Posts Tagged ‘Big Country’

Lost in the ’80s: Big Country, “Look Away”

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It’s amazing to even consider now, but once there were debates on who’d be the bigger band – U2 or Big Country?

It’s obvious who won that little argument, but believe it or not, there was a time around 1983 where it was a dead heat.  Both bands had critical acclaim, hotly touted live shows, and briskly selling albums.  But Big Country had the lead when it came to mainstream acceptance, scoring a Top 40 hit with “In A Big Country” and a platinum album with their debut, The Crossing.  U2 were just starting to break though with War, but singles “New Years Day” and “Two Hearts Beat As One” didn’t make much of a dent on the charts.

Things had changed a bit three years down the road.  U2 were coming off the biggest album of their career at that point, The Unforgettable Fire, and had finally crossed over to Top 40 with “Pride (In The Name Of Love).”  Meanwhile, Big Country remained one-hit wonders, with the EP Wonderland and their second full-length, Steeltown, both flopping in the States (while doing well in the UK).  In 1986, Big Country could use a hit. (more…)

Lost in the ’70s: The Skids, “Masquerade”

Richard Jobson and Stuart Adamson founded Scottish punk band the Skids in 1977 – and if that second name sounds familiar, it’s probably because you know Adamson’s more famous combo, Big Country.  But years before, Adamson honed his songcraft and guitar playing on three Skids albums, even charting with a few singles in the U.K.

The Skids are probably best known for two songs:  “The Saints Are Coming,” which was remade for a charity team-up single by Green Day and U2, and “Into The Valley,” a Top Ten hit in the U.K. that featured a near-unintelligible chorus.  But my favorite Skids tune is the follow-up to “Into The Valley,” “Masquerade,” (download) a more New Wave than punk song with its marching beat and distinctive synth line in the chorus.

“Masquerade” was added to a remixed and re-released version of the band’s second album, 1979’s Days In Europa, which was originally pulled due to its controversial cover art depicting what looks like a scene from the 1936 Olympics.  Some felt it had “Aryan overtones,” so while the art was being replaced, the band took the opportunity to beef up some mixes and add “Masquerade” to the mix.  It was a savvy move, since the single hit the Top 20 in the U.K., and got the band a slot on “Top of the Pops.”

You can really hear the Big Country sound gestating in “Masquerade,” especially when you hit that guitar solo at 1:22 – the chiming, bagpipe-like sound is instantly familiar and a sure sign of things to come for Adamson.

Adamson left the Skids after their third album, The Absolute Game, founding Big Country soon after.  The Skids continued for one last album, then dissolved.  Sadly, Adamson committed suicide in 2001, reportedly due to depression compounded by alcoholism.  Co-founder Jobson went on to become a TV presenter and more recently, a film director.  The Skids live on, though, as the remaining Skids reformed on their 30th anniversary as a tribute to Adamson and played a few dates, and this month sees the re-release of The Absolute Game and the band’s final album, Strength Through Joy as a CD two-fer.

“Masuquerade” did not chart.

Get the Skids music at Amazon or on The Skids

Bottom Feeders: The Ass End of the ’80s, Part 8

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Today we’re going to finish up with the story of my collection.

As I mentioned last week, I consider “The Collection” to be complete, i.e. I own a hard copy of all but one impossible song that charted in the Hot 100 during the 1980s. But just because it’s complete doesn’t mean I stopped collecting. I’m currently working on obtaining the entirety of both the Billboard R&B/Hip-Hop chart and the Dance chart from the ’80s. And I’m not against also getting stuff from the Adult Contemporary, Rock, Country, and Bubbling Under charts, but those aren’t ones I’m targeting directly at this point.

As of today, my entire stash of ‘80s music consists of 2,117 LPs, 1,127 CDs, and 949 45s; I’ve listened to every single one of them from start to finish, note for sometimes painful note. Throughout all of this I’ve learned that the differences between Def Leppard and Scott Baio songs are more immense than you could ever imagine. So, I consider myself an expert in ‘80s music. I don’t know the stories and facts of every band in the decade, but I do know every song that was a hit and tens-of-thousands that weren’t. And I enjoy the songs that most people either have never heard, or haven’t heard in 20-some years. “Walk Like an Egyptian” does nothing for me. However, Alfonso Ribiero’s “Dance Baby” brings a joyful tear to my eye. I’m a total music geek and I’m okay with it.

This week we continue looking at the bottom of the Billboard Hot 100 chart with more artists that begin with the letter “B.”

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Mix Six: “Frickin’ Awesome Drummers”

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A guest DJ in the house! It’s none other than Popdose’s very own Scott Malchus, who is here to mix it up with six FRICKIN’ AWESOME DRUMMERS! What I love about this mix is that Scott didn’t go for the obvious choices when it comes to great drummers. Instead, he found some gems that highlight the spice and groove great drummers add to a song. I think you’ll hear what I’m talking about when you download the mix and read along with Scott’s notes.

Party on …

DOWNLOAD HERE

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