A Plug For This Leaking Boat: “Don’t Dream It’s Over” by Crowded House

The sense of a parallel and slightly hazier world prevails throughout the more intelligent Antipodean rock of 1986; think of the Go-Betweens’ “Twin Layers Of Lightning” or the Triffids’ “Tarrilup Bridge,” each bearing a heat so hazy it could make pizzeria store fronts seem like tablets from heaven. The haze of “Don’t Dream It’s Over” may have a lot to do with Mitchell Froom’s keyboards, but there is a subtle commitment in Neil Finn’s writing and performance which doesn’t have to underline the fact that this is an anti-capitalist protest song. It doesn’t make a fuss but quietly stands in the corner, incrementally making a difference.

Date Record Made Number Two: 25 April 1987

Number Of Weeks At Number Two: 1

Record At Number One: “I Knew You Were Waiting (For Me)” by Aretha Franklin and George Michael

UK Chart Position: 25

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Threads Of Alligator Lizards In The Air: “Purple Rain” by Prince and The Revolution

The original idea was for a country-style collaboration with Stevie Nicks, to whom Prince sent a ten-minute instrumental backing track, asking her to come up with some lyrics. However, Nicks was overwhelmed by what she heard and feared that the task was too much for her to take on, so the song was reworked in rehearsal with The Revolution, utilising Wendy Melvoin’s guitar phrasing as a new guideline. The song appears to have existed before the film; Purple Rain the movie is best described as lucid hokum, but its soundtrack changed the atoms which constituted “pop,” far more so than much ostensibly radical music of the period. For many of that decade’s generation, Purple Rain the soundtrack was “our” Ziggy Stardust – better conceived, performed and produced in every way – and the title song, which closes the album, was “our” “Rock ‘N’ Roll Suicide.” It is such a patient epic, the song, and about a lot of things, and people – each of the verses addresses a different su...

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"watching for night, with absinthe eye cocked on the lone, late, passer-by." (Sylvia Plath, "Prospect," 1956) This story begins in 1954, before most people had really recognised anything called rock, and a pop record which is half-perfect. That record, which stayed at number one in our charts for ten weeks, was “Cara Mia” by David Whitfield with Mantovani and his Orchestra and Chorus. Now, Whitfield was never the most subtle of singers and his in-your-face bellowing is somewhat distracting – it is significant that he was the first British reality media star (not from television, because at that time Opportunity Knocks was only broadcast on Radio Luxembourg) since his climactic high C at the end of “Cara Mia” is like a display of gymnastics, or an athletic field event; can he do that triple loop or throw that javelin beyond the stadium? It proves that technical prowess can often render itself unlistenable. But the magic here lies in the extraordinary ...

A Pre-Emptive, Though Hopefully Temporary, Bowing Out: “Don’t Let The Sun Go Down On Me” by Elton John

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