Scripture : Isaiah Date : Date : Subject : Servanthood, Service, Ministry. Celebrating Grace Hymnal Christian Worship Display Title : Hark! Evangelical Lutheran Hymnary March, ; Unknown Meter : 87 87 D Date : Hymns of the Saints Hymns to the Living God D Date : Subject : Commission. Lutheran Service Book Starke, b. Lutheran Worship Our Songs and Hymns Rejoice in the Lord Seventh-day Adventist Hymnal First Line : Hark!
You had a big pop element, without ignoring the soul element. The moody ballad "Wait for Love," Vandross says, "gets the most applause in concert. We tear that thing up. There was something magical about the way everyone responded to it, which to this day I can't account for. With Full Moon Fever, I was lucky in that the songs just kept coming up, and I hit a good period of writing that carried through the Traveling Wilburys.
Full Moon Fever, Petty's first album without the Heartbreakers, fell together almost by accident early in when he and new acquaintance Jeff Lynne wrote and cut a few songs together at guitarist Mike Campbell's garage studio. The result was an album of pop nuggets with a bright, Sixties-style sheen. If you take me away from them, this is what you get. Full Moon Fever was truly a garage record. The sessions were relaxed and unhurried, and Petty credits Lynne, the former leader of ELO, for the upbeat atmosphere.
Boy, what fun! The sessions also led to the Traveling Wilburys, the impromptu supergroup whose knockoff album was a sensation in Petty and Lynne worked up nine songs and then stopped to make the Wilburys record. In his lyrics, Petty strove to say more in fewer words, citing Randy Newman's influence. I just kept thinking I wanted to keep the lyrics real simple, as if it were a conversation.
Some songs were personal, others journalistic. It was the most enjoyable record I've ever worked on. Some of the songs on Lyle Lovett were written as early as In , he spent his life savings as well as a loan from his parents to record eighteen demos; ten of these were finally remixed and released in The wait paid off.
Lyle Lovett — an assured, refined collection of tunes about rocky romances, dubious weddings and sturdy old porches — heralded the arrival of a major songwriter who brought absurdity and wit to a field that was normally earnest and predictable. In , Lovett, a Texas singer-songwriter with a degree in journalism, hooked up with the J. David Sloan band at a music festival in Luxembourg. He returned with the members of the band to their native Arizona, and one day in June he cut four songs at Chaton Recordings, in Scottsdale.
Lovett then drove to Nashville, looking for a publishing deal, and wound up recording fourteen more demos that August. He sent the tape around to record companies. They liked the material but wanted him to re-record it, which he refused to do. Aside from some remixing and minor overdubbing, the tapes were virtually released as is. Brown helped Lovett select ten songs the rest have appeared on subsequent albums with an ear to country radio.
There was, he complained, "no new fuel in rock music. Anything will do. Sting's sources ranged from German composer Hans Eisler and Jimi Hendrix a jazz reading of "Little Wing" to a traditional Chilean courting dance in "They Dance Alone," a haunting tribute to the families of Chile's "disappeared," opponents of the government who are believed to have been murdered.
In his lyrics, Sting juxtaposed meditations on death and rebirth — his mother died during the making of the record — with observations on religion, history and, in "Englishman in New York," spiritual and cultural exile. Literally worlds away from the artful simplicity of his hits with the Police and even his jazz-fusion tangents on The Dream of the Blue Turtles, his first solo excursion, … Nothing Like the Sun is as much a vivid reflection of the mushrooming exploratory fervor among many of Sting's middle-aged pop peers, such as Peter Gabriel, Talking Heads and Paul Simon, as it is an expression of Sting's disgust with the state of pop.
Ironically, the eleven original songs on the album were the product not of extensive musical field trips but of five months' concentrated writing in New York City in the winter and early spring of And I had this kind of monkish life.
I lived on my own. I cooked my own food. I went to the gym every day. I took piano lessons. The phone was off the hook. And I worked usually from twelve midday to very late at night. I was too bound up in it to make judgments.
