If Princess is going to have more videos, I am going to have to share them! This is another pretty subtle track, but it does have a number of influences. I get a distinct Billy Ocean vibe from some of the vocal hooks in this track. Which is, by all means, a fantastic thing. But I also get shades of Burning in the Third Degree, the song that was playing in the Tech Noir club in the first Terminator film.
A very cool combination that goes down smooth. FM bass and keys within.
This is a pretty subtle and unassuming track, with subtle melodic
hooks and subtle use of FM bass. This chorus is really mellow, but it
keeps getting stuck in my head.
I never listened to the radio as a kid (or an adult), so a lot of the recognizable hits for me come from their use in TV and movies. This song, I first heard in the episode of the Simpsons where Homer and Lisa are in the car and Homer is listening to a right wing radio station and Lisa can't stand it. Homer says something along the lines of, "When you're driving, we'll listen to your radio station."
Cut to Lisa driving the car and homer looking concerned. But not because Lisa can't even see over the wheel. Because on her radio station, this song is playing. To which he blurts out, "I can't take this anymore, let's switch back!" Pure gold, Simpsons!
In any case, that led me to check the song out many years ago, and I have always really liked it, even if it drove Homer crazy. One of the reasons which, is because that bass line is pure FM! A fairly early example of an FM bass line, too, being from 1984. And let's hear it for those breathy, darn near screaming vocals.
I can't help but listen to this song and smile, party thanks to Simpsons, partly due to the bass and vocals.
It's getting hard to find FM tracks off the top of my head, so I am finding myself randomly searching for stuff. Having FM is one criteria, but it also has to be a great track worth sharing. I was fortunate to just stumble on to this track minutes ago.
You can just tell when you hear it. that certain quality that tells you a track is going ot be melodic, energetic, and yes, full of FM.
In this case, this track has a pretty meaty FM bass line, and the player is not afraid to rock the modwheel for a little groovy vibrato. Man, I am a sucker for funky bassline vibrato.
This is a standard track that goes down smooth without a fuss. Worthy of sharing.
Ultra Obscure Norwegian FM Bass from 1985. I have no idea why this album didn't become more well known. Aina has the look and the sound that would absolutely have been a smash hit in the West. And maybe it was, but I was too young to remember...
Tons of energy, great vocals, and just enough FM bass to satisfy my dark desire. For Pete's sake, someone check this track out so I am not the only one rocking this at full volume in my car.
Edit: Pssssht, the owners took down the original version from YouTube. Fortunately, there is a lipsync live version of it up as well, which they have no claim to. This is not ideal quality, but it's easy on the eyes, and sounds almost like the original.
I'll never forgive myself for not knowing the name of the musician who wrote maniac. As in, "She's a Maniac". When I actually took the time to listen to that particular song on it's own a year ago, not being used in a commercial or a TV show, I realized how damn good it was, and how synthy and energetic it was. And how good the vocals were, and that there was a ripping guitar solo.
I made it my mission to remember Michael Sembello's name, and to check out the rest of his library. I was pleasantly surprised with his follow up album to the one that had Maniac on it. Seeing as how it landed smack dab on the single year where FM became and phenomenon (1986), there is no surprise that it is loaded with a pretty gnarly FM bassline throughout.
It's also full of some fantastic and unique vocals. Dude can belt out some notes! And just like Maniac, they found the time to add a crushing a guitar solo as well.
Remember his name. Michael Sembello: A fantastic musician that helped make the 80s better than it would have been otherwise.
This is the song that players during the scene where Goldie Hawk proves herself to her team by outrunning every single one of them in a last man standing marathon. This is just one of those scenes in an 80s movie that sticks with you when you are a kid.
Much like Break the Ice (from Rad), and even You're The Best (from The Karate Kid), this scene is punctuated with a track that was made custom for the movie. It appears that the composer for the film's Score, James Newton Howard was teamed up with a couple of song writers, and armed with the vocal talent of Mavis Staples. Interestingly, Mavis doesn't appear to have been on the radar, or working on any albums that I can see around the time. I wonder how she became involved in this track at all. Regardless, she killed it.
This is another track that might be seen as a little light on FM, but that's kind of the idea, sometimes. So much FM found it's way in to the background of really iconic music. In this case, I am fairly certain this is a Synclavier path being layered in the background of an analog synth bass. Was it the metallic punch it provided that everyone just couldn't get enough of, that they would have to layer it in the background of other instruments?
