#536: just-ice ft. krs-one - going way back (1987)
“to the best of my knowledge, i guess that i’m fresh” would be best epitaph in the history of the world. not a bad way to start a song, either.
#536: just-ice ft. krs-one - going way back (1987)
“to the best of my knowledge, i guess that i’m fresh” would be best epitaph in the history of the world. not a bad way to start a song, either.
#529: de la soul (ft. q-tip and the jungle brothers) - buddy (1989)
the seventeen things that make buddy the best rap video of 1989, in order of appearance: prince paul against a brick wall, black and white footage of an electric scooter, that spoon, opening line “oh, hello! it’s the soul,” the little girl, the out-of-place african mask cartoons, the very complicated condom euphemisms, q-tip’s hat, q-tip’s spectacles, the subterranean homesick blues cards (especially “singing” during the singing), the air djing, the appropriately timed “flip” transition, the incorrect “this video makes no sense” voice bubble, the slow motion break dancing duet, the swatch watch cameo, and of course the “filmed in daisyvision” finale. also, jesus, what a song.
#524: t.p.o.k. jazz - testament ya bowule (1987)
besides the fact that he made 150 albums of sorcerous congolese rumba, the insanely great thing about franco is that his band, t.p.o.k. jazz, fostered generations of outrageously good musicians. and so even though he doesn’t play on this clip (the singer is malage de lugendo), his band sounds like silk. they show that you only need four acoustic guitarists playing incredibly finely for nine minutes straight to turn a song into something so fluid you can drink it with a straw.
#516: colin newman - b (1980)
the hearts and brains of massachusetts voters who thought it would be nice to fill the late ted kennedy’s senate seat with a man known only for being one of cosmo’s june 1982 centerfold winners must look exactly like this 1980 video from wire’s colin newman: small white spaces filled by men with boots on their hands bumping into men smacking trashcan lids next to men in tuxedos and flippers.
i’m really going to make an effort to get into u2 this year. i don’t see what the problem should be, considering that i like huge and beautiful songs, and i definitely like brian eno and daniel lanois, who produced the unforgettable fire and the joshua tree—both of which i just got as $1 lps at wonderful good records on east 5th street. i think i was put off by their late-90s eye wear choices, but that’s not a good enough excuse.
#507: u2 - i still haven’t found what i’m looking for (1987)
there are only two standouts in the short and indecorous history of dance circles in non-rap music videos: spike jonze and the torrance community group in fatboy slim’s praise you (a torrence public film production) and u2’s nevada-based i still haven’t found what i’m looking for, in which bono does some impressive jigs, twirls, and pre-pulp fiction twisting while the edge looks genuinely unamused.
#497: jonzun crew - pack jam (look out for the ovc) (1983)
do you ever just spend an hour staring our your window with your hands in your pockets and your chin hanging down wondering how much simpler life would be if you were an intergalactic space cowboy exploring the very limits of electromagnetic planetary funk in an oversized helmet and a frilly blouse on german television?
fans of the serbocroatian postpunk icons idoli will recall that bassist zdenko kolar was off serving in the yugoslav people’s army while the band’s second album was recorded. poor zdenko must not have mattered much, because čokolada was briefly the best-selling album in yugoslavian history, and, more importantly, its album cover is the hershey’s version of trout mask replica, only better.
#490: idoli - ime da da (1981)
what the world needs now is much less war and much more serbian postpunk with fuzzy guitars, indecipherable lyrics, mustaches, glowing cubes, and turtlenecks.
#479: elvis costello & the attractions - big sister’s clothes (1983)
even though trust isn’t as good as get happy!!, which isn’t as ferocious as this year’s model, which isn’t as pretty as almost blue, which isn’t as catchy as armed forces, which isn’t nearly as interesting as imperial bedroom, which isn’t as entirely and completely perfect as my aim is true, elvis costello’s first seven albums are all so wonderful that the least impressive one has songs that sound like carl perkins covering toots hibbert.
also, the green sweater he’s sporting here is almost better than his green shirt.
#475: tom tom club - wordy rappinghood (1981)
in 1980, david byrne put the talking heads on hiatus, so naturally bassist tina weymouth took her sisters and her husband and some friends to a dancehall in the bahamas to make the tom tom club’s debut album, a giant gulp of neon colored, double funky, triple poppy awesomeness. it’s also sort of a feminist triumph, considering the circumstances. and wordy rappinghood definitely made blondie’s rapture run home crying to its parents.
#470: r.e.m. - wendell gee (live, 1985)
young michael stipe fit three decades of extremely good hair styles into r.e.m.’s two best years: first the ’70s curls for the band’s 1984 t.v. debut, which a year later had grown into the ’60s jumble sported here (with ray bans, naturally), followed a few months later by the very short and very bleached 90’s look. bill berry’s hair changed too, but not for the better—though he looks quite good whistling here. more importantly, wendell gee, which doesn’t sound very interesting on record, quiets down to a pretty little attic ballad here, like tom waits’ georgia lee but slightly less devastating.
#465: billy joel - movin’ out (anthony’s song) (live in long island, 1982)
from the observer — anyone who’s listened to billy joel’s pleasant soft-rock piano ballads knows that life is hard, love dies, divorce is expensive, and material possessions like nice west village real estate eventually crumble into sand. earlier this year, mr. joel—who is either an evil overlord of sentimental schlock, a spoiled brat behind bulging eyes, or a genius with astonishing self-deprecation considering that he happens to be the sixth best-selling recording artist in history—announced his divorce from third wife katie lee joel. afterwards, news broke that he’d be selling off side-by-side homes in the hamptons for $35 million.
according to a deed filed today, he’s also parting with the perry street townhouse that he and ms. lee joel bought in 2005 for $5.9 million from the artist and heir seward johnson. earlier this month, the deed says, mr. joel sold his share in the house to his ex-wife for $3 million. “this deed is pursuant to the separation,” a spokesperson for mr. joel said. “that’s it.”