Sting's record company initially questioned the wisdom of his musical expeditions on … Nothing Like the Sun. Then he may wink, and it's like 'Who's zoomin' who? The phrase — which Franklin said was an old New York street expression — immediately caught Walden's imagination. The reclusive Franklin had spent many of the preceding years in her hometown of Detroit, looking after her seriously ill father, the Reverend C.
According to Walden, Aretha hadn't sung seriously in two or three years. After her father died in , the singer began thinking about returning to the music scene. Walden started assembling backing tracks in Los Angeles. Since Franklin doesn't like to travel — she refuses to take airplanes when on tour — Walden brought the session tapes to Detroit, where Franklin added her vocals. Who's Zoomin' Who? Looking for a male singer to work with Franklin on another duet, "Push," Walden "put out signals, but a lot of people were frightened to death to sing with her.
Geils Band vocalist Peter Wolf, however, jumped at the chance. Despite Franklin's awesome reputation as a singer, Walden found her easy to work with. She's so vast and brings so much to her takes that it's more a question of keeping up with her. And when it stops, it stops. So you've got to be on your toes. Before any session with her, I'd jog four or five miles just to be mentally alert.
You have to be — she's the queen. The album was inspired, in part, by visits Browne made to Central America in and , though he had already begun writing "For America" and the title track prior to his trips. Discussing the song at the time of the video's release, Browne said, "I imply that the truth is kept from us on a regular basis. I flat out say the government lies. Well, these things are no longer heresy.
Other songs examine related aspects of the album's political theme. And, intriguingly, amid all the hard-hitting sociopolitical commentary stands "In the Shape of a Heart," one of Browne's finest love songs. Lives in the Balance never achieved the commercial success of some of Browne's earlier records. That hardly mattered to him. And whether or not an album succeeds wildly or not, that's intact. That get-together was the make-or-break point for the Rolling Stones ' reunion — a reunion that had been imperiled by Jagger's and Richards's solo records and by a year of public backbiting between the two.
Their attitudes in approaching the Barbados session say a great deal about the differences between them.
Jagger, however, admits to having no such doubts about his ability to work with Richards. Keith is very supersensitive about all that sort of thing and worries that maybe it can't happen. I said, 'Well, we'll just try. If we don't do it, we don't do it. Each man brought material to the session. And Richards says there was something of a rapprochement. Charlie Watts's arrival on the scene also bolstered Richards's sense of possibility for Steel Wheels.
This year's made. Musically, Jagger was concerned that the songs on Steel Wheels not repeat the sort of problems that had made him feel constrained in the Stones. Steel Wheels also seems to have provided Jagger with an opportunity to respond to Richards's public criticism of him. On the album's first single, "Mixed Emotions," Jagger sings, "Button your lip, baby," and declares, "You're not the only one with mixed emotions.
Jagger moans when told of Richards's remark. His records were FM-radio staples. He sold out coliseums. His live shows were legendary. But by , Bruce Springsteen had not yet placed a single in the Top Twenty, and he hadn't really made an album that fully captured the bracing live sound of the E Street Band. The River changed all that. The album is the work of a top-notch rock band playing live in the studio. Over the course of two discs, Springsteen displays a little bit of everything that drew people to him.
And if the sheer giddiness of "Crush on You" and "I'm a Rocker" make The River sound like Springsteen's party record, sobering character sketches like the title track and "Stolen Car" argue otherwise. The album didn't come easily to Springsteen. With The River, man, forget it. It took many months. Years, you know? In the spring of , Springsteen and the band began cutting songs like "The Ties That Bind" and "Roulette" a savage rocker that would remain unreleased for eight years.
Instead, he was looking for something richer and more expansive — something that would take close to another year to finish. I guess I didn't know where I was going, you know?
On The River, Springsteen accepts the fact that contradictions and paradoxes can be part of his music because they're part of everyday experience, and the decision to make a two-record set gave him the space to let his characters go just about everywhere.
The trip encompasses a hard-rocking visit to "Cadillac Ranch" and the disquieting vision at the heart of the stark finale, "Wreck on the Highway. Something that was just me, where there was no persona, no image, no distinctive character like the Bluenotes guy or the guy in Everybody's Rockin'.