In any case, this is a cool example of when song writers, film composers, and performers come together to make some magic happen.
Not an overly FM kind of song, but it has a very juicy FM clavinet sound that really thickens up the low end of the chorus and intro sections. I suppose it is also full of some tasty FM keys as well, so the quota of FM sounds is fulfilled.
I just wanted to share this track because the album in general is fantastic Greg Phillinganes doesn't get enough recognition. he only had two solo albums of his own, but was guest on a shocking amount of albums in the 80s especially. That, and look at this album cover... This dude is serious about his synth!
It's not full of FM, but check out the other track off this album called "Behind the Mask". It's an energetic synthy banger for sure.
I am pretty sure we have Vince DiCola to once again thank for the performance of this particular FM Bass. I think I read somewhere that he did the guest synths for the soundtrack, in addition to the tracks he was credited for. The lead sounds like it fell right off the soundtrack for Transformers which is a dead giveaway.
But, man... Once again, that huge and crunchy DiCola FM Bass sounds like sweet sweet honey in my ears. It goes so well with this AOR style montage track, and these vocals by John Cafferty take it all the way home. This is another one of those tracks that can be incredibly silly while at the same time be deadly earnest. I feel like we don't get that enough anymore.
This is what it sounds like when your heart is on fire!
Wow, here is a real treat! This is a track I only found out about a couple months ago, but it became an instant hit in my car. In searching for new tracks to post for the Summer of FM, I accidentally stumbled back on to this track and realized, not only does it have a layered FM Bass + real bass sound, but it also has a fantastic music video to boot!
Evelyn "Champagne" King actually has a lot of killer tracks like this one, and I would recommend checking out her entire discography. A very underrated musician! Enjoy this gem! It's clearly out of control!
This track comes during the final sequence\montage from the animated movie Wings of Honneamise. It's an anime that I can't seem to get people to watch, which crushes me, because it is one of the best of all time. The conclusion to the movie hits me like a cinder block to the chest every time. It's about the first nation on a fictional world to achieve space flight, and the emotions and politics that come with it. This astronaut's version of the "One small step" speech is incredibly potent, considering the context and climax of how they got him in to space.
On to business. This track was written by Ryuichi Sakamoto who is a famous musician in Japan known for really innovating the boundaries of sound. I don't think a single two albums in his library sound even remotely similar. Being that he was such an innovate, he was an early adopter of FM sound, and even put out an FM preset cartridge like Toto did (though I am not sure if either made them themselves or whether they were recreations). he really showcases some of that FM programming knowledge here with an onslaught of dreamy glassy synth sounds (many of which are FM).
Topping everything off though is a monster FM bass, with an equally huge drum kit. Very reminiscent of Jane Child's "Don't Want to Fall in Love". This song, though, having come out a year before to give some context on how far ahead even this song may have sounded. The entire soundtrack to the film is great, but this is the most "song" like song on the album, and a killer example of FM!
Bonus Facts: Ryuichi Sakamoto is still working in composition today, and recently scored the movie The Revenant. Quite a departure from this song, wouldn't you say? That's what he's known for, heh.
Final thoughts: Please, if you are reading this, watch this movie. Watch it with an open mind and let the aesthetics wash over you. Even in the silence.
You really have to admire an album that leaned this heavily on the concept of FM. This is literally the next track on the album, and is no less full of FM. Even though this one doesn't have a sparkly video, it's a much better song, and demonstration of how good Paula Abdul could be.
Lovely FM bass and keys, as usual, but this time all it underpins some gorgeous jazz fusion chord progressions, and a lush wall of overdubbed and at times haunting vocals. This is a great slow jam that is full of the good stuff.
This track might as well have just fallen directly off the Sonic the Hedgehog 2 soundtrack. I can't remember what song it is on there, but it basically has this exact beat and swing to it. And, of course, FM. You don't usually hear people in popular music with the cojones to rock the FM Brass. No fear, here.
I had to post this one first because it has a video, but there are more Paula Abdul deep track FM bangers coming.
1986, the FM Bass and electric guitar playing the same note at the same time sounds amazing. This entire song uses this song to great effect. It really reminds me of the Vince DiCola sound. Maybe this is a 1986 thing?
