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In Our Lifetime was both a kind of rebirth and an ending, since it proved to be Gaye’s last record for Motown. By the start of the ’80s, Gaye had suffered a mountain of hardships in just a few years: a bitter divorce, a ruinous cocaine addiction, an aborted album called Love Man, and a 1979 suicide attempt. It’s sometimes lost in the shadow of Midnight Love-which holds the distinction of being both Marvin Gaye’s biggest-selling and final album-but In Our Lifetime is secretly the better of Gaye’s two late-career records. These aren’t Dave Alvin’s best songs, but they are his songs easiest to like on a first listen.
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“Marie Marie” became a top-20 single in England for Shakin’ Stevens, and rocking anthems such as “Border Radio” and “American Music” became highlights of the Blasters’ dazzling live shows.
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The tight rhythm section was supplemented by a horn section of Fats Domino’s legendary Lee Allen and future Los Lobos member Steve Berlin. Dave Alvin wrote the originals, and his older brother Phil sang them-a smart and effective division of labor. This Southern California band’s second album was their first with national distribution, and its blues-drenched rockabilly was an astonishing wake-up call for the rest of the country. Singles “Souvenir,” “Joan of Arc” and “Maid of Orleans” all reached the Top 5 on the UK charts, helping the album sell four million copies worldwide. Songs like “She’s Leaving” off Architecture and Morality deliver the kind of beautiful trance-inducing moments other bands continue to strive for thanks to its bouncing keyboard melodies and counter-melodies (three of OMD’s four members played synths on the album), along with choral samples inspired by high-church hymns. OMD may be best-known by many from providing the soundtrack to an iconic moment in a John Hughes film, but their early work is a far cry from Pretty in Pink’s “If You Leave.” The group from Mercyside, England, were synth-pop pioneers who paved the way for bands like Depeche Mode, New Order, Joy Division and Tears for Fears, despite not always receiving the same love from the British press. Orchestral Manoeuvres in the Dark: Architecture and Morality Dare was a huge hit for The Human League, but it also remains a forward-thinking record that has aged better than most. But not everything on the record is as immediately catchy as “Don’t You Want Me.” “Seconds” is dark and moody and “Do Or Die,” even with its synth hook, is still elegant and nuanced.
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The band’s music relied heavily on synthesizers, but it was Dare where their more avant proclivities met with pop and even elements of Bowie-esque glam. The Human League’s third record sold loads of copies due to the massive success of the single “Don’t You Want Me,” which you simply couldn’t escape in 1982. Jones’ take, with the dub-leaning reggae of Compass Point All-Stars as its bedrock, feels totally organic. Her signature deadpan offers a stylish, restrained departure from the dialed-down but ever-present grit of the original. But the brooding, minimalist track inherently lacks the sheen of Studio 54, and on all of Nightclubbing, Jones was actively stepping away from disco-associating the radical avant-garde artist with only that era is extremely reductive, really. After all, it’s not Iggy Pop who’s emblematic of the most famous nightclub of all time. And the title track, a cover from Iggy Pop’s 1977 solo debut, improves upon the original. Her sound and image is as majestic as it is threatening. The album cover didn’t need to do much work because Jones is a literal walking piece of cubist art. The album’s melding of left-field pop, New Wave, reggae, dance-pop and funk sent a shockwave through the music world, and it was unbelievably cohesive, stark and burly. Grace Jones’ fifth studio album, Nightclubbing is just as musically multifaceted as it is visually.