It's the first time I've felt like doing an album like this in years. The album is bookended by contrasting versions of the bitter, ironic "Rockin' in the Free World.
Young used a similar device on Rust Never Sleeps. When I listen to it, it's almost like listening to the radio — it keeps changing and going from one thing to another. He'd originally planned to release a purely electric rock album — "Nothing but abrasiveness from beginning to end," he says — that he'd recorded in New York.
Five songs from those sessions were released on an import EP called Eldorado. For the album that was eventually released, he mixed in material from some subsequent acoustic sessions, looking to strike a balance. The result is Young's most personal and unguarded set of songs in many years.
But I was at a point in my life where I really closed off my emotions about a lot of things I didn't understand. I just shut down the whole program and did things that were more on the surface level, because it was safer.
Now I feel time has healed whatever was bothering me so much. I feel more open, and I can write songs that are more directly involved with what I'm thinking. Besides the sensual implications, the lyrics could also describe the British performer's make-over from teen idol to mature pop talent with his solo debut.
After their split in , Michael became intent on finding a fresh start as a solo artist. Shying away from his persona as a preening dandy who sang drivel like "Wake Me Up Before You Go-Go," Michael cultivated a new approach that was seriously sexy. With torn jeans, perfectly coifed hair and stubble that would make Don Johnson envious, he became the leading progenitor of a style that all but redefined late-Eighties fashion.
But the real change was in the lyrics, not the look. Beyond the beat-crazy dance rhythms, most of the songs on Faith revolve around important issues. Michael spent almost two years writing and recording Faith, influenced, he says, by "a lot of American radio, which kind of seeped into my consciousness.
Nevertheless, spurred by an outrageously erotic video clip and all the surrounding controversy, Michael's sassy come-on sold more than 1 million copies in the United States. After "I Want Your Sex" scored, the catchy single "Faith" was released in October; the entire album was released a month later. Supercharged by four more hit singles — "Father Figure," "One More Try," "Monkey" and "Kissing a Fool" — the album went on to sell 14 million copies worldwide, and Faith became one of the few albums to top the pop and black charts simultaneously.
As further evidence of its broad-based appeal, Faith subsequently captured a Grammy for album of the year and topped Rolling Stone 's annual readers' poll. The progression had to be natural, but I also knew there had to be a progression.
A warmer, more open Bowie was evident at every turn on Let's Dance, whose bright, upbeat exterior and approachable lyrics celebrate "modern love" and sensual romance beneath "serious moonlight. Coming off of four hermitic, experimental and disillusioned albums — from Low to Scary Monsters — Bowie pulled an about-face. His newly found extroversion, complete with a haystack-yellow British-schoolboy haircut, netted him three Top Twenty singles — "Modern Love," "China Girl" and the chart-topping title track.
Let's Dance was a determined move to recapture the spotlight by a musician who five years earlier had told Melody Maker, "I feel incredibly divorced from rock, and it's a genuine striving to be that way. Excluding Texas blues guitarist Stevie Ray Vaughan, who was Bowie's suggestion, the musicians were drawn from Rodgers's circle. Yet the collaboration was nothing like what he had had in mind.
Its swift popularity caught the normally unflappable Bowie off guard. I'd be lying in bed, and the phone would ring: 'Hello, Nile? This is David. Look what's happening, did you see Billboard this week? Wow, unbelievable! Joined by keyboardist and singer Paul Carrack in his one-album cameo as a Squeeze member, the group filled the album with smart, uptempo pop tunes whose lyrics scanned, in Difford's words, like "suburban short stories.
Difford and Tilbrook credit Elvis Costello, who coproduced most of the album with Roger Bechirian, for providing inspiration and encouraging the band to move into different areas.
He hadn't intended to play it for Costello, who nonetheless liked it right away. When Tilbrook protested that it didn't sound like Squeeze, Costello said, "Let's do it anyway. East Side Story 's best-known song is "Tempted," sung in a husky, soulful voice by Paul Carrack, with Costello and Tilbrook chiming in here and there.
