Turner, Tina - 1984 - Private Dancer

In 1984, a 45-year-old Tina Turner made one of the most amazing comebacks in the history of American popular music. A few years earlier, it was hard to imagine the veteran soul/rock belter reinventing herself and returning to the top of the pop charts, but she did exactly that with the outstanding Private Dancer. And Turner did so without sacrificing her musical integrity. To be sure, this pop/rock/R&B pearl is decidedly slicker than such raw, earthy, hard-edged Ike & Tina classics as "Proud Mary," "Sexy Ida," and "I Wanna Take You Higher." But she still has a tough, throaty, passionate delivery that serves her beautifully on everything from the melancholy, reggae-influenced "What's Love Got to Do With It" to the gutsy "Better Be Good to Me" to heartfelt remakes of the Beatles' "Help," Al Green's "Let's Stay Together," and David Bowie's "1984." A reflection on the emptiness of a stripper's life, the dusky title song is as poignant as it is depressing. Without question, this was Turner's finest hour as a solo artist.

1 I Might Have Been Queen Hine, Obstoj, West-Oram 4:10
2 What's Love Got to Do with It Britten, Lyle 3:49
3 Show Some Respect Britten, Shifrin 3:18
4 I Can't Stand the Rain Bryant, Miller, Peebles 3:41
5 Private Dancer Knopfler 7:11
6 Let's Stay Together Green, Jackson, Mitchell 5:16
7 Better Be Good to Me Chapman, Chinn, Knight 5:10
8 Steel Claw Brady 3:48
9 Help! Lennon, McCartney 4:30
10 1984 Bowie 3:09

¡Aquí!

Abuelo, Miguel - 1984 - Buen Día, Día

Unico disco solista editado en Argentina por Miguel Abuelo en 1984 en paralelo a la grabación del disco de Los Abuelos De La Nada "Himno De Mi Corazón".

De las diez canciones que componen el disco hay 2 temas que fueron grabados en 1978 en París Francia en el 'Manderly Studio' por el ingeniero Denis Coutard, ellas son: la reversión de "La Balsa" y "Va Silvestre Bajo El Sol".
De las ocho restantes que se grabaron en 1984 se destaca una reversión de su clásico "Mariposas De Madera".

Su anterior trabajo solista de 1973 "Miguel Abuelo et Nada" sólo fue editado en Francia y Bélgica dos años después de haberse grabado, es decir en 1975, bajo el sello de su productor francés Moshe Naim quien actualmente tiene los derechos de ése disco. Luego de la muerte de Miguel, se intentó en los años 90's hacer una publicación en argentina del disco de 1973, la cual no se concretó debido a los elevadísimos derechos que pretendía cobrar el Sr Naim por ceder los masters.

01. La Balsa
02. Pica Mi Caballo
03. La Mujer Barbuda
04. Americano Soy Del Sur
05. Apúrate Josefina
06. Verilí
07. Días De Kuberito Díaz
08. Va Silvestre Bajo El Sol
09. Mariposas De Madera
10. Buen Día, Día

¡Aquí!

Abrelatas - 1984 - Energía Para Compartir

Abrelatas nace en 1981 en La Plata y logra una buena aceptación en el circuito underground de esa ciudad. Esta banda recibió muy buenas críticas por su debut discográfico ("Energía para compartir", 1984), pero el disco careció de difusión.

Con un gran esfuerzo editaron su segundo LP, "Prendas íntimas" (1985), pero ante el escaso apoyo recibido y las bajas ventas, los shows en vivo se tornaron más esporádicos, hasta que Pássaro fue convocado por Raúl Porchetto y la bada se disolvió.

1-energia para compartir
2-que coche tiene el doctor
3-mi moto impresionante
4-salgamos a jugar
5-me haces vibrar
6-no puedo verme tan mal
7-mi querida graciana
8-hoy no llores
9-tengo todo el ambiente
10-me persigue el capataz
11-la academia de rock and roll

¡Aquí!

