Critics Roundup 1983
Dermot Stokes' 1983
Dermot Stokes
The sociologists and historians of pop will probably have their terminologies, analogies, exactitudes and definitive ready for 1983, to define and confine the year’s wax, and all to say it was a very good year on many and varied fronts, but that there was no over-riding dominant theme to the whole sprawl of events.
Personally I think that’s all to the good – glancing over the page I jotted my first list down on, the music covers the complete spectrum of taste. 1983 saw the triumph of tradition, as even electronics were harnessed, to the mighty soulfulness of Annie’s Lennox’s voice. Tradition lived in that round-the-house album from Richard Thompson, and that great, most-prolific and traditional songwriter Elvis Costello.
1983 also saw a continuing affirmation of the class and qualities of those who have set the standards for so long – Van Morrison’s most majestic to date, and powerful reemergences from the Police, Randy Newman, Tom Waits, Bob Dylan and David Bowie.
At home we had Clannad, building on the success of ‘Harry’s Game’, Maura O’Connell launching an immensely successful solo career, and Paul Brady consolidating his position with ‘True For You’.
The Irish dimension has come to colour my views, what with Van and U2 from two poles of the same musical and soulful planet making such massive, monumental music – And yet at the other side of the coin there’s the great sadness at the less of the Undertones, whose ‘Sin Of Pride’ must stand as a final utterly fitting last testament from our greatest might-have-beens. But then … we can always claim our percentage of Culture Club, can’t we? And Big Country’s rattling rocking celtic rhythms too!
Throw in Dr. John, Robert Wyatt, Emmylou and Carlene, Mickey Jupp, Chic, Michael Jackson, and Will Powers and you have an idea of what I mean by diversity. And in that context the lack of a dominant theme seems like nothing but a good thing – a fruit of riches rather than poverty. May 1984 continue the line.
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