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1984 Pazz & Jop: The Rise of the Corporate Single

1984 Pazz & Jop: The Rise of the Corporate Single

The 11th or 12th Pazz & Jop Critics’ Ballot is fraught with many significances. You bought capitalism rampant and various capitalism and perhaps even various politics, you bought 1984 come true and the mild at the finish of the tunnel. You bought three prime 10 bands from Minneapolis and attempt to make a “sound” out of that Mr. Bizzer; you bought three prime 20 albums on Black Flag’s label and attempt to beat that Walter Yetnikoff. You bought a Panamanian law-student-turned-sonero-turned-law-student and an Obie-winning musical and a British invasion that went thataway. You bought three “black” albums in the prime 10 and 6 “girls” who simply need to have every little thing. You bought a shitload of rock and rollers previous 35 and greater than a pair pushing 50. However for the second let’s reappropriate that line from singles-charting Deniece Williams. For the second, let’s hear it for the boys.

The boys in query aren’t younger turks like Minneapolis’s Replacements (now at Warners in spite of themselves) or NYC’s Run-D.M.C. (now operating for “kings of rock”) or Britain’s Smiths (reduce ’em off at JFK). In reality, they’re boys solely in the most summary sense. As he turned 35, Bruce Springsteen put out extra exuberantly than he had for nearly a decade at the very least partially as a result of he not goals about being an adolescent endlessly; at 26, Prince is an previous professional with six LPs behind him. And between them they dominated American widespread music in 1984 — not as monolithically as Michael J. in 1983, of course, however jeez. They dominated commercially. And in the opinion of the citizens — to no one’s shock, since they’re previous Pazz & Jop faves and had already topped a number of smaller polls — they dominated artistically as properly.

The critics’ runner-up album, Purple Rain, has bought some 10 million copies and spun off 4 major-to-huge singles b/w non-LP B sides, one of which, “When Doves Cry,” gained our ballot in a stroll, with its follow-up, “Let’s Go Crazy”/”Erotic Metropolis,” ending sixth. The winner, Born in the U.S.A., is now quintuple platinum behind Springsteen’s last-chance energy drive on what was as soon as AM radio. His three prime 10 singles (bringing his profession complete to 4) sported not simply non-LP B sides however disco remixes by Arthur Baker; Baker deserves as a lot credit score as the ur-rockabilly neoclassic “Pink Cadillac” (a B that received 17 votes by itself) for propelling “Dancing in the Dark” to quantity two on the singles listing, although “Born in the U.S.A.” made 15 by itself stark authority. Fairly good, huh? By no means earlier than have two artists completed one-two albums and one-two singles on our personal charts, not to mention Billboard’s too. And once I in contrast earlier polls I actually obtained impressed with these boys. For with one exception, Born in the U.S.A. and Purple Rain are the largest point-getters, proportionally, since Pazz & Jop went over 50 voters again in 1976 — not counting This Yr’s Mannequin in 1978, they’re the solely albums ever named on greater than half the ballots (56.7 per cent apiece) and the solely albums ever to earn greater than seven factors per respondent (7.three and; This Yr’s Mannequin averaged eight.1, with London Calling’s 6.7, Imperial Bed room’s 6.6, and Thriller’s 6.three trailing).

Me, I used to be rooting for Bruce, who lastly overcame my abiding mistrust of his abiding romanticism. By enlarging his sense of humor and including a vibrant ahead edge to his music, he acquired robust, as the Del-Lords may say, which suggests refusing despair in addition to nostalgia and born-to-lose mythopoeia. Despair was my drawback with Springsteen’s baldly anti-pop Nebraska, and it’s additionally my drawback with Prince’s quirky, harmful, unabashedly pop Purple Rain. For Prince, Purple Rain is ingratiatingly unsolipsistic — however that’s just for Prince, aptly described by Howard Hampton as a “meta-Byronic auteur” who’s “callow, insular, and arrogant in all the time-dishonored rockstar traditions.” What’s somebody who doesn’t belief Bruce’s romanticism to make of romanticism that doesn’t even promise to abide — that dances by obvious choice on the lip of apocalypse? As if in illustration, Minneapolis’s satisfaction accepted one of his made-for-TV American Music Awards whereas Various Poobah RJ Smith and I tallied the “When Doves Cry” mandate: “Life is death…,” he introduced, and waited the full three beats of a born bondage-master earlier than including, “…without adventure.” Whew — one other shut name, climaxing, sometimes sufficient, with a message marginally salutary and never precisely true. And but there’s no denying his achievement. Unabashedly pop although he could also be, he’s no Michael J. (or Lionel Richie, or Tina Turner). Slightly, he’s the first black to applicable “rockstar traditions” and put them over since Jimi Hendrix, and you may guess your boody he gained’t be the final. So, particularly given the rhythmic bent of the citizens — who however Arthur Baker would have figured dance stalwarts Vince Aletti and Michael Freedberg for Springsteen voters? — I predicted a useful Prince victory. And as an alternative received Bruce by a head, a margin reflecting the extra accountable artist’s marginally extra nutsy important help.