Hammill, Peter - 1984 - The Love Songs

This odd collection delves, seemingly at random, into the corpus of Peter Hammill songs that, inasmuch as they discuss the fraught path of romantic entanglements, can be construed as "love songs" -- although anybody picking up a copy as a Valentine's gift for his or her own significant other might well regret it. And not only because the sentiments and emotions expressed are often a long way from love itself. Re-recordings and remixes dominate, but that cannot disguise the album's failings. The ten songs here date, in the main, from the sequence of albums Hammill cut for the Charisma label during the 1970s, and that is where they are best experienced. Although the revisions have certainly tightened some hitherto loose arrangements (most noticeable on Over's "(This Side Of) The Looking Glass"), the frail immediacy of the original recordings has been surrendered in favor of a lush homogeny that disguises the songs' roots beneath a uniformity that, frankly, grows a little wearing after a time. Unleashed within the proto-punk apocalypse of Nadir's Big Chance, for example, "Been Alone So Long" emerged a shocking oasis of spellbinding longing. Sandwiched between the never-especially-great "My Favourite" and the drab "Ophelia," it simply sits and scratches itself. "Again" (from In Camera) similarly loses impact within its new surroundings, while the two cuts from Hammill's Fool's Mate debut, "Vision" and "The Birds," sound positively maudlin when divorced from the earnest poetry that once surrounded them. And so forth. In terms of the actual songs, The Love Songs is an excellent digest of one side of Hammill's mighty muse. Lumped together on the off chance that the emotions they share might bind them as a musical experience, however, they instead emerge a one-dimensional and ultimately dispiriting collection of moans.

1 Just Good Friends Hammill 3:55
2 My Favourite Hammill 3:04
3 Been Alone So Long Smith, Smith 5:03
4 Ophelia Hammill 3:11
5 Again Hammill 3:38
6 If I Could Hammill 5:04
7 Vision Hammill 3:18
8 Don't Tell Me Hammill 4:43
9 The Birds Hammill 3:43
10 (This Side Of) The Looking Glass Hammill 6:59

¡Aquí!

Abonizio, Adrián - 1984 - Abonizio

Adrián Abonizio es un conocido guitarrista y compositor, miembro de la Trova Rosarina que llega a Buenos Aires a principios de los ochentas.

Sus composiciones, entre las cuales se destacan El témpano, Mirta, de regreso, Dios y el Diablo en el taller se hicieron muy conocidas de la mano de Juan Carlos Baglietto.

A pesar de esto, su carrera se vio dificultada por su renuencia a participar de sellos discográficos grandes, porque, como dijo en una entrevista: "no encontré la gente que trabaje dignamente, que busque lo artístico, que es lo que yo pretendo".

Cantándole a los vivos
Corazón del milagro
Caballos de carrera
Pintar la sangre
Rieles de San Pedro
Zamba Señorita
Plantas argentinas
La sombra de la guitarra

¡Aquí!

Culture Club - 1984 - Colour By Numbers

Colour by Numbers was Culture Club's most successful album, and, undoubtedly, one of the most popular albums from the 1980s. Scoring no less than four U.S. hit singles (and five overseas), this set dominated the charts for a full year, both in the United States and in Europe. The songs were infectious, the videos were all over MTV, and the band was a media magnet. Boy George sounded as warm and soulful as ever, but one of the real stars on this set was backing vocalist Helen Terry, who really brought the house down on the album's unforgettable first single, "Church of the Poison Mind." This album also featured the band's biggest (and only number one) hit, the irresistibly catchy "Karma Chameleon," its more rock & roll Top Five follow-up "Miss Me Blind," and the fourth single (and big club hit), "It's a Miracle" (which also featured Helen Terry's unmistakable belting). Also here are "Victims," a big, dark, deep, and bombastic power ballad that was a huge hit overseas but never released in the U.S., and other soulful favorites such as "Black Money" and "That's the Way (I'm Only Trying to Help You)," where Boy George truly flexed his vocal muscles. In the 1980s music was, in many cases, flamboyant, fun, sexy, soulful, colorful, androgynous, and carefree, and this album captured that spirit perfectly. A must for any collector of 1980s music, and the artistic and commercial pinnacle of a band that still attracted new fans years later.

