Featuring the top rebel-approved (6.5+) cut from each of the 1982 albums of the year @ TJR: www.thejukeboxrebel.com/album-chart-of-1982 runtime: 4h 23m THE ASCENSION OF THE HIP PRIEST AND KAMERADS Like a preacher possessed, Mark E. Smith cajoled his double-drumming troops into new territories, unleashing another unorthodox Fall masterpiece, much to the great bemusement of the world at large. Although a completely different beast, much the same could be said of Laurie Anderson this year; what fun to see the avant-garde go over-ground. Adam Ant goes solo and remains the king of this year's pop stars, with a special mention too for the innovative Dexys Midnight Runners in that smash hits department. Old 2-Tone orbiters Madness, The Beat, Fun Boy Three and UB40 continue to hit exceedingly high standards in unexpected ways. Rising above South Africa's grim reality, la joie de vivre is palpable on Alpheus Ramavhea's glorious record, and his fellow country-women Mahotella Queens are busy this year with albums in a range of tongues. Paris-based Congolesians Kanda Bongo Man, with trusty lead-guitarist Diblo Dibala, shine brightly in my Top 10. Many facets of the Scottish personality are displayed via two distinct debutants. The Cocteau Twins record stubbornly refuses to be lucid, preferring to exist in a smoggy grey, somehow managing to chime with the bleakness of their industrial Grangemouth hometown. Determined to escape that post-punk gloom, Glasgow's Orange Juice were described elsewhere as the “sound of young Scotland” featuring hand clapping, breezy horns and a whole lot of funky jangle. Other debutants stateside were slanting towards a new indie pop / college rock sound, including The Dream Syndicate, R.E.M. and Green On Red. Whilst the arrival of New York's Sonic Youth may not have immediately shaken rock foundations to the core, their first statement hinted at an odd group with ideas to explore. It was the end of the road for two big Rebel favourites; Paul Weller's decision to disband The Jam was sensational, bowing out at the top of their game. It was a different story for Captain Beefheart; the beef in his heart was too much with regards to the ongoing struggle, and from hereon he gave up on serving the public via the music business, and would now devote himself entirely to his painting. John Peel thought this years “Ice Cream For Crow” one of his best LPs, and there can be no higher critical praise: “If there has ever been such a thing as a genius in the history of pop music, it’s Beefheart. There never was a greater, not even Mark E. Smith.” The Jukebox Rebel 23-Dec-2020