This shut end means that Springsteen’s victory isn’t any extra a vindication of what he personally stands for (compassion as agape, perhaps agape as conscience) than Prince’s would have been (eros flirting with compassion). It’s extra instructive to see each as the stars of this yr’s huge story: an art-commerce overlay unparalleled since the ballot started. The onset of hegemony makes critics much more nervous than marginality-their-old-friend all the time has, and their ambivalence is drastically obvious in the outcomes. On the one hand, we’re not simply speaking gold albums; about 10 or so choices will ultimately obtain that distinction, which is par at greatest. We’re speaking one multiplatinum blockbuster after one other, a formidable chunk of the biz’s 1984 income, well-made albums by such artists as Tina Turner (album at 5, singles at three and 24), Cyndi Lauper (album at 11, two singles at 10, video at 2), Van Halen (album at 25, single at 5, movies at three and 6), ZZ Prime (album at 32, video at 7), and even Huey Lewis and the Information (whose Sports activities completed a creditable 49th, between Lindsey Buckingham and John Lennon/Yoko Ono; 41 by way of 47, by the method, went The Black Uhuru, Eurythmics, XTC, Van Dyke Parks, That’s the Method I Really feel Now). And on the different hand, we’re speaking unkempt indies rising: Los Lobos, Replacements, Hüsker Dü, and Run-D.M.C. in the prime 10 with Minutemen and Meat Puppets proper behind (earlier prime 20 excessive was 4, together with Island/Mango’s Sunny Ade as an equal of Warner/Slash’s Los Lobos, in the huge indie yr of 1982). And amid a report 14 Corporate-Hits-for-Radio and a complement of airplay pleasures and rattling few straight dance data come two all however unprogrammable Amerindie smashes, each spawned if not made in Minneapolis: the Replacements’ “I Will Dare” tied for 17th and Hüsker Dü’s outrageous “Eight Miles High” a tremendous fourth.

There’s no factionalism to talk of right here, no rad-lib or boho-bourgie cut up. Overlook Los Lobos and the Replacements with their Warners connection and Run-D.M.C. with their (that’s proper) gold album and persist with Pazz & Jop’s rawest indies, the three SST finishers: of the 23 voters who listed two of them, 15 supported Bruce or Prince (or each) as properly, simply as a random pattern may need. The widespread thread? Ho-hum Tim Sommer (who says he likes each albums) might have tripped over an precise concept when he labeled Zen Arcade and Double Nickels on the Dime “coffee table hardcore,” however not as a result of they flaunt their chops and positively not as a result of they’re slick or well-made. It’s as a result of their double-LP measurement proclaims their ambitions in recognizable phrases whereas obscuring their limitations — that are certainly not crippling however which so much of critics pay attention proper via. Which is comprehensible. You go searching at America and conclude that it wants yowling nay-sayers much more than it did in the yowling nay-sayers’ heyday, again round ’77 or ’80 or ’82 or each time. You’re conscious that these are articulate yowling nay-sayers, with huge concepts. And in case you’re like a 3rd of the voting critics, they’re the place you make your stand.