Difford wrote the lyrics on the way to the airport, and "all the things in there are pretty much all the things that were in my mind on that trip," he says. Though "Tempted" became an FM-radio favorite, it didn't crack the U. Top Forty. Musical touches both playful and artful, ranging from the surreal, wavering keyboards on "Heaven" to the full orchestra on "Vanity Fair," adorn East Side Story.
Yet Squeeze maintains that the record was an uncomplicated one to make. The production really involved arrangements, and then just a straightforward recording of the songs. As a side note, the name Lennon cropped up in an unexpected way midway through the sessions. The foursome had been selling out arenas for more than a decade on the basis of Eddie's virtuosic, fleet-fingered guitar playing, singer David Lee Roth's blunt, raunchy lyrics and the brute force of Michael Anthony's bass and Alex Van Halen's drums.
But , abetted by tunes that swirled elements of synth pop into metal — most evidently on the hit single "Jump" — and by a string of campy, low-budget videos that found favor on MTV, carried Van Halen to a new plateau of popularity. No longer viewed as threatening to those with a chronic fear of metal, the band somehow became amusing and even endearing to middle America. And all the while Van Halen continued to rock like crazy. According to Templeman, who produced all six Van Halen albums prior to and including , having time to experiment in the studio made a difference.
They got into all kinds of different things, because they were bored doing the same old stuff. At the time, Eddie was in the process of building his own studio with Don Landee, the band's longtime engineer and now its producer. While boards and tape machines were being installed, the guitarist began fiddling around on synthesizers to pass the time.
One night Eddie and Alex laid down an instrumental demo of what would become "Jump," excitedly ringing up their slumbering producer when they finished. It's like three in the morning, but we really came up with something great. Roth added the lyrics, which he wrote while being chauffeured in his red Mercury convertible, and "Jump" went on to top the charts — heralding the arrival of hard rock and heavy metal in the theretofore impervious Top Forty.
The album turned out to be the last recorded by Van Halen in its original configuration, as Roth left — not entirely amicably — to go solo and was soon replaced by Sammy Hagar. Producer Templeman swears he didn't see it coming: "There were no indicators to signal a breakup at all. Matter of fact, they were really united on that sucker. Balls to the wall, they were going after the world, man! It wasn't until the release of her second album that Suzanne Vega achieved fame, scoring an unlikely Top Forty hit with "Luka," a song about child abuse.
But the singer's debut album, Suzanne Vega, had already awakened listeners to a fresh new voice, reviving the folk-music genre after nearly two decades of dormancy. For Vega, who was then twenty-five years old, the album was cause for uncertainty and isolation as much as triumph. Vega was certainly an anomaly during the mid-Eighties, softly strumming an acoustic guitar and singing introspective ballads while the rest of the music world was caught up in bigger-is-better events like Live Aid and Bruce Springsteen's Born in the U.
In retrospect, however, Vega's intimate first album proved to be a significant milestone in this decade, ushering in a flock of female folk singers, including Tracy Chapman, Melissa Etheridge, Michelle Shocked, Tanita Tikaram and the Indigo Girls. Having taught herself guitar at the age of eleven, Vega began writing her own songs when she entered her teens. After graduating from Barnard College in , she began playing small coffeehouses in Greenwich Village — the same area of New York City where nearly every Sixties folkie first tuned up his Gibson.
But Vega, a child of the Eighties, hardly fit the protest-singer mold. Even though she carried an acoustic guitar, her hero wasn't folk icon Bob Dylan but punk godfather Lou Reed. There were other differences as well.
After years on the Northeastern club circuit, she had developed a direct, emotionally tempered style that she has said was inspired as much by novelist Carson McCullers and painter Edward Hopper as by romantic balladeers Leonard Cohen and Laura Nyro. Weaving these diverse influences into a deeply moving album were producers Lenny Kaye formerly Patti Smith's guitarist and Steve Addabbo Vega's manager , who brought modern touches to Vega's straight-ahead style, enhancing the singer's sparse sound with subtle electric guitars, graceful violins and even New Age synthesizers, all of which added gentle textures to her haunting material.