On top of that, there is a smattering of FM Keys sprinkled throughout this beefy track. And, damn, can Chaka Khan belt out a note or what!
Great movie. Great song. FM Bass galore. How can you go wrong?
Sometimes this song just gets stuck in my head. And not the hook tag
line either, it's like, the trumpet parts, and the ultra punchy
ascending arpeggio part, the vocal melody right at the start, and that
bassline! And yeah, of course the tagline... This is just a zany song,
with lot of moving parts that absolutely pulls it all off flawlessly.
Considering how new FM synth was at the time, I have no idea how they
knew what they were doing. I have a feeling a large part of the mid 80s
was just a mad scramble that is kind of perfectly embodied by how damn
weird, bonkers and catchy this song is.
OoOoOoOoh!
Fun
fact: the singer and song writer for Oingo Boingo is Danny Elfman, the
composer who wrote the Simpson's theme, and a lot of other themes you
have probably heard. But this is where he came from. He's jokingly quite
embarrassed about this music video because he didn't have the time to
contribute any creative aspect of it. He said he deserved the roasting
he got when it ended up on an episode of Beavis and Butthead. Seems like
a pretty self aware dude.
Alan Silvestri (composer of Predator and Back to the Future) bustin'
out some outrageous Synclavier FM Bass in this track. Complete with an
absolutely outrageous montage from the film Flight of the Navigator.
This is actually just the scene from the movie where this song plays.
This is how simply outrageous the 80s were.
1985... Wow, this track is exceptionally well produced for being
that old. Lots of that is to do with this sizzling hot FM Bass!
I've always had this track on my playlists when I need some inspiration.
Usually this track ends up on my playlists before dodgeball tournaments
or any other type of competition. It wasn't until recently when a friend of mine told me this track helped him get through the final leg of a marathon that I realized that this track has another function: It has the power to give you a second wind.
When you are down and out, about to quit, just meditate on this song.
Destiny Time! That energy. That FM BASS. This track has magical
properties that are hard to explain. As goofy as it is, you will
eventually just like this song legitimately, and not ironically.
What time is it? Destiny time! And by association, FM Bass time...
I wish I could say I have known about this song for years, but truthfully, I just found this song mere weeks ago, and I must have listened to it at least 2 dozen times since then. This song has done gone FM CRAZY. FM Keys and Bass are just pulsating out of this track with excess.
Can I just say it? The bass line in this track is outrageous! It's off the rails. This is a digital equivalent of a full on master in the art of slappin' da bass.
As a bonus, you get some fantastic vocals from Stacy Lattisaw, and one hell of a ripping synth solo (not sure if the solo is FM).
As a bonus bonus, turns out this so was co-written by Sue Shifrin, who wrote an earlier track in the Summer of FM: John Farnham's Break the Ice! I actually found this song because I was looking for other songs she had written, and this one came up, and was in the right time frame to be loaded with FM. it did not disappoint. I don't think this is the last we'll see of Sue Shifrin's work on this project.
In 1985, Phil Collins was not afraid to dive right in to the world
of FM. I am still trying to determine if the bass part of Sussudio is FM
bass or not. Honestly, I have no idea what it is. But with this track
there is no question. This is a pure FM Bass patch and it is front and
center!
It's fantastic to hear Collins' unbelievably unique vocal
style and production with this ever so familiar bass in the background.
But aside from the bass and the vocals, it is always
worth taking notice of the production of the drums in a Phil Collins
track. the unusual compression techniques they utilized were pioneered
by him and his Genesis (the band) cohorts.
They did all kinds of weird stuff, like used the talk-back mic
compression for communicating with the recording engineer from the
performance room to layer the drums. And they would compress ambient
mics from really far away from the kit and use noise gates to cut off
the trail. It may sound weird now, but this is kind of the wild west of
modern recording.
You can tell, because that digital as hell FM bass is sitting right there in the mix with all this weird stuff, haha.
I have some fond memories of this movie. Oddly enough, even as a
youngster renting this film, I remember liking the soundtrack. It still
stands out to me now. It's thick, bombastic and over the top. Kind of
like Eddie Murphy was back then :)
Tons of Synclavier FM going on here. Man alive it can sound chunky, warm and digital all at the same time.