I don’t need to be reductive — tastes differ. Me, I wish to have my uncooked and prepare dinner it too. I really like the Dolls and the Conflict (and the early Beatles) as a result of they yowl tunefully, which can also be why I favor Let It Be to Zen Arcade and Double Nickels (and Hüsker Dü’s Metallic Circus to the Replacements’ Hootenanny). On strictly aesthetic grounds, others might properly discover this disposition a contact genteel; they could merely get extra of a cost out of Hüsker Dü’s dense rush or the Minutemen’s jerky beats. However even the strictest aesthetic grounds are often knowledgeable by or productive of basic beliefs, and it’s these beliefs I’m making an attempt to pin down. I’m a fan of the SST albums myself — “Turn on the News,” the enraged never-a-single that leads off aspect 4 of Zen Arcade, will get my nomination for track of the yr. On strictly aesthetic grounds, I ranked the maybe pop however undoubtedly fucked-up Let It Be, a extra exact and impassioned piece of half-a-boy-and-half-a-manhood than Bruce ever pulled off, only a shade under Born in the U.S.A. And I’m additionally excessive on Los Lobos, whose highly effective third-place displaying was the ballot’s most gratifying shock (and a fair greater one than the smooth end of third-handicapped Cyndi Lauper). Let me emphasize too that the crucial resurgence of the indie album displays critical drawbacks in the means common music is now produced. However for all that, I assumed 1984’s actual motion — its pleasure, consider it or not — was in company rock.

I reached this conclusion listening to the radio — particularly, CHR, which is bizese for Modern Hit Radio. In January, April, and August three blatant white-male CHR commodities zapped proper by way of my defenses and diddled my synapses instantly, as the biz intends. Such a development can’t present up clearly on the Pazz & Jop charts as a result of it’s not about peaks of prime 25 magnitude; it requires an array of primarily arbitrary stimuli kicking off the desired shopper responses in a a lot vaster array of particular person record-buyers. For me the style treats have been John Waite’s “Missing You” (the most unequivocal such commodity to chart, although the loathsome “Like a Virgin” got here rattling shut) and the Romantics’ “Talking in Your Sleep” and particularly the Thompson Twins’ “Hold Me Now,” whereas for Greil Marcus they have been .38 Particular’s “If I’d Been the One” and Barry Gibb’s “Boys Do Fall in Love” and the Automobiles’ “You Might Think,” and for James Hunter (lengthy a proud addict of this specific media-fuck) Foreigner’s “I Wanna Know What Love Is” and Elton John’s “Sad Songs Say So Much” and Steve Perry’s “Oh Sherrie.” As soon as once more I don’t imply to be reductive; it’s not as if the manipulation I’m describing doesn’t work together with which means, in critics and regular individuals each. In truth, such meaning-mongers as Bruce and Prince and Tina and Cyndi (and Van Halen and ZZ Prime and Huey Lewis?) interact in musical practices very similar to these of “Missing You” and its soul siblings. It’s simply that at their greatest they put the similar surefire parts — which lately boil right down to multiplex hookcraft, resonant manufacturing, and a way of caged power and/or weathered emotion — to richer epistemological makes use of.

Manipulative pop is all the time round, however in 1984 it was extra plentiful and extra significant — higher — than at any time since the early ’70s, or perhaps even the halcyon mid-’60s, whose pre-prog radio most critics began pining for again when punk reminded them about quick three-minute songs. As a result of the accrued craft of Era ’77 and its pop-rock allies lastly had someplace to go, you possibly can hear a profitable skilled elation in artists as numerous and finally insignificant as Billy Ocean and Bananarama and the Pointer Sisters and Duran Duran and Speak Speak and John Cougar Mellencamp. Say what you’ll about CHR, you need to admit it performs pop hits even diehard rock and rollers can love. So we received what we needed, kind of: stations that each registered on the Arbitron scale and didn’t make us barf. And now, since we’re rock and rollers, we’re questioning whether or not we misplaced what we had. For some critics, of course, this isn’t a query; the guys and gals who use rock and roll firstly to one-up all their silly co-humans are on no account assuaged by the blandishments of CHR. However even hidebound populists who love CHR keep in mind one massive benefit of their current marginality: music whose formal-expressive potential isn’t restricted or leveled by advertising issues, together with the completely honorable want to speak. All the Born in the U.S.A. in the world isn’t going to make us surrender United States Stay or “World Destruction,” so long as they’re nonetheless on the market. Which we need to ensure they’re. Maintain your fingers crossed.

