Nova Zhang
What's That Sound: Complete Albums Collection 1967-1971 is a comprehensive box set released in 1987 that celebrates the iconic music of Buffalo Springfield, a pioneering American rock band. This collection brings together the group's three studio albums, along with additional tracks and rarities, offering a deep dive into their influential yet brief career. Buffalo Springfield, known for their blend of folk, rock, and country, played a pivotal role in shaping the late 1960s music scene, with members like Stephen Stills, Neil Young, and Richie Furay going on to achieve legendary status in their own right. The 1987 release not only preserves their groundbreaking work but also highlights their lasting impact on rock music, making it an essential listen for fans and historians alike.
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What You'll Learn
- Sonic Innovations: Exploration of new sound technologies and their impact on music production in 1987
- Genre Evolution: How 1987 marked shifts in genres like pop, rock, and hip-hop
- Iconic Albums: Notable releases from 1987 that defined the year's musical landscape
- Cultural Influence: The role of music in shaping and reflecting 1987's societal trends
- Production Techniques: Key studio methods and tools that revolutionized sound in 1987
Sonic Innovations: Exploration of new sound technologies and their impact on music production in 1987
The year 1987 marked a pivotal moment in music production, as emerging technologies began to reshape the sonic landscape. Digital synthesizers, such as the Roland D-50 and Yamaha DX7, became more accessible, offering artists unprecedented control over sound design. These instruments introduced complex waveforms and modulation capabilities, enabling producers to create textures that were previously unimaginable. For instance, the D-50’s "LA Synthesis" combined sampled attacks with synthesized sustain, giving rise to iconic sounds heard in tracks like Enya’s *Orinoco Flow*. This shift from analog to digital wasn’t just technical—it democratized music creation, allowing smaller studios to compete with larger ones.
One of the most transformative innovations of 1987 was the rise of MIDI (Musical Instrument Digital Interface) as a standard. MIDI allowed disparate electronic instruments and computers to communicate seamlessly, synchronizing rhythms, melodies, and effects. This interoperability revolutionized sequencing and arrangement, as demonstrated in albums like Depeche Mode’s *Music for the Masses*. Producers could now layer intricate patterns with precision, blending synthesizers, drum machines, and samplers into cohesive compositions. However, this convenience came with a caution: over-reliance on MIDI could lead to sterile, formulaic productions, prompting artists to balance technology with organic elements.
Sampling technology also reached new heights in 1987, with devices like the E-mu Emulator III enabling musicians to capture and manipulate real-world sounds. This innovation birthed genres like hip-hop and electronic music, as artists like Public Enemy and Art of Noise repurposed snippets of speech, instruments, and ambient noise into entirely new contexts. The ethical implications of sampling were still murky, but its creative potential was undeniable. Producers began treating sound as a malleable material, stretching, pitching, and looping samples to create rhythms and melodies. Practical tip: when sampling, always experiment with varying playback speeds to uncover hidden musicality within the source material.
Despite these advancements, 1987 also saw a backlash against over-digitization, with some artists advocating for a return to analog warmth. The debate highlighted a critical takeaway: technology should serve the music, not dictate it. For instance, bands like The Cure blended digital synthesizers with traditional instruments on *Kiss Me, Kiss Me, Kiss Me*, achieving a balance between innovation and authenticity. Aspiring producers should heed this lesson—embrace new tools, but prioritize emotional resonance over technical novelty. After all, the most enduring music transcends its era by connecting on a human level.
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Genre Evolution: How 1987 marked shifts in genres like pop, rock, and hip-hop
1987 was a pivotal year for music, serving as a crossroads where genres collided, evolved, and redefined themselves. Pop music, for instance, began to shed its glossy, synthesizer-heavy sheen, embracing a rawer, more eclectic sound. Michael Jackson’s *Bad* album, released that year, exemplified this shift, blending pop with funk, rock, and R&B, while Madonna’s *Who’s That Girl* soundtrack hinted at a more experimental approach to mainstream pop. These artists didn’t just dominate charts—they expanded the boundaries of what pop could be, setting the stage for the genre’s diversification in the ’90s.
Rock music in 1987 underwent a similar transformation, as the hair metal dominance of the early ’80s began to wane. Bands like U2, with *The Joshua Tree*, and R.E.M., with *Document*, brought a more introspective, socially conscious edge to rock. Meanwhile, the rise of alternative rock acts like The Pixies and Sonic Youth signaled a rebellion against the commercialism of mainstream rock. This duality—between stadium-sized anthems and underground experimentation—created a tension that would define rock’s trajectory for the next decade. For listeners today, revisiting these albums offers a masterclass in how rock balanced accessibility with artistic integrity.
Hip-hop in 1987 was on the cusp of its golden age, transitioning from party anthems to more complex, narrative-driven tracks. Public Enemy’s *Yo! Bum Rush the Show* and Eric B. & Rakim’s *Paid in Full* introduced lyrical depth and political commentary, while maintaining the genre’s rhythmic roots. This shift wasn’t just artistic—it was cultural. Hip-hop began to assert itself as a voice for marginalized communities, a role it would fully embrace in the ’90s. For modern listeners, these albums are essential for understanding hip-hop’s evolution from beats and rhymes to a platform for social change.
