Tag: 1980s Rock

Friday Night Rock-Out: “Eighties”

If you’ve ever gone to a dance club on “Old-Wave Night” when they play the greatest alterna-hits of the late 1970s and 80s, you’ve almost certainly heard this song. I, of course, am old enough to have heard it on its original run, when it still had complete cultural currency. (Personally, I think it still does.)

Killing Joke was not only one of the wittiest and most subversive bands of the era, they were one of the most talented. And hard-hitting. You know you’ve done something right when later classic bands such as Metallica, Soundgarden, Nine Inch Nails, and Nirvana site you as an influence. In fact, Kurt Cobain liked Geordie Walker’s guitar playing so much that he borrowed from it heavily on Nirvana’s great hit, “Come as You Are.” As one of the song’s producers explained, 

…we couldn’t decide between ‘Come as You Are’ and ‘In Bloom.’ Kurt [Cobain] was nervous about ‘Come as You Are’ because it was too similar to a Killing Joke song but we all thought it was still the better song to go with. And, he was right, Killing Joke later did complain about it.

They say imitation is the highest form of flattery, right?

Rock on…

Friday Night Rock-Out: “Authority Song”

There is a great documentary on Netflix about the legendary record producer Clive Davis. One of the more interesting moments in the film is when Davis describes some of the fine artists he didn’t sign to his label, either because someone else beat him to punch or because he thought the artist in question just didn’t fit in with his catalog.

One example he gives of the latter is John Mellencamp, who, despite being saddled with the dumb, management-invented stage-name of John Cougar, hit the airwaves like a thunderbolt in the early 1980s. Mellencamp, Davis lamented, seemed too similar to another of Davis’s great artists, Bruce Springsteen, in that they both played soaring, electrified dirges about working class America (i.e., so-called “Heartland Rock,” even though Springsteen is famously from New Jersey). So, to his later regret, Davis passed.

Too bad for him. Mellencamp sold a bazillion records over the years, while gradually ditching the John Couger moniker and returning to his own, real name. As he did so, I gradually came to like him more and more. His early hits like “Jack and Diane” didn’t speak to me, perhaps because I was in high school at the time (just like Jack and Diane), and while the song was a paeon to lost youth and spirit, I was miserable in high school. (Later, I would realize that I probably would have liked high school a lot better if I had gone to Mellencamp’s, nestled somewhere in small-town America, full of cool, down-to-earth, nice kids instead of the jocks and preppies I was used to. And, yes, I eventually fell in love with and married a girl named Diane.)

But my opinion of Mellencamp’s music changed when his “Authority Song” came out. Not only is it one of the most danceable songs of the 80’s, it’s also one of rock music’s most defiant and rebellious rejections of… well…authority.

I’ve liked Mellencamp ever since. In fact, I think he’s a bit of genius.

Rock on…