It will be unfair to model the CHR-oriented multiplatinum blockbuster a conservative pressure — not even Bruce and Prince, and positively not Tina and Cyndi, have been established singles artists earlier than this yr. However the new dispensation positive does have its draw back. To date, a minimum of, although programmers might get extra cautions about burnout potential, it’s created a singles logjam, as a result of as soon as an album yields a pair of smashes radio calls for extra of the similar, pushing the present star instead of some lesser-known company knight-errant with an equally obscene unbiased promotion finances. And whereas it might be an accident of timing — I do keep in mind the Beatles, actually — I observe with dismay that blockbuster artists are typically marketed as people. Whereas Purple Rain makes one of its Largest Statements by (gasp!) billing Prince’s band, I dare you to inform me who’s in it, and when you’re scratching your head swear you don’t image David Lee Roth once you attempt to keep in mind what Eddie Van Halen appears like; if it isn’t fairly sufficient to make you ship letter bombs to MTV and Individuals, you continue to have to wonder if Susanna Hoffs (she’s a Bangle) or Paul Westerberg (the irreplaceable Alternative) will show appropriate for framing. Lastly, CHR induces artists and particularly producers to overlook the album as an entire and focus on three or 4 (we hope) singles. That’s why I first figured Personal Dancer for a B plus and stored She’s So Uncommon out of my prime 10 — fantastic although the greatest elements of each data could also be, their filler sounds extra like filler than want be.

Which leaves the indies exactly who-knows-where. 5 years in the past their chief use was singles and EPs, however now they could have inherited the album (and group?) aesthetic the approach the Labour Get together inherited the British railways after World Warfare II. Since they’re largely populated by artists who’re in it for love, all that retains them from arising with good albums-as-albums is finances (the dire strait of Zen Arcade) and expertise (their most songful bands do present a style for upward mobility). Ignoring imports and disqualifying Warners-supported Los Lobos, the seven indie albums the voters chosen are means up from 1983’s three and 1981’s two however not as spectacular as 1982’s 9, so we will see; on my private record, a lot shorter than it’s been for the previous few years, the 24 indies represent an all-time excessive. In any case, I consider the indies will proceed to get by economically on scuffling distribution, u-drive-it excursions, various disc jockeys, and allow us to not overlook press help (guess there are extra Pazz & Joppers on SST’s listing than on CBS’s). Plus, definitely, the occasional bonanza of a major-label buyout or coop deal.

For the most half, although, majors and indies appear destined to perform virtually as parallel industries. The blockbuster system has proven a welcome urge for food for salable oddities, but in addition a deplorable readiness to spit out the unsalable ones actual quick. A current casualty is 30th-ranked King Sunny Ade, who after failing to interrupt past a U.S. viewers of 50,000 or so (good bucks for an indie, pink ink for a serious) has cut up with Island; assuming he has nothing multinational up his capacious sleeve, he’ll little question be inspired to place out his Nigerian data on Shanachie or Rounder or some such, however who is aware of when he’ll make investments money and time in a strong Afro-American fusion like Aura once more. Nor are oddities who sing in English exempt. In a worst-case state of affairs, the likes of R.E.M. and X might shortly be pressured to disclose simply how a lot love they’re in it for as the once-fashionable Ms. Lauper burns out in the common course of the floundering Tradition Membership, the underemployed Males at Work, and even the disbanded Stray Cats. That would go away the indies free to earn ever extra respectable returns from off the unblockbusting markets they serve, although the artists’ crimped goals and audiences’ crimped calls for would ultimately leach pleasure (and after that income) from their music. In a best-case state of affairs, the Replacements or Los Lobos or X or R.E.M. or the Bangles (and even — ick — Let’s Lively or the Del Fuegos) might flip into the subsequent megaplatinum oddity. Whereupon indies would begin farming out potential bonanzas — I can see it now, Hüsker Dü in the studio with Liam Sternberg for Geffen — and tending new ones, who may or won’t develop each sturdy and odd. Definitely the EP listing, which ended up showcasing a San Francisco comedienne, a Nashville mother-and-daughter act, and a callow Captain Beefheart (two of whom I voted for myself), bodes poorly. In previous years Los Lobos, R.E.M., the Bangles, the Minutemen, the Meat Puppets, Let’s Lively, and the Lyres have all made their Pazz & Jop debuts on EP, with the Replacements and Hüsker Dü barely lacking. This yr solely Jason evinces main potential, although Tommy Keene may flip right into a much less gooey Let’s Lively and the Butthole Surfers might conceivably bubble up from under.

