Another week, another mixtape. Mark your calendars as Chris Rooney takes you on a musical journey through the seven days of the week right through the weekend.

The Bolshoi, “Sunday Morning” (1986)
Growing up it was either sleep in late or off to church bright and early Sunday morning. By the look of things, someone still has a grudge with their strict religious upbringing and doesn’t want to revisit those Sunday mornings.

Morrissey, “Everyday Is Like Sunday” (1988)
Boredom naturally comes on a Sunday when everything is closed, stuck at seasonal destination when its off-season or simply growing up in a small town with no vitality left in it. Etch a postcard, “How I dearly wish I was not here”. In many American states, Sunday blue laws still exist that prohibit businesses such as car dealerships from being open, abstain alcohol sales, bar horse racing and prevent hunting because of lingering puritan beliefs. At least Morrissey can get behind that ban on hunting.

U2, “Sunday Bloody Sunday” (1983)
U2’s overtly political, yet nonpartisan, protest song reflects upon Sunday, January 30, 1972 when British troops fired upon Northern Irish unarmed civilians, killing 14. Other musicians such as Paul McCartney, John Lennon, Black Sabbath and Stiff Little Fingers all wrote songs in response to the events of that day prior to U2’s concert anthem.

New Order, “Blue Monday” (1983)
How does it feel to be treated like this on the first day of the work week? Bernard Sumner lackadaisical delivery sums it up perfectly what it is like to start a Monday morning.

The Bangles, “Manic Monday” (1986)
You’re not fooling us Prince penning The Bangles’ breakthrough hit under the name “Christopher”. We know all about the period of time when you were the artist formerly known as Prince using that unpronounceable symbol, but surely “Christopher” is your 9-to-5 worker bee alter ego who has a regular desk job and run-of-the-mill worries like the rest of us.

Boomtown Rats, “I Don’t Like Mondays” (1979)
Why so much disdain for this day in particular? Five years later after wanting to shoot the whole day down, Bob Geldof must gotten over it as he chose to release his big musical creation, “Do They Know It’s Christmas?” on a Monday.

Duran Duran, “New Moon on Monday” (1984)
Monday is almost over and the nighttime darkness is the ideal cover for the boys of Duran Duran to stage an underground rebellion (complete with lit torches and perfectly coiffed hair) on a society run by an oppressive militaristic regime.

‘Til Tuesday, “Voices Carry” (1985)
Ah, quiet little Tuesday. Never drawing attention to itself stuck between the beginning and the middle of the work week until ‘Til Tuesday’s Aimee Mann just couldn’t take it anymore of her douchebag boyfriend and stood up for herself during the most opportune moment at Carnegie Hall. Makes you think that she was holding out for the great acoustics to make her point and dump the a-hole.

Fisherspooner, “Wednesday” (2005)
It’s Hump Day and here to ride that cresting wave in the week is Fisherspooner’s sexy electroclash single that combines a ‘80s new wave sound influenced by Gary Numan, Kraftwerk and early Pet Shop Boys with modern electronica.

Pet Shop Boys, “Thursday” (2013)
Despite having to the chance to coordinate the release their 54th (yes, 54th!) single on the same day that the song references, The Pet Shop Boys chose instead to debut it on a Monday.

David Bowie, “Thursday’s Child” (1999)
“Thursday’s Child has far to go”, so says the 19th century nursery rhyme that is supposed to tell a child’s character or future based on the day he or she was born. Bowie, in case you were wondering, was born on a Wednesday.

The Cure, “Friday I’m In Love” (1992)
Disheveled hair, badly applied lipstick and untied high-top sneakers can mean only one thing – it’s Casual Friday for Robert Smith!

The Specials, “Friday Night, Saturday Morning” (1981)
Forget the oh-so-pleasant expression “Thank God It’s Friday”. The Brits and the Aussies have a term for the last day of the workday that tops that by a mile – POETS Day, which stands for “Piss Off Early, Tomorrow’s Saturday”. The Specials’ weekend ritual encapsulates that vibe to a tee with lines like “Out of bed at eight am / Out my head by half past ten / Out with mates and dates and friends / That’s what I do at weekends / I can’t talk and I can’t walk / But I know where I’m going to go / I’m going watch my money go / At the Locarno, no”.

David Bowie, “Drive-In Saturday” (1973)
It seems like Saturdays were more wild and crazy in the 1970s compared to the 1980s. Think about it. You had the birth of Saturday Night Live, the blockbuster Saturday Night Fever igniting the disco craze, Elton John sang “Saturday Night’s Alright for Fighting” and the tartan teen sensations, The Bay City Rollers were shouting out, “S-A-T-U-R-D-A-Y Night!”

The Cure, “10:15 Saturday Night” (1979)
It’s damn near impossible to get a plumber late on a Saturday night, much less all-day Sunday if your kitchen sink tap drips drip, drip, drip, drip, drip, drip, drip, drip. Better luck ringing him up on Monday.