The interplay between these genres in 1987 also highlights the year’s role as a melting pot of influences. Pop borrowed from rock’s energy, rock incorporated hip-hop’s edge, and hip-hop sampled pop’s melodies. This cross-pollination wasn’t just a trend—it was a blueprint for the genre-blurring music of the future. To appreciate 1987’s impact, listen to these albums back-to-back: *Bad*, *The Joshua Tree*, and *Paid in Full*. Notice how each pushes its genre forward while subtly nodding to the others. This wasn’t just evolution—it was revolution.
Finally, 1987’s genre shifts weren’t just about the music; they reflected broader cultural changes. The rise of MTV and cassette tapes democratized access to music, allowing diverse sounds to reach wider audiences. For those looking to explore this era, start with a playlist that mixes pop, rock, and hip-hop from 1987. Pay attention to the production techniques, lyrical themes, and audience reception. What you’ll find is a year that didn’t just redefine genres—it reshaped how we listen to music.
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Iconic Albums: Notable releases from 1987 that defined the year's musical landscape
1987 was a pivotal year in music, marked by a diverse array of albums that not only topped the charts but also reshaped genres and influenced future artists. Among these, Michael Jackson’s *Bad* stands out as a cultural juggernaut. Released in August, it was Jackson’s follow-up to the groundbreaking *Thriller* and showcased his evolution as a songwriter and performer. Tracks like the title song "Bad" and the anthemic "Man in the Mirror" blended pop, R&B, and funk, solidifying Jackson’s status as the "King of Pop." Its impact extended beyond music, with the accompanying world tour and short films setting new standards for live performance and visual storytelling.
While *Bad* dominated the mainstream, U2’s *The Joshua Tree* redefined rock’s scope and ambition. Released in March, the album married the band’s post-punk roots with American roots music, creating a sound both intimate and epic. Songs like "With or Without You" and "I Still Haven’t Found What I’m Looking For" became instant classics, their themes of love, faith, and political unrest resonating globally. The album’s success wasn’t just commercial—it earned U2 critical acclaim and two Grammy Awards, cementing their place as one of the era’s most important bands.
Hip-hop in 1987 saw a landmark release with Public Enemy’s *Yo! Bum Rush the Show*. The group’s debut album was a raw, politically charged statement that pushed the genre beyond party anthems. With tracks like "Public Enemy No. 1" and "Miuzi Weighs a Ton," they introduced a new level of social commentary and sonic experimentation, using samples and aggressive delivery to confront issues like racism and systemic injustice. This album laid the groundwork for politically conscious hip-hop and established Public Enemy as a force for change.
On the heavier side of the spectrum, Def Leppard’s *Hysteria* redefined hard rock and pop-metal. Released in August, the album was a masterclass in production, with its polished sound and layered hooks. Tracks like "Pour Some Sugar on Me" and "Love Bites" became staples of rock radio, while the band’s meticulous approach to recording set a new benchmark for studio craftsmanship. *Hysteria*’s global success proved that rock could be both commercially viable and artistically ambitious.
Lastly, Prince’s *Sign o’ the Times* showcased the artist’s unparalleled versatility. A double album released in March, it blended funk, rock, pop, and soul into a cohesive masterpiece. Tracks like "Sign o’ the Times" and "U Got the Look" highlighted Prince’s ability to tackle personal and societal themes with equal finesse. The album’s eclectic nature and Prince’s virtuosic performances made it a critical and commercial triumph, reaffirming his status as one of the decade’s most innovative artists.
Together, these albums from 1987 illustrate the year’s musical richness, each pushing boundaries in its own way. From Jackson’s pop dominance to Public Enemy’s revolutionary hip-hop, these releases not only defined 1987 but also left an indelible mark on the decades that followed.
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Cultural Influence: The role of music in shaping and reflecting 1987's societal trends
The year 1987 was a pivotal moment in music history, marked by the rise of genres that mirrored and influenced societal shifts. Hip-hop, for instance, was no longer an underground movement but a mainstream force, with artists like Public Enemy and N.W.A. using their platforms to address systemic racism, police brutality, and economic inequality. Their lyrics were not just entertainment; they were a call to action, reflecting the growing frustration and activism within marginalized communities. This music didn’t just echo the zeitgeist—it helped shape it, giving voice to the voiceless and challenging the status quo.
Consider the contrast between the glossy, synthesized pop of the 1980s and the raw, unfiltered messages of hip-hop. While pop music often celebrated excess and escapism, hip-hop grounded listeners in the harsh realities of urban life. This duality highlights how music in 1987 served as both a mirror and a mold for society. For example, U2’s *The Joshua Tree* album tackled themes of American identity and social injustice, blending rock with a global perspective. Meanwhile, Madonna’s *Who’s That Girl* soundtrack exemplified the era’s fascination with celebrity and reinvention. Together, these works illustrate how music both reflected and influenced the cultural and political landscape.