New blood may additionally come from overseas, of course. However as a matter of native loyalty and revealed fact Pazz & Joppers have favored American artists all through the ’80s, and I don’t see that altering in the brief time period. Anglophilia did make a comeback with the voters in the wake of the extensively rumored British Invasion of 1983. But although each profitable act apart from the Police and Malcolm McLaren (whose 23rd-ranked single didn’t spin off an album till mid-December) was again on the racks in 1984, solely U2 (who aren’t English and fell from sixth to 29th) repeated, joined by romantic tyros the Smiths and artists of color Particular AKA and Linton Kwesi Johnson. (If the Pretenders are British, Tina Turner’s white.) Of the others, the Eurythmics (tied for 43rd), Elvis Costello (70th! — lowest earlier end 11), and Huge Nation (additionally not English and down from 15 to 92) made prime 100. Richard Thompson and Tradition Membership have been decrease, Aztec Digital camera was a lot decrease, and David Bowie justified my steadfast religion in rock criticism by garnering not a single point out. Different Brit bands have been heard from, of course — be careful for Bronski Beat, the Waterboys, maybe Sade, maybe the The — and some younger People additionally received their comeuppance (Violent Femmes 85th heh heh, Dream Syndicate 94th). However on the (American) commerce charts and the (American) essential charts each, this was an American yr.

I’ll attempt to not prattle on an excessive amount of about how rock and roll nationalism connects up with the easy-going monster who sits atop the American hegemony to finish all American hegemonies. However I’ll surmise that the affection of the American record-buyer for Bruce and Prince (and Madonna and Motley Crue) has one thing in widespread with the affection of the American voter for Ronald Reagan, that the widespread aspect is probably not all dangerous, and that as all the time those that crave progressive change may properly pay nearer consideration. If People are to vary, they’ll achieve this as People, not common people, and their music is an encouraging index of what People may turn into if not how they could turn into it. Learn what you’ll into the burlesque escapism of “Ghostbusters” or the pathological deceit of “Like a Virgin” (or the pulp-fascist sadism of Shout at the Satan), I belief that the majority Voice readers, if not most New Republic readers, nonetheless choose rock and roll’s hegemony to the president’s. And if you wish to consider that critics sense tendencies first, as they typically do, then perhaps rock and roll portends one thing higher than world destruction.

A couple of pollyannas might discern smashed sexism in the record-breaking six prime 20 albums by ladies. However particularly since there are solely two or three extra in the subsequent 30, I’ll simply applaud the return to “normal” 1979-1982 ranges, hope Personal Dancer proves much less flukish than 1979’s 10th-ranked Dangerous Women, pray Cyndi and the Bangles don’t go the means of the underrated 53rd-place Go-Go’s, and provides thanks that neither Madonna album snuck into the prime 100. I’m extra inspired by the 10 black albums in the prime 40 (three on the endurance of 1983 product by one Clinton and two Womacks) in a nasty yr for funk and conventional black pop. No matter it portends, there’s a renewed integrationist temper in the music market, and with main misgivings about who does and doesn’t share the wealth I’ve to name it wholesome. Even Ron Wynn, whose late poll included his annual anti-crossover sermon, has half-succumbed: surrounding 97th-ranked Solomon Burke amongst his 15-point albums have been Personal Dancer, which makes use of white musicians virtually solely, Purple Rain, which flaunts a flamboyantly built-in band, and Run-D.M.C., by a gaggle with each intention and a few probability of cracking the heavy metallic market (and don’t be certain you’ll prefer it — or hate it — when it occurs). We additionally had our first salsa finisher, Ruben Blades, who’s reportedly getting ready an all-synth followup. Given the broad (and even) age unfold, generational consciousness appeared directly extra acute and fewer hostile — not many youngsters blaming their ache on their elders or elders condescending again (although Chrissie Hynde’s nasty “I’ve got a kid I’m 33” was one of the yr’s nice moments). Which can be as a result of rock and rollers are determining who their enemies are — our easygoing monster undoubtedly has them considering. The standard cultural subversion and pleas for peace have been augmented this yr by tons of music that’s explicitly political relatively than simply objectively progressive or socially acutely aware: from the relative subtlety of Laurie Anderson and Clinton and Springsteen and Hüsker Dü and the Del-Lords and the born-again Ramones, all of whom make the agitpop of the motion ’60s appear fairly tame, to the militance of the Minutemen and the Particular AKA and Ruben Blades and Linton Kwesi Johnson, probably the biggest artist in the historical past of Trotskyism.