Étienne Daho “Week-end à Rome” (1984)
The French, including their very own pop star Étienne Daho, have a thing about not messing with their culture and language. Yet they have adopted the English word, “weekend”, by adding a little French twist with a hyphen in the middle. In the 1990s, the English electronic pop group Saint Etienne teamed up with Daho and had one of their biggest hits with a reworked English version of the song called “He’s On The Phone”.

Lloyd Cole & Commotions, “Lost Weekend” (1985)
True story. I’m on my honeymoon seeing the sights of Europe and I caught the worst cold possible. The last few days we spent in Amsterdam. I’m relaxing in our hotel room trying to feel better when I suddenly hear Lloyd Cole singing on the TV, “…it took a lost weekend in a hotel in Amsterdam, double pnuemonia in a single room and the sickest joke was the price of the medicine…”

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Mixtape:Sibling Rivalry 0

Mixtape: Sibling Rivalry

Of course the Thompson Twins weren’t really twins – or triplets for that matter – and despite having three members with the same last name of Taylor, no one in Duran Duran were brothers. For some real brotherly (and sisterly) love that you can relate to, Chris Rooney presents  a collection of songs that show that New Wave and beyond sometimes can be a family affair.

Japan, “Quiet Life” (1981)
Singer David Sylvian (born David Batt) and his drummer brother Steve Jansen (born Stephen Batt) were together during Japan’s entire duration. After the band broke up over creative differences in 1982, David went solo while Steve formed a duo with Japan keyboardist Richard Barbieri called – ironically or not – The Dolphin Brothers.

Devo, “Beautiful World” (1983)
True to their Ohio roots, the classic line-up of the band included two sets of brothers, the Mothersbaughs (Mark and Bob) and the Casales (Gerald and Bob).

The Psychedelic Furs, “Love My Way” (1982)
Brothers Richard and Tim Butler, on vocals and bass guitar respectively, formed The Psychedelic Furs in 1977. During the Furs’ hiatus in the 1990s, Richard planned to put out his first solo record. Instead, he assembled a new group, Love Spit Love and brought in Tim to play bass.

A Flock Of Seagulls, “D.N.A.” (1982)
Believe it or not, A Flock Of Seagulls won the 1983 Grammy Award for Best Rock Instrumental Performance. If you’re counting, that’s more Grammys than mega-groups Queen, Led Zeppelin or Gun N’ Roses have (n)ever won. They say that when it comes to family, blood is thicker than water, but in frontman Mike Score’s case, he has carried on with the Flock’s name without his drummer brother Ali or the other original members of the band.

Sparks, “All You Ever Think About Is Sex” (1983)
Keyboardist Ron Mael has been collaborating for more than four decades now with his younger brother, singer Russell Mael. At first, the two called their band Halfnelson, but later renamed themselves Sparks, a play on the famous Marx Brothers.

INXS, “Don’t Change” (1982)
Sometimes change is a good thing when it comes to what you called yourselves. INXS was originally called The Farriss Brothers after the band’s three siblings: Andrew Farriss (keyboards), Jon Farriss (drums) and Tim Farriss (guitar).

Gene Loves Jezebel, “Desire” (1986)
Since their heyday in the late 80s, identical twin brothers Jay and Michael Aston have been fronting competing versions of the Gene Loves Jezebel. A 2008 lawsuit settlement between the brothers stated that Jay’s band would be known as “Gene Loves Jezebel” in the UK and “Jay Aston’s Gene Loves Jezebel” within the US, while Michael’s band would be referred to as “Gene Loves Jezebel” in the US and “Michael Aston’s Gene Loves Jezebel” within the UK.

The B-52s, “Song for a Future Generation” (1983)
Born a Pisces just like her older brother and bandmate Ricky Wilson, Cindy Wilson admitted to liking chihuahuas and Chinese noodles in The B-52s’ satirical take on personal ads. It was the first of two songs by the original line-up that featured vocals by all five band members.

The Bangles, “Going Down To Liverpool” (1984)
Making up one-half of the all-female band The Bangles, sisters Vicki and Debbi Peterson played guitar and drums. After she first heard this song originally recorded by The Waves (later Katrina & The Waves), Debbi convinced her bandmates to let her do the lead vocals on The Bangles’ harmonic cover.

Split Enz, “I Got You” (1980)

Split Enz’s founder Tim Finn recruited his younger brother Neil in the late 1970s to share duties as frontmen to his Kiwi band. Later, Neil went on to form Crowded House after Split Enz split and more recently Tim and Neil have collaborated under the name, The Finn Brothers.

The Proclaimers, “Letter From America” (1987)
Brothers and identical twins, Charlie and Craig Reid are probably best known for “I’m Gonna Be (500 Miles)”, but they first gained attention with this song that addressed the long history of Scottish emigration to the United States and Canada due to economic hardship.

The Jesus and Mary Chain, “Just Like Honey” (1985)
No relation to The Proclaimers despite also being from Scotland, brothers and songwriting partners Jim and William Reid were pioneers of noise pop combining elements from their influences The Velvet Underground, The Stooges, and The Ramones.

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