		1		Karma Chameleon	Craig, Culture Club, Hay, Moss ...	4:12
Composed by: Craig, Culture Club, Hay, Moss, O'Dowd, Pickett
		2		It's a Miracle	Craig, Culture Club, Hay, Moss ...	3:25
Composed by: Craig, Culture Club, Hay, Moss, ODowd, Pickett
		3		Black Money	Culture Club	5:19
		4		Changing Every Day	Culture Club	3:17
		5		That's the Way (I'm Only Trying to Help You)	Culture Club	2:46
		6		Church of the Poison Mind	Culture Club	3:30
		7		Miss Me Blind	Culture Club	4:29
		8		Mister Man	Culture Club	3:36
		9		Stormkeeper	Culture Club	2:49
		10		Victims	Culture Club	4:53

¡Aquí!

Lauper, Cyndi - 1984 - She's So Unusual

One of the great new wave/early MTV records, She's So Unusual is a giddy mix of self-confidence, effervescent popcraft, unabashed sentimentality, subversiveness, and clever humor. In short, it's a multifaceted portrait of a multifaceted talent, an artist that's far more clever than her thin, deliberately girly voice would indicate. Then again, Lauper's voice suits her musical persona, since its chirpiness adds depth, or reconfigures the songs, whether it's the call to arms of "Girls Just Want to Have Fun" or the tearjerking "Time After Time." Lauper is at her very best on the first side, all of which were singles or received airplay, and this collection of songs — "Money Changes Everything," "Girls," "When You Were Mine," "Time," "She Bop," "All Through the Night" — is astonishing in its consistency, so strong that it makes the remaining tracks — all enjoyable, but rather pedestrian — charming by their association with songs so brilliantly alive. If Lauper couldn't maintain this level of consistency, it's because this captured her persona better than anyone could imagine — when a debut captures a personality so well, let alone a personality so tied to its time, the successive work can't help but pale in comparison. Still, when it's captured as brightly and brilliantly as it is here, it does result in a debut that retains its potency, long after its production seems a little dated.

		1		Money Changes Everything	Gray
		2		Girls Just Want to Have Fun	Hazard
		3		When You Were Mine	Prince
		4		Time After Time	Hayman, Lauper
		5		She Bop	Chertoff, Corbett, Lauper ...
Composed by: Chertoff, Corbett, Lauper, Lunt
		6		All Through the Night	Shear
		7		Witness	Lauper, Turi
		8		I'll Kiss You	Lauper, Shear
		9		He's So Unusal	Lewis, Sherman, Silver
		10		Yeah Yeah	Huss, Rickfors

¡Aquí!

King Crimson - 1984 - Three Of A Perfect Pair Live In Japan (2CD)

¡Aquí!

Running Wild - 1984 - Gates To Purgatory

		1		Victim of State Power	Running Wild	3:39
		2		Black Demon	Running Wild	4:29
		3		Preacher	Running Wild	4:26
		4		Soldiers of Hell	Running Wild	3:30
		5		Diabolic Force	Running Wild	5:04
		6		Adrian Sos	Running Wild	2:54
		7		Genghis Khan	Running Wild	4:13
		8		Prisoner of Our Time	Running Wild	5:26
		9				4:41
		10				4:10

¡Aquí!