On the entire, then, I discover myself cheered by Pazz & Jop ’84, and stunned. Though congenitally unpessimistic besides when rattled, I’ve spent the previous six months grousing about the worst yr for albums since 1975, and now I understand I used to be flawed. With my Dean’s Listing at 50 and climbing — which appeared unimaginable whilst RJ and I tallied in late January — I’ve appeared again and found that not till 1978 did I get above 49 with out best-ofs; in 1980, I didn’t get above 49 with them. Counting solely compilations drawn from current historical past, I can add 5 assured A’s to my record (John Anderson, George Jones, Marley, Parliament, Scott-Heron), with half a dozen extra wanting good. In fact, my 1982 and 1983 lists did go as much as 70 with out best-ofs, and the slippage nonetheless makes me nervous — in the absence of cultural upheaval there was some satisfaction in settling for broad-based power and talent. However as I may need figured in the yr of the major-label single — a yr when the quaint notion of the album as “artistic unit” misplaced its final vestiges of bizwise usefulness — most of the decline was in major-label albums, down from 42 to 26. So what else is new? I’ll take something I can get from the huge firms, however I think about it right to anticipate as little as potential, and my dismay at the dip in first-rate LPs was greater than offset by an sudden bonus of consensus: though as all the time I odor some ringers on this yr’s ballot, from the Smiths and Let’s Lively to the everlasting Rickie Lee Jones, each album in the voters’ prime 20 was no less than an A minus by me. They’ve — we’ve — arrived at a stability of shared pleasure and knowledgeable rage that I feel matches the actual limits and prospects of the music all of us love.

To prophets and fools this can appear not simply small consolation however closet (if that) liberalism, a self-informed fellowship of rowdy dissent that may by no means mitigate the current and future political/cultural catastrophe. And so far as I’m involved they need to yowl all they need about cooptation and Struggle is Peace and counter-hegemony feeding on hegemony and true oppression caught in the gears, as a result of they’re positive to be telling some of it true. Congenital nonpessimist that I’m, although, I simply don’t consider they see the entire image. I’m very conscious that there are all types of methods for me to be fallacious, however I don’t consider the world as we all know it’s coming to an finish. And in my very own little sphere I’m delighted to see coworkers closing ranks in response to the unequivocal social disaster that a method or one other underlies numerous ambiguous musical developments. I’ve even much less concept what the future holds than I often do. However I’m fairly positive that insofar as music may also help us by means of — and perhaps what distinguishes me from prophets and fools is that I not assume that’s very far — we nonetheless have the stuff.

Prime 10 Albums of 1984

1. Bruce Springsteen: Born in the U.S.A. (Columbia)

2. Prince and the Revolution: Purple Rain (Warner Bros.)

three. Los Lobos: How Will the Wolf Survive? (Slash)

four. The Replacements: Let It Be (Twin/Tone)

5. Tina Turner: Personal Dancer (Capitol)

6. R.E.M.: Reckoning (I.R.S.)

7. The Pretenders: Studying To Crawl (Sire)

eight. Hüsker Dü: Zen Arcade (SST)

9. Lou Reed: New Sensations (RCA Victor)

10. Run-D.M.C.: Run-D.M.C. (Profile)

Prime 10 Singles of 1984

1. Prince: “When Doves Cry”/”17 Days” (Warner Bros.)

2. Bruce Springsteen: “Dancing in the Dark”/”Pink Cadillac” (Columbia)

three. Tina Turner: “What’s Love Got To Do With It” (Capitol)

four. Hüsker Dü: “Eight Miles High” (SST)

5. Van Halen: “Jump” (Warner Bros.)

6. Prince: “Let’s Go Crazy”/”Erotic Metropolis” (Warner Bros.)

7. (Tie) Afrika Bambaataa & The Godfather of Soul James Brown: “Unity” (Tommy Boy)
Run-D.M.C.: “Rock Box” (Profile)

9. Chaka Khan: “I Feel for You” (Warner Bros.)

10. (Tie) Cyndi Lauper: “Girls Just Want To Have Fun” (Portrait)
Cyndi Lauper: “Time After Time” (Portrait)

— From the February 19, 1985, situation


Pazz & Jop essays and outcomes can be discovered on Robert Christgau’s website. His most up-to-date guide, Is It Nonetheless Good to Ya? Fifty Years of Rock Criticism, 1967–2017, was revealed final yr.

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