability to craft memorable melodies and incisive lyrics. Morrissey’s solo work retained the wit and introspection of his days with The Smiths, while tracks such as “Irish Blood, English Heart” demonstrated his willingness to address political and social issues head-on.

Despite his musical achievements, Morrissey’s career has been marred by controversy. He has faced accusations of racism and criticism for his provocative statements on immigration and national identity. These controversies have alienated some fans and led to heated debates about the separation of art and artist. While Morrissey’s outspoken nature has undoubtedly cast a shadow over his legacy, it has also sparked important discussions about the role of artists in society and the impact of their personal beliefs on their public personas.

The Smiths and Morrissey have received numerous accolades over the years, including critical acclaim and dedicated fan followings. Their influence can be seen in the work of bands like The Stone Roses, Radiohead, and Oasis, all of whom have cited The Smiths as a significant inspiration. Despite the controversies, the enduring appeal of songs like “Heaven Knows I’m Miserable Now” and “Panic” underscores the lasting impact of The Smiths’ music.

In sum, the music of The Smiths and Morrissey remains a cornerstone of alternative rock, celebrated for its lyrical depth, melodic innovation, and cultural significance. While Morrissey’s controversial stances have sparked debate and disapproval, the artistic contributions of The Smiths continue to resonate, offering solace and connection to listeners navigating the complexities of life.

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Your (Almost) Daily Playlist: 7-8-23

Beck Hansen came up with a nifty guitar lick, to which a friend of a friend added beats. The beats inspired Beck to recite an improvised poem, on which he attempted to sound like Chuck D of rap group Public Enemy. Listening to the playback, Beck thought “Man, I’m the worst rapper in the world. I’m just a loser.” He started singing “I’m a loser, baby, so why don’t you kill me?” That became the chorus of his song “Loser,” along with “Soy un perdedor” – “I’m a loser” in Spanish.

Today is Beck’s birthday. A smattering of his work is included on today’s playlist.

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