Popular
27 July 2010
WELL DONE EVERYONE! We’ve made it through 1988. But the 80s still have more to throw at us. Let’s regroup and take stock of the year – use the poll to indicate which tracks YOU would have given 6 or more out of 10 to.
And use the comments to discuss the year in general – which, as has often been mentioned in the regular comments boxes, was actually pretty damn good.

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Tom in Popular • 86 Comments
26 July 2010
#620, 10th December 1988, video
Squeaking into the Christmas canon just as the gates were closing, “Mistletoe And Wine” is a hard song to listen to charitably in late July. Mind you, it was a hard song to listen to charitably in late December 1988. Good Christmas songs since Slade’s 1973 breakthrough have been an extension of pop – aimed at the same buyers, performed in the same style, with only the seasonal trimmings and sleigh bell presets to mark them out from what else was going on. “Mistletoe And Wine”, on the other hand, is in the tradition of “When A Child Is Born” – it has nothing to do with any of the currents of pop in 1988. It’s the first Christmas hit since “There’s No One Quite Like Grandma” to be aimed squarely at people who only buy singles at this time of year. more »
Tom in Popular • 50 Comments
23 July 2010
#619, 19th November 1988, video
Minor Popular milestone alert! This is the very latest song that I had no recollection of whatsoever before starting this project. Never saw the advert, never heard the record. So I’d have been really happy if this had been an unexpected delight, or even a minor pleasure. As it is the only unexpected thing about “The First Time” is its attempted fake-out: you think it’s going to be one kind of bad song (vaguely motivational ballad) and instead it’s another (vaguely agonised power ballad). more »
Tom in Popular • 47 Comments
21 July 2010
#618, 29th October 1988
Brian Eno famously used to write his lyrics – or claim he did, at any rate – on the basis of sound rather than meaning: if the phonemes danced in service to the song, that was good enough for him and what they actually said could go hang. I get something of that vibe from “Orinoco Flow” – the arrangement’s pert staccatos bubbling up into Enya’s cute, clpped phrasing. But she corrals her syllables into something that does make sense: a hymn to travel and motion for their own sake. more »
Tom in FT / Popular • 92 Comments
14 July 2010
#617, 15th October 1988
Written for the Seoul Olympics, “One Moment In Time” makes an age-old connection between sport and character – if you want to win, you have to suffer, be more than you thought you could be, and so on. Do this, and you might be rewarded with your moment when you’re “racing with destiny” – only caring about the Track And Field is a classic US Olympic-watching stereotype, of course, though I guess all your dreams are a heartbeat away in the dressage or synchro too. more »
Tom in FT / Popular • 63 Comments
12 July 2010
#616, 8th October 1988, video
“Music’s become too scientific, it’s lost that spunk and energy that it had in the ’50s and ’60s. When I listen to most modern records I hear a producer, I don’t hear musicians interacting. And that quality, that missing quality is something we were trying to get back into our own music. What I like about Desire is that if there’s ever been a cool #1 to have in the UK, that’s it because it’s totally not what people are listening to or what’s in the charts at the moment. Instead it’s going in exactly the opposite direction. It’s a rock and roll record – in no way is it a pop song.”
- The Edge, October 1988 more »
Tom in Popular • 143 Comments
9 July 2010
#615, 24th September 1988
Furrowed-brow gospel rock which risks being weighty in all the wrong ways. The title phrase is from a 1940s magazine cover, said by a cute li’l scamp in a “from the mouths of babes” moment. Transpose it to a rock song and you get a stodgy mix of wartime folksiness and King James solemnity (“no burden is he”). The arrangement echoes this unhappy combination: dustbowl harmonica and churchy string section in a forced marriage of two quite different kinds of seriousness. more »
Tom in Popular • 56 Comments
5 July 2010
#614, 10th September 1988, video
All cover versions flirt with anachronism but in this case it’s baked in before the record’s even left the sleeve: that word “groovy”. Linguistically switched-on for 1965, the Mindbenders’ brightly confident original now sounds caught in time: pop loosening up a little but still riding a beat group fad. Phil Collins, on the other hand, approaches the word and the song hesitantly, as if reaching for long-unfamiliar slang of his youth to describe an idea – love – which also might be lost somewhere in his past. more »
Tom in Popular • 106 Comments
1 July 2010
#613, 6th August 1988, video
It may have come out in time to lord it over the charts during the Second Summer of Love; it may have a production credit for Coldcut – but there’s nothing outrageously radical about “The Only Way Is Up”. It’s the fifth cover version to get to number one in 1988, and nobody who’d heard “Don’t Leave Me This Way” then this would feel the ground of pop had shifted dramatically.
If there’s something new here it’s in the record’s self-assurance, the way it acts like that ground has indeed moved. more »
Tom in FT / Popular • 54 Comments
24 June 2010
#612, 9th July 1988, video
Another summer hearthrob, another forgettable puddle of ice-cream and tears. Harmless Hawaiian himbo Glenn was promoted here as a kind of male Tiffany – same corn-fed origins and good-luck story. Like her, he’s not an especially good singer: unlike her, his plod through a devotional checklist doesn’t have the enthusiasm or lift to make it likeable. Maybe the arrangement can help? Nope: it’s a disaster – a key change that would shame Eurovision, greasy sax, and a session guitarist doing his freewheelin’ best to upstage Medeiros completely. A thoroughly grim experience.
Tom in Popular • 61 Comments
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