To understand the role of music in 1987, examine how it intersected with technology and media. The advent of MTV transformed music into a visual medium, amplifying its impact on fashion, behavior, and identity. Artists like Michael Jackson and Prince didn’t just release songs—they created iconic personas that redefined masculinity, sexuality, and style. This visual component allowed music to permeate everyday life more deeply, shaping trends from the clothes people wore to the way they danced. For practical insight, analyze how music videos became a tool for social commentary, such as in Jackson’s *Man in the Mirror*, which encouraged personal and collective responsibility.
A comparative analysis reveals that 1987’s music also responded to global events. The anti-apartheid movement found an anthem in Peter Gabriel’s *Biko*, while U2’s *Where the Streets Have No Name* addressed the Troubles in Northern Ireland. These songs didn’t just reflect international struggles—they mobilized audiences, turning listeners into participants in global conversations. This demonstrates how music transcended entertainment to become a vehicle for education and activism, bridging cultural divides and fostering empathy.
Finally, the legacy of 1987’s music lies in its ability to remain relevant. The themes of inequality, identity, and resistance addressed in songs from that year continue to resonate today. To engage with this legacy, curate a playlist of 1987 tracks that highlight its diversity and impact. Include songs like *Sign o’ the Times* by Prince, *Fight the Power* by Public Enemy, and *Nothing’s Gonna Stop Us Now* by Starship. Listen critically, noting how each track reflects its era while offering insights into contemporary issues. This exercise not only deepens appreciation for 1987’s cultural influence but also underscores music’s enduring power to shape and reflect society.
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Production Techniques: Key studio methods and tools that revolutionized sound in 1987
The year 1987 marked a pivotal moment in music production, as studios embraced digital technology and innovative techniques that redefined soundscapes. One of the most transformative tools was the Akai S900 sampler, which allowed producers to capture and manipulate real-world sounds with unprecedented precision. Unlike earlier samplers, the S900 offered 12-bit sampling at 40kHz, enabling clearer, more dynamic audio snippets. Artists like Kate Bush and Prince leveraged this technology to layer intricate textures and create otherworldly effects, breaking free from traditional instrumentation. The sampler’s ability to sync with MIDI sequences further streamlined workflows, making it a cornerstone of late ’80s pop and electronic genres.
Another game-changer was the rise of digital reverb units, particularly the Lexicon 224XL. Before this, reverb was often achieved through physical spaces or rudimentary spring units, limiting creativity. The 224XL, however, offered studio-grade, programmable reverb algorithms that could simulate everything from small rooms to vast halls. Producers used it to add depth and dimension to tracks, as heard in U2’s *The Joshua Tree* album. Its preset-saving feature allowed for consistent sound across sessions, a luxury previously unavailable. This tool didn’t just enhance sound—it reshaped how space was conceptualized in music.
The Roland D-50 synthesizer also left an indelible mark in 1987, introducing LA (Linear Arithmetic) synthesis. This hybrid approach combined sampled attack sounds with synthesized sustain waves, producing rich, organic tones. Its presets, like the iconic "Digital Native Dance," became staples in pop, rock, and film scores. The D-50’s affordability and versatility made it accessible to both amateurs and professionals, democratizing high-quality sound design. Its influence is evident in hits like Enya’s *Orinoco Flow*, where its ethereal pads defined the track’s atmosphere.
Lastly, the Sony 24-track digital tape recorder revolutionized recording fidelity and efficiency. Analog tape’s limitations—such as tape hiss and degradation—were replaced by pristine digital audio. This allowed for more complex multitrack recordings without signal loss. Producers could now experiment with layering vocals, instruments, and effects without compromising quality. Albums like Michael Jackson’s *Bad* benefited from this technology, showcasing intricate arrangements and crystal-clear mixes. The shift to digital recording wasn’t just technical—it altered the creative process, encouraging bolder experimentation.
These tools didn’t just refine sound; they expanded the boundaries of what music could be. The Akai S900, Lexicon 224XL, Roland D-50, and Sony’s digital recorder collectively empowered artists to craft sonic landscapes that were previously unimaginable. Their legacy is evident in the timeless tracks of 1987, proving that innovation in production techniques can be as impactful as the music itself.
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Frequently asked questions
"What's That Sound 1987" is a compilation album by the American rock band Buffalo Springfield, released in 1987. It features remastered versions of their classic tracks and highlights their influential contributions to the folk-rock and psychedelic rock genres.
The album was produced by Buffalo Springfield's original producers, including Charles Greene and Brian Stone, with additional remastering and compilation work done for the 1987 release.
Notable tracks include "For What It's Worth," "Mr. Soul," "Bluebird," and "Expecting to Fly," which are among Buffalo Springfield's most iconic and enduring songs.
The album is significant because it reintroduced Buffalo Springfield's music to a new generation, showcasing their pioneering role in the late 1960s rock scene and their influence on bands like Crosby, Stills, Nash & Young.