We gotta slow things down today with an Earth shattering ballad from
1988. For some reason this song (among many others from this album)
still find their way in to my thoughts even though I actively disliked
this band at the time. I have since come around on this song and album,
but who knew the entire track was held together by FM bass and keys?!
You know, these guys were actually pretty damn good back then. I was too young to appreciate the nuance, I guess, haha.
Now that I am older and wiser, I am impressed to say that this ballad
stands the test of time. I'd actually recommend the entire album to
people. It's hard to believe that this wasn't even the 90s yet. Ahead of
it's time?
One of the most irrationally heavy pop tracks that I have ever heard. The percussion is already notably humongous, but when that FM bass first kicks in, this track tells the listener on no uncertain terms that they are about to be demolished. Then the vocals take it home. This track (and album) are really an amazing representation of the best of the 80s.
Who knew Stevie Wonder was such a fan of FM? This track is literally
dripping with FM plinks, plonks and ploinks. It's hard to tell if the
bass is FM or analog, but in any case, it's pretty rad. Lots of layering
going on in any case. I think the bassline is permanently layered with
an FM marimba sound, haha. Sounds so good.
Even though he was a
fantastic vocalist, I think his key playing is really something else. It
has so much character, and it sound so good as FM! Dude, knew how to rock a modwheel!
How many times have we all heard this brilliant track from Norwegian
pop group A-ha? How many times have I personally heard it and not
bothered to notice that the entire thing is LOADED with FM Bass lines
from start to finish.
Perhaps it is the soaring vocals or that
infinitely memorable chorus. For whatever reason, we overlook how much
of this track is brought to us by the glorious sound of frequency
modulation. It was only recently that I even noticed it was there, now I can't un-hear it. Nor would I ever wish to, haha.
FM can be as cold as ice, or as bouncy as a rubber ball. So damn
versatile. Such a huge part of what made the 80s so good. A real work
horse of the era. Time to get it's due!
Toto never seem to get the respect they deserve. Not sure if it is
because of their band name, or what. But one thing is certain, they know
their FM!
Around the time this album came out in 1986, the
keyboard player(s) on the album actually released a commercial patch
library for the FM sounds they used on the album. These patches came on a
cartridge that you could jam in to a Yamaha DX-7 and access without
having to create them from scratch yourself. I am not sure,
but I think that might have been revolutionary... At the very least, it
was right on the razor's edge of stuff that had never been done before.
Fortunately, those cartridges still exist, and are really easy to find
on the internet. And those patches can be slotted in to just about any
FM VST, like Dexed or FM8. I've messed around with them, and the smile
on my face could not have been any bigger. It's a fun thing to relive,
now, so many years later.
As for this track, it's a masterclass
of meshing FM with real instruments. FM bass, real bass, synths and
keys, guitars. They are all blended in there seamlessly, and this track
in particular is so damn catchy, I am left scratching my head why Toto
don't get no respect.
Here is an interesting one. Digital FM Synth and Analog Subtractive
Synth are being forced in to one delightful track, in the year where all
things collide. My favourite year for music: 1984.
FM had become
commercially available in 1983, but there were still all of these
killer analog synths that already cost a ton of money still in studios.
So, FM was the new toy, but it was treated just like a new instrument in
the setup and was seamlessly blended in, for a while.
That's why I like 1984 so much. It was a very exciting time for sound.
And a song like this shows how you can just blend everything together
with wide eyed wonder.
I know this song became internet famous as the butt of a joke, but
can we even deny how unironically awesome this song is? And how far
ahead of it's time it was? This was 1987. That always seems early to me
when I hear how thick and full this track is.
The entire thing is
held together by an FM Bass foundation that refuses to quit. If you can
take your eyes off of those dance moves and have a listen to just the
bass in the song, you'll notice that it is intricate,
and melodic, and follows the bouncy beat of the song perfectly. The
producers really new how to slot that bass in with the kick drum. It
just sounds so thick!
This
track also features some lush FM E.Piano sounds rocking some nice glassy
chords. They usually bury these with other instruments, but not in this
track. Front and center!
This track is 50% Rick Astley singing and putting on a dance moves clinic, and 50% FM.
Behold the power of frequency modulation!
