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Project x zone ost album cover1/10/2024 ![]() There’s an alternate timeline in which The Psychedelic Furs’ third album was produced by David Bowie, an ardent supporter of the British new wave group, whom Columbia Records had in mind as their first choice. Along with Terry Riley’s In C and Steve Reich’s Music for 18 Musicians, Glassworks remains one of the essential works of American minimalism. That all changed with Glassworks, an indelible work of chilly minimalism pared down in size, if not emotional impact, for a wider audience while Glass’s previous works filled opera halls, Glassworks was, in the composer’s own words, “specially mixed for your personal cassette player.” The shapeshifting piano arpeggios of “Opening” and “Closing” epitomize Glass’ ability for hypnotic repetition, while the downcast woodwinds of “Façades” foreshadow his work as an in-demand film score composer. The five-hour opera Einstein on the Beach established Philip Glass as a major 20th-century composer, but it didn’t exactly make him a mainstream concern. They follow with the euphoric club anthem “Wild Girls,” complicate their mystique on “Heartbreaker (I’m Such a Mess)” and “All Turned Out,” and find time for heart-melting ballads like “Offer I Can’t Refuse.” Girls Will Be Girls, a classic in its own right, laid the groundwork for hits to come. While their greatest commercial success came with 1984’s Meeting in the Ladies Room, on Girls Will Be Girls they stepped into the roles that would make them legends: simultaneously women’s women and diva’s divas. The title track starts the album with bubbling pop-funk, reflecting the dating landscape at a time of changing mores – from the point of view of an independent woman. Led by writer, producer, singer, and drummer Bernadette Cooper, Klymaxx were the original bad girls of electro-pop. Along with Sugarhill Gang’s self-titled and eventually Run-D.M.C.’s debut, The Message was one of the crucial early LPs proving that hip-hop was no passing fad. But The Message is an eclectic debut, also offering the proto-Daft Punk robot classic “Scorpio,” the “Genius of Love”-sampling “It’s Nasty,” and a schmaltzy Stevie Wonder tribute. The title track is the main attraction here - a rousing call-to-arms addressing inner-city decay, the song proved that rap could be a vehicle for more than just braggadocio. met Rakim, there was Grandmaster Flash and the Furious Five: spinning records in the Bronx, becoming legendary at New York clubs, and bringing a social conscience to hip-hop. ![]() joined forces with Aerosmith, before the Beastie Boys fought for your right to party, and before Eric B. Grandmaster Flash and the Furious Five – The Messageīefore Run-D.M.C. Rather, Y Pants is its own fully realized art project. They disbanded shortly after the release of their sole full-length, Beat It Down, but the brief discography they left behind sounds like more than an aborted attempt at musicality. Despite their stark, minimalist sound, the trio sculpted songs that radiate curiosity and a sense of earnest exploration. The New York City no-wave trio comprised the photographers, filmmakers, and visual artists Barbara Ess, Gail Vachon, and Verge Piersol, who started the band with toy instruments, including a Mickey Mouse drum kit and a mini-piano they found trashed on the sidewalk. Y Pants is a band that sounds like they should be playing in a gallery - which could be an insult, but in their case, it’s not. Revisit some decades-old classics and discover a few that slipped through the cracks. On our list, we included everything from early hip-hop ( Grandmaster Flash) to horror-punk ( Misfits) to lo-fi synth-pop (Solid Space). Lots of fascinating shit was happening in 1982, and you didn’t always find it on the radio. (Doesn’t it seem weird, looking back, that Prince‘s 1999 peaked at No. Only one record on our list, Fleetwood Mac‘s chart-targeted Tusk follow-up, Mirage, hit No. But is it the year’s best album?įunny enough, Michael Jackson‘s sixth LP hardly even affected the charts that year - it snuck out in late November, just as Men at Work’s 1981 blockbuster, Business as Usual, began its commercial stranglehold in the U.S. Looking back at 1982 in music, the headline is obvious: Thriller Sells A Bajillion Copies, Becomes World’s Biggest Album.
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