1983 4Ever: Let's Not Dance and Say We Did

As with The Police’s Synchronicity and Michael Jackson’s Thriller, it’s impossible to talk about 1983 without talking about David Bowie’s multi-platinum LP, Let’s Dance.

At once both Bowie’s biggest-seller and his least-inspired album (at least until 1999’s somnolent Hours), Let’s Dance also marked both a commercial peak and the start of a very long and excruciating creative drought for the rock legend. 

1983 4EVER: You Will Know Synchronicity

 

Whether you loved it or hated it, there’s no talking about 1983 without talking about the Police’s mega-smash Synchronicity, released 38 years ago last Thursday. The album even knocked Michael Jackson’s mighty Thriller off the top of the Billboard charts, a position it reached no less than 17 times. 

Did I mention it was released on the 17th? Do I need to?

1983 4Ever: Dreams Stay with You

My obsession with Scottish post-punk probably began the first time I heard John McGeoch's guitar, but certainly reached an apogee with Big Country. 

I first heard them in September of 1983 during the height of the New British Invasion/synth pop craze and almost immediately ran out to buy their debut The Crossing at the old Quincy Records off the main drag in Quincy Square. I remember actually being afraid that if I didn't get the album right away they might disappear back into the ether somehow. It was that kind of year.

1983 4Ever: Aztec Camera meets Rider-Waite

 

I've talked before about how 1983 was one of those threshold eras, when interesting new ideas and roiling subcultures were being fired by strange forces emanating from the ether. You kind of had to be there to get my full meaning, but suffice it to say the first (meaning "real") Stranger Things does a magnificent job of capturing the flavor. 

You know; before the Duffers got "the talk."