We have a real treat today. I just found out of my legit all time
favourite songs has got the FM Bass! I have probably heard this song
over a thousand times in my life, no jokes. It remains one of like 5
songs I can sing from start to finish. It is only for the fact that the
song is so layered and well produced that I didn't immediately remember
it has having such a strong Fm presence. Now it is all I can hear.
The song was written and recorded specifically for
the movie "Rad" which came out in 1986, and was for a long time the
number 2 rented movie of all time behind Top Gun (I can't remember where
I heard that statistic, so let's just not look in to it any
further...). When kids rented Rad back in the day, they didn't just rent
it once, they rented it dozens of times. The sound track had a huge
factor in that.
It was
loaded with BMX racing and flatland action, and was one of those movies
that sparked inspiration is children. You saw all these older kids and
adults doing insane BMX maneuvers, while you were hearing this
incredibly motivating music, all the while you watched a regular kid
compete against pros.
It's basically The Karate Kid meets BMX,
and I highly recommend it to anyone who wants to feel what the 80s were
like. This song (and another by John Farnham called Thunder in Your
Heart) is to Rad, what You're the Best is to Karate Kid.
Believe
it or not, there was a time in the 90s when it wasn't cool or even
ironic to like 80s music. as a teenager, it was something you actually
had a lot of disdain for as being wimpy or weak or not cool enough
probably because you were a small child when you first heard it, and
didn't yet have room for the potent nostalgia of this iconic era. It's
hard to explain. But this song was *the* song that, in the midst of all
that 80s teenage angst, made me realize the 80s were in fact awesome. It
was the one through line that for me, brought the 80s back to the
focus. It was my gateway drug back in to the glory of the 80s. I could
not deny this song.
And, it was recorded in 1986... Of course it
had FM! I think it might be FM Bass layered with either another synth,
or a real bass. I can't quite tell. But the FM is there, proud and true.
These lyrics, too. They never fail to give me the chills. Put this song
on before any moment where you have to rise above and it will always
apply. Yes, get ready to break the metaphorical ice!
I've shared this one before, but it needs to get re-shared for the
Summer Of FM. It is amazing to hear such a prolific source of song
writing take control of the inherent power of FM so flawlessly. It's
like they understood it immediately as a new instrument.
The
treat for us is that we get to hear them subvert FM to their style. Even
though this is still FM, it still sounds exactly like Journey. Check
out that FM bass and FM E.Piano with vocalist Steve Perry doing his thing over top. It's a little miracle of audio in your ears.
You could just sit Michael Jackson in front of a DX7 or some other
FM keyboard, and he would belt you out a single. Sit him there for long
enough and you'd have an album. The entire clan of Jackson's were
synonymous with FM synth in the mid to late 80s. Every one of their
albums (from Janet to Jermaine and everyone one in between) is not just
featuring FM, but seem to be hinged entirely on FM as the backbone. The
Jackson's were an FM Family.
I could have just picked
any song off the 1987 "Bad" album, and had it work perfectly here.
We've all heard these songs so many times. But how many times have we
heard the FM that was the foundation to almost every hook outside of
Michael's trademark vocals?
Going back over the Bad album is like playing a Sega Genesis game with
impeccable production and vocals, haha. It is glorious! We have not seen
the last of the Jacksons in the Summer of FM.
I got a hot tip from FM Wizard Paul Schilling, that the Synclavier FM synth was used on this track. Who knew?!
There is something so much warmer about Synclavier FM than the Yamaha
DX-7 FM. Even the glassy bamboo hits used during the intro seem to have
this weight to them that is not usually something you get easily from
DX-7.
Warm crunchy bass,
infectiously sweet keys, and the smoothest mumbled vocals ever. Makes me
want to watch the movie this is from: Running Scared (1986). Billy
Crystal, Gregory Hines, FM Synth? Count me in!
I don't know why people poo poo on this song. This song, for me, is
almost the quintessential 80s track. It has everything. From production
sensibilities, to song writing, to, yes, FM BASS!
One thing that I
found interesting though was how integrated the FM Bass was in this
track. They seem to be mixing a real bass with the FM Bass, and
alternating the verse and chorus. The verses and transitions get regular
bass, and the chorus gets FM Bass with regular bass slotted
behind it for fullness. The result is an iconic sound that actually
always gave this song a futuristic vibe in my opinion. Half man, half
machine. All rock.
