Top 80s Punk Songs80's top punk songs
The Top 200 of the 80's recently published by Pitchfork tell us more about the present and about Pitchfork than about the "mighty" 80's - The Top 200 of the 80's recently published by Pitchfork tell us more about the present and about Pitchfork than about the "mighty" 80's Newsroom | Article
When Pitchfork recorded the list of the best 100 albums of the 80s in 2002, the famous Chicago based Minneapolis -born Chicago based Websine had been around for seven years, while the so-called hedonistic decade had lasted thirteen years. The Top 200 of the 80's albums, released just a few days ago on P4k's website, would like to give us an up-to-date overview of the popular music that has emerged in this famous and decisive decade, namely the version of Pitchfork in this matter seen by Pitchfork today, in 2018.
More interesting to me, however, is what the comparison between the 2002 ranking and the recently published ranking tells us, a comparison that gives us some very interesting ideas, especially when we look at them in terms of what they tell us about Pitchfork itself, which should be seen as an essential reference point among webzines - for better or worse, whether we like it or not - (for many, it was and is a kind of "Bible" - or touchstone - to which as much attention should be paid when evaluating new publications as it is in the publishing model).
I think we should first emphasise the choice, which is certainly not self-evident, of extending the coverage to the first 200 digits. First, I would say that it symbolizes a growth in Pitchfork's analytical performance (a review of about 2000 characters was created for each record), also because from a purely practical point of view it was a sustainable editorial performance only from a very numerous and well coordinated editorial team.
However, at this point the dance of numbers begins, and it is a surprising choreography: Given the 200 positions we find a total of 136 new entries or records that are not considered by the top 100 of 2002. The evaluation of the first hundred positions, which includes 49 new entries, tells us even more about the extent to which the rethinking was far-reaching.
In fact, half the old ranking was defeated. More resilient", without movements in the ranking, the number of the first fifty positions with only 16 new entries. At the moment I would leave the newcomers aside to concentrate on the list of "punished", i.e. those who fell in the rankings but were not excluded from the top 200:
we come across sensational titles such as XTC's masterpiece skylarking, which crashed to 133rd place (a balance of well -128 positions), Elvis Costello's Imperial Bedroom (155, -97 positions), Public Image Ltd's Second Edition (104, -85), Big Black's Songs About Fucking (135, -81) and - as if we were throwing a soothing doll at the five biggest losers - Duran's Rio (172, -77).
Even more sensational signs come from the list of trumpets, those are the records that you could find in 2002 between the first 100 and sixteen years later - today - are considered unworthy even among the top 200 (!). There are 35 of them, ten of which were originally in the top 50, i.e.: Swordfish trombones by Tom Waits (ex 11°), nurse by Sonic Youth (ex 14°), Solid Gold by Gang Of Four (ex 24°), Get Happy by Elvis Costello & The Attractions (ex 26°), Hex Enduction Hour by Fall at 33°, English Settlement by XTC (ex 46°), Naked City by John Zorn (ex 47°), Doc by R.
From this point of view it's not too surprising that the "victim" of autumn, represented by three albums in the old Top 100 - This Nation's Saving Grace, Hex Enduction Hour and Perverted by Language - is now only represented by This Nation's Saving Grace. A similar fate has befallen Elvis Costello, who sees his Get Hapy and Trust redeemed (only imperial bedroom remains, but punished with 97 positions), and XTC, who sees the wonderful English settlement disappear from the charts next to the Mazzat on the punished Skylarking, without counting the cut of the Psonic Psunspot, a visionary and beautiful work signed by their "Collateral Project" The Dukes Of Stratosphear.......
Worse still, and here it is even more justified to be surprised, went to the police who were present in the Top 100 with sync and spirit in the engine, both disappeared from the Top 200 radars, strangely finally the case of the Spacemen 3 who were present in the Top 100 with the perfect recipe on position 50 and the game with the fire on 88, of which, however, only the second survived (downgraded to 113th position).
