Tag Archives: 1980s

Today’s Top 5: Maria McKee in 1989

I came across this CDR tucked in a box in our basement – a copy of another CDR that I received while a member of a Maria McKee email discussion group sometime in the…late ‘90s, I believe. It came with cover art created by whoever initiated the “CD tree”; you can see his (or her) original on this 45worlds.com page. I don’t believe it was ever a store-sold bootleg, just a fan-generated creation. He (or she), or a friend, snuck a tape recorder into this specific show, which is from the Bayou Theater in Washington, D.C., in 1989.

As I said, though, this particular CDR is my copy of the original, and dates to the early 2000s. In those pre-iPod days, I frequently made CDRs for the car and, for a time, also created the covers for them. Sometimes, just as whoever created the original artwork for the set, I snagged a picture off the ‘net and added the track list, such as with the Juliana comp I blogged about a while back. Other times, though, I used Paint Shop Pro to tinker with the image and/or create collages – it was a fun thing to do. And, too, as in this case, I powered up Poser, a 3D-image creation program that I played around with at the time, and tried to develop something totally unique.

Of note, my image includes a picture lifted from a Kiss the Stone bootleg titled Breathe, which preserved a 1994 concert from somewhere in Europe, that I used on my old website for a time. I scanned the cover, loaded it into Paint Shop Pro and splashed color here, there and everywhere, and then cut out a picture scanned from one of Maria’s CD singles. You can see the original Breathe cover here.

All of which leads to this: I also encoded the versions of “Shelter,” “Breathe” and “Into the Mystic” from the performance onto my computer’s 20-gig hard drive as “high” bit-rate MP3s: 192kbps. Maria’s rendition of all three were spellbinding.

My hope had been to feature five tracks from the show itself, but since only two are (apparently) on YouTube, I’ve expanded the theme to include all of 1989.

1) “Into the Mystic” – From the Bayou Theater in Washington, D.C.

2) “Over Me” – Another from the Bayou.

3) “Am I the Only One” –

4) “To Miss Someone” –

5) “Breathe” –

And two bonuses in one:

6) Maria with Van Dyke Parks and Stevie Ray Vaughan on Night Music performing “Troubled Waters” and “Sailin’ Shoes.”

Roxy Music: The High Road EP

April 30th, 1983: I was a high-school senior. All in all, life was grand. And, as this was a Saturday, that meant me heading to the Hatboro Record Shop, where I browsed for an hour or so before settling on my day’s purchases: Roxy Music’s High Road EP on vinyl and Avalon on cassette; and Bananarama’s Deep Sea Skiving on cassette.

I won’t go in-depth about the month itself; I’ve tread this period of time too much as is. (See here, here and here.) Instead, the reason for this particular post: Roxy Music’s sleek yet powerful rendition of Neil Young’s “Like a Hurricane” from the High Road EP. By the end of the month, in my second-ever concert, I witnessed them perform it in person. It blew me away.

Unfortunately, the above version comes from the High Road concert film, which was shot at a different stop on the band’s 1982 tour than the EP. A full-length live album from the tour, Heart Is Still Beating, was eventually released on CD in 1990, but it’s basically the soundtrack to the film with the songs in a different order.

Anyway, the 12-inch EP featured just four songs: “Can’t Let Go” and “My Only Love” on Side 1 and “Like a Hurricane” and John Lennon’s “Jealous Guy” on Side 2. I thought that it had been lost to time…until I discovered it on YouTube a few weeks ago. Here it is:

Today’s Top 5: April 1983 (via Record)

April 1983: high-school graduation was a month and change away. I’d yet to attend a concert, outside of some nondescript local band (named Lightning, if memory serves) that played the high school one Friday or Saturday night in ’81 or ‘82. That would change the following month, though, when I saw not one, but two cool shows: the Kinks at the Spectrum and Roxy Music (with Modern English opening) at the Tower Theater…

And, yes, we have been here before: That opening paragraph is borrowed from what I wrote 11 months back, when I covered this same stitch in time – but via Musician magazine (click here for that). So, instead of regurgitating a similar recap, I’ll turn straight to the newsprint. And I do mean newsprint: the newspaper-like Record came folded in fourths, just like its big brother Rolling Stone did in the early ‘70s, and the ink sometimes smudged on the fingers.

Ric Ocasek of the Cars, as evidenced by the picture up top, graces the cover. He’s the focus of an in-depth profile by David Gans that, as the Contents page reveals, uncovers the fact that the soft-spoken musician is warm, human and lovable. Who would’ve guessed?

Today’s top 5:

1) Holly & the Italians – “Dangerously.” Mark Mehler pens an excellent profile of Holly Beth Vincent, which opens with this: “One morning about a year ago, [she] awoke to perhaps the worst feeling a human being can have—none at all. ‘I felt like I was in a void,’ she says matter-of-factly, not unlike one of those ‘real people’ on television describing the onset of a migraine headache. ‘I had no control over my body. I didn’t know who or where I was.’”

That inability to move apparently didn’t stop her from grabbing for a pen and scribbling the lyrics to this song, which graces her second album, Holly and the Italians. According to Mehler, “it’s one of several tunes on the album dealing explicitly with the thin line between sanity and insanity; with remembrance; with violence and loss. But these subjects are handled with poignancy, melodic grace and occasional humor.”

2) R.E.M. – “Radio Free Europe.” Mehler also catches up with R.E.M.’s Michael Stipe, who discusses the recording of his band’s first album, then tentatively titled 7,000 Gifts. “From what I can hear,” he says, “most albums consist of ten songs all sounding pretty much the same. It’s taking me a long time to come to terms with the fact that we’re actually in the middle of recording one ourselves.” The brief piece concludes with Stipe discussing touring: “I don’t like to drive the van. Driving from Philadelphia to Madison, Wisconsin, in the middle of the night is no fun. But I can’t claim to be a martyr to rock ’n’ roll; it’s the life I chose.”

3) Marvin Gaye – “Sexual Healing.” At this point in time, Marvin was in the midst of a comeback – and sat for an interview with Gavin Martin. There’s far too much to recount, but I found and still find the last questions and answers  illuminating and sad.

4) Neil Young – “Transformer Man.” Stuart Cohn is not kind to Neil’s Trans album: “Neil Young’s much-vaunted experiment in electronic music is like one of those get-rich-quick schemes everyone comes up with now and then. It seems like a sure thing in the middle of the night as the drinks are flowing. But hungover in the cold light of dawn, you realize it wasn’t such a great idea after all.”

5) The Bangles – “I’m in Line.” Wayne King tackles the debut EP of “yet another all-girl group.” As you can see in the scan, he raises the question that “haunts most all female acts” – whether they play their own instruments on record – before dismissing it as irrelevant: “somebody has come up with what they used to call a hot platter, one so tight and sharp that it threatens to singlehandedly resurrect that deservedly-dormant phrase, power pop.”

He also singles out their “intricate and endearingly rough harmonizing” and equates the end of “I’m in Line” to the Move’s “Message From the Country.” He also pushes forth his view of how the band should evolve: “If the Bangles don’t yet articulate the tough sexual politics of a Chrissie Hynde, they at least may be close to finding that voice.”