Plus,
this music video always kind of weirded me out. A bunch of adults
singing and smiling and having fun in some weird purple alternate future
city. Ultra high tech for the time, haha, I am sure.
Come on,
everyone, give this song a chance again. If it's been a while, listen to
it again now with fresh ears. It has something for everyone.
This thing is loaded with FM. I am fairly certain this is mostly 2OP
FM from the Synclavier, but it might have some Yamaha DX-7 6OP in there
for some of those bamboo hit sequences, but it could very well be a
pure Synclavier FM soundtrack which is rad.
Other than some
samples slap bass and drums, this track (and soundtrack in general) is
steeped in FM, with lots of keys and pads.
I also have no doubt that this movie and this soundtrack were the
direct inspiration for Mortal Kombat 1. There are darker moments in this
soundtrack that perfectly match the tone and texture of the original
Mortal Kombat. At 0:45 you can practically hear the announcer from
Mortal Kombat shouting, FINISH HIM!!!. It always puts a smile on my face
when I hear it, and think about the developers for MK and especially
the composer for MK, Dan Forden, watching this movie and just getting
all pumped up.
We keep rolling on with a fairly obscure single by The Jacksons. I
had never seen the music video for this one before, and man, it's weird.
Not even their weirdest, either, haha. Perfect era for 80s special
effects though.
But the reason we are here is the presence of FM
Bass for the entire track. There is something about FM Bass at that time
that really adds to the unforgiving coldness of some of these weird
artistic videos. It just felt high tech and other wordy
at the same time. Especially when all this deranged dreamy stuff is
happening in the video, and no one seems weirded out by it. They almost
seem to be celebrating the weirdness and encouraging it in their
peripheral.
That concept is distilled in FM Bass, for me.
I had another track i was going to share today, but between yesterday and today it was taken off of youtube. For shame...
The backup today, instead, focuses of stacked FM keys. To get such a
rich glassy sound, you need to stack upwards to 8 different E.Piano
sounds, and pan and tune them all across the spectrum.
Pretty Mellow track. Pretty mellow day. Don't let those eyes get too
misty. More FM to come tomorrow. Unless Youtube removes some more gems.
What can only be described as a heroic amount of FM Bass...
I
can't how good the music was for this movie. 1986 has probably never
sounded this punchy and energetic. Vince DiCola was some sort of wizard
from the future or something, to reach this far ahead in terms of
production, with what he had at his disposal. Listen to these drums.
Listen to this FM Bass Guitar power chord combo?
Then listen to the arrangement. 1986... What else in 1986 sounded like
this? Where the hell did it come from? So many hooks, one after the
other, never lingering to become stale. It's like an entire album in one
track, and it is so damn intense.
I revisit this soundtrack
every year or so, and I continue to find more reasons to be amazed. If
you have never heard it before, or haven't checked it in a while, now is
the perfect time.
The Summer of FM rolls on with an energetic track from 1988 I only recently discovered. As is usually the case, this track is chalk full of FM Bass!
But one thing I really like about this track is how irresponsible the FM Bass riffing is. For a pop song especially, this is a pretty fiddly bass track, and it sounds so good! Give the people what they want, we can handle it! MORE FIDDLY FM BASS!
Pretty sensational vocal track as well. Teena Marie is giving the mic the straight business!
Amazing and unique vocals with some glorious and crunchy FM Bass. This track is a real gem, and a perfect example of some of the more metallic FM slap bass capabilities. I, love, this, sound.
1987 was a great year for FM. I feel like they were really starting to understand how to get the most of it by then. Or at least some good commercial patch libraries were making their rounds at that time.
I'm gunna be sharing FM tracks all summer, because dammit, FM got the shaft by the time the 90s synths rolled out. This is a return to form.
So much of what made the 80s sound like the 80s was the fact that no one had heard FM used in a musical and harmonic way on commercial products before then. There was a time when this sound was a legitimately new sonic experience, and cutting edge. And huge budget movies like Top Gun, and actors like Tom Cruise are subtly immortalized by one particular sound. When people say they love FM Bass, this is what they mean.
The Quintessential FM Bass Experience. Kenny Loggins - Danger Zone. 1986. Feel it.