New Model Army - 1984 - Vengeance

This Bradford trio really came out sporting for a fight on this eight-song 1984 debut, Vengeance, after four years of constant gigging and a couple of singles ("Bittersweet" and the classic "Great Expectations"). (The five songs from these singles were in turn added to the front of the CD reissue, along with three more from the post-LP third single, "The Price," inserted at the end.) Singer/guitarist Justin Sullivan's (aka Slade the Leveller) call-it-like-it-is-historically "Christian Militia" wasn't going to make him any friends down at the local vicar; the scathing anti-Falklands War sneer "Spirit of the Falklands" peed all over their country's brand new military triumph; the vigilante-flirting title track trod on both dangerous and controversial ground. But this sort of "you're going to have to confront this stuff" unyielding conviction remains all the more refreshing in an era where young bands try their hardest to say nothing about social issues (it isn't cool). And the anti-narcotics, anti small-town myopia, anti-empty-celebrityhood, and anti-self-indulgence words are riddled with a contrasting caring humanity. In short, it's one thing to protest, it's another to also want something better for others. That human touch is suffused through "Betcha," which is about frustrating miscommunication between lovers, and the well-stated disquiet of those whose lives seem suffocated in ordinariness on "Notice Me" and "Small Town England." Besides the words, Sullivan was already a supreme tunesmith and compelling singer to match the oratory, and original bassist Stuart Morrow is truly an acrobat. His fingers work overtime on what could only be described as lead playing, teamed with that bull of a drummer, gentle-giant sledgehammer Rob Heaton, as Sullivan keeps his own guitar minimal to give space to his outrageously busy rhythm section. It makes for outstanding post-punk, some of the best the genre ever produced, a style continued through the next two LPs after signing to major EMI.

		1		Christian Militia	Morrow, Sullivan
		2		Notice Me	Morrow, Sullivan
		3		Smalltown England	Morrow, Sullivan
		4		A Liberal Education	Morrow, Sullivan
		5		Vengeance	New Model Army, Sullivan
		6		Sex (The Black Angel)	Morrow, Sullivan
		7		Running
		8		Spirit of the Falklands	Morrow, Sullivan

¡Aquí!

Public Image, Ltd. - 1984 - This Is What You Want, This Is What Get

PiL's fourth album took three years to reach fruition for a number of reasons. The initial recordings included the nucleus of John Lydon and Keith Levene; Martin Atkins was asked to stay, bringing bassist Pete Jones to help out. After those sessions and a few shows, both Levene and Jones exited. Lydon recruited a lounge act spotted at a New Jersey hotel and took them on tour. Upon re-entering the studio, Lydon and Atkins wiped the departed members off the tapes from the prior recordings, employing faceless session hacks to fill in.

This resulted in one of Lydon's worst outings, the most tentative and least powerful of PiL's recordings. A thin, shrill, wheezing horn section replaces much of Levene's guitar, and the basslines sound dreadful. "This Is Not a Love Song," though accessible enough for the charts, is best left in the year of its origin. Surprisingly for Lydon, the colorful tune has a simple beat and is easy to dance to, but lacks guts. "The Pardon," like a couple other songs on the record, sounds like a bad Flowers of Romance outtake with "modern" production. With Atkins' relentless clippity-cloppity drums and Lydon's bite-free stream-of-consciousness rambling, it eventually fades into the background as a nagging drone. Closer "The Order of Death" saves the record from being a total wreck, a moody instrumental with a repetitive vocal hook and a creepy synth line. Levene, who at that point owned half of the Public Image Limited name, released the version of This Is What You Want... with him and Jones present as the pseudo-bootleg Commercial Zone, on the short-lived PiL Records. It actually preceded the official version's release by months, and a second issue followed later in the year with a slightly different track listing.

		1		Bad Life	Atkins, Levene, Lydon	5:15
		2		This Is Not a Love Song	Atkins, Levene, Lydon	4:12
		3		Solitaire	Atkins, Levene, Lydon	3:59
		4		Tie Me to the Length of That	Atkins, Lydon	5:18
		5		The Pardon	Atkins, Lydon	5:18
		6		Where Are You?	Atkins, Levene, Lydon	4:18
		7		1981	Atkins, Lydon	3:17
		8		The Order of Death	Atkins, Levene, Lydon	4:49

¡Aquí!