The titles that have won more than the previous placement are known to nostalgic radio more or less radio of the time popular rock like Hounds Of Love by Kate Bush (a jump of 88 positions, up to 4th place), the refined treasury by Cocteau Twins (27th place, with a win of 71), Graceland by Paul Simon (49th, 51st more) and Scary Monsters by His Majesty Bowie (53rd, 40th more).
Or otherwise influential in hip-hop, like Boogie Down Productions by Criminal Minds (20., plus 55 positions), Paid In Full, with which Eric B. & Rakim debuted (11., with a jump of 41 positions), Come Away With ESG by the peculiar New Yorkers ESG (50., 34. more) and Straight Outta Compton by Californian rapper N.W.A.
The winner among the winners, however, is Prince, who in a way sums up both the new Pechforkian vein's popular stance and the attention paid to the dark (and lateral hip-hop) scene: if Dirty mind climbed 54 positions to 33 and signed O'The Times a flattering 17th place with 28 points, Purple Rain even wins first place from 12th place, which he placed in the old Top 100.
This is something that destroys the old rival - so to speak - Michael Jackson, who also sees his famous thriller tearing up second place by 25 places. A domain of regret for Roger Nelson, which cannot only be justified by the wave of emotions caused by the still young death, and this is confirmed by the new record - directly at position 26 - of his perhaps first masterpiece, the excellent 1999.
In addition to the Complete Discography by Minor Threat collection, which appeared at position 23 to hold up the flag of hardcore punks, the namesakes of Bad Brains and Fugazi also waved their way up to places 41 and 45, respectively. Among the newcomers there is therefore a certain schizophrenia, I dare say, opportune (no such classification can suggest pursuing stylistic homogeneity without appearing unreliable), confirmed by concessions toetal ( Slayer, Metallica, Motorhead) and very popular (again Janet Jackson, Sade, Wears For Women, Cindy Lauper....), against which a rise of Glenn Branca (62°) plays the role of a partial (and necessary) counterweight.
One possible conclusion about what this operation of Pitchfork tells us - I repeat - about Pitchfork itself is that even before an updated assessment of the musical heritage left to us by the 1980s, it seems to be a huge and well-defined list of ingredients with which contemporary popular music builds the protagonists of the playlists (more and more algorithmically) (many black-oriented popular), popularly permeable to hybrid styles of pop and dancing, hip-hop with different militant attitudes, stream ok, but better, hip-hop with different militant attitudes, stream ok, but better, a lot of the time, it seems that the contemporary popular music of the 80s is a huge and well-defined list of ingredients with which contemporary music builds the protagonists of the playlists (more and more algorithmically).
Then there is an aftertaste - even annoying - of the "equilibrium" between positions and angles, which in turn seems to be the result (algorithmically) of a double will: on the one hand, one senses the attempt to hit as few positions and angles as possible of the various critical fractions, which nips in the bud the possible exceptions moved by the forts (or circles) dedicated to the cult of quality (research, experimentation, avant-garde),
On the other hand, there is the creeping feeling - ok, perhaps a little more than creeping - of a classification based on the outline of a rigid political correctness, obviously non-musical instance. Take the #metoo question: The top 100 of 2002 only envisaged one solo artist, Kate Bush, a situation in which today's new proposal P4K would have exposed an authentic (and perhaps deserved) target shot:
All in all, the same discourse about the increase in the number of colored musicians: the 11 in the top 100 of 2002 are now 55 out of 200, which means that we have risen from really bad 10% to over 25%. Then we return to the main assumption: it is an operation that gives us a stapled notion of pitchfork and - as a result - of all media Ambaradan towards music (and not only).
This ranking, this impressive editorial activity, is very interesting because, among other things, it tells us of a change at the moment it is consumed and offers us the possibility of a "geological" comparison with what happened "only" sixteen years ago. The Elvis Costello & the Attractions - Imperial Bedroom -97104.
<font color="#ffff00">Big Black Songs About Fucking 81172 >. The Joshua Tree -17The Excluded (in the Top 100, not in the Top 200):