The whole damn song is major, even the part where you would expect a ii (D min) is actually a II. In fact the chorus is just a I-V-IV in C. The chorus does one of those moves you think will be to a relative minor-but it's deceptive: The C chord at the top of the chorus is major. So the song's in E, the verse being E (I) to D (VII) and back. The reason why we had classic rock stations to begin with.ġThis is my lesson to you, when a woman hands you a tape with the Lords of Acid and KMFDM on it, she expects things of you. After then? View to a Kill: a self-aware mockery of what they were. before then? Amazing new synthesis between musician and machine. 1Ģ) A bootleg Led Zep concert tape my new and hateful roommate didn't want me to copy, where John Bonham literally made his drums talk in coherent phrases a month before he died.ģ) The "Best Of" Duran Duran, which included "Hungry Like the Wolf" and "Sing Blue Silver" but not "Rio" or "The Reflex" or "Union of the Snake"Ĥ) Commercial mix tape that had XTC, Squeze, Flock of Seagulls and TMBG. Into the auto-reverese personal tape deck went.ġ) A mix tape a beautiful girl made for me. in college, and instead of using it to buy art supplies (I was a photography student), I bought a bright yellow Panasonic waterproof walkman-alike and a Fuji single-speed beach cruiser I put Wald wire panniers upon at the first opportunity. In 1992, literally a thousand miles from home, I cashed out a fistful of savings bonds as a newly independent 18 y.o. In between 19 for most of America is where Classic Rock, as defined by everything awesome about the late '60s and early '70s, got really reals for real, and everyone listened to it, because hair-metal and Debbi Gibson were both terrible. 1987 being the year when the '90s began, and 1984 being the year the '80s ended. He promised nothing less than "maximum funkosity" on that last Bowie song, which may have out-grooved the original, before bringing it in for a landing with the biggest, most enduring hits at Chic's disposal.For Gen-X'ers, there is a gap, between 19. Two of Diana Ross' greatest hits, "I'm Coming Out" and "Upside Down," gave way to Sister Sledge's "He's the Greatest Dancer" and "We Are Family," Madonna's "Like a Virgin" and "Material Girl," David Bowie's "Modern Love," Daft Punk's "Get Lucky" (complete with vocoder) and one more Bowie song, "Let's Dance." It was an awe-inspiring overview of Rodgers’ life in music, starting with highlights from his days in Chic before shifting to a cavalcade of songs he's written and produced for other acts. Sporting a jacket that glittered like a disco ball, Rodgers made it clear that he was there to get the party started for the headliners he lovingly referred to as "my boys," "our brothers" and "my other band." Nile Rodgers & Chic were truly special guests, blurring the lines between disco and funk while bringing out the best in both, which should have come as no surprise to anyone who saw them with Duran Duran back in 2016. The rhythm section sounded just as accomplished on the pulsating reckless abandon with which they tore through "Careless Memories" as they did on all those highlights that relied more on their understanding - and total command - of the groove. They brought a twitchy post-punk urgency to "Friends of Mine" as scenes from vintage horror films played out behind them, yet they somehow found a way to crank it up a notch for "Careless Memories." It was practically punk - but, you know, within reason. Le Bon was in amazing voice throughout, from those high notes on "The Wild Boys," "Anniversary" and "Ordinary World" to the personality he brought to sputtering the truly animated vocals on two highlights of their first self-titled album, "Friends of Mine" and "Careless Memories." Rhodes has gently aged into the quintessential New Romantic elder statesman in his day-glo yellow suit while dusting off so many of the keyboard parts that did so much to shape not only their sound but the sound of the '80s in general.
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