Did the otherworldy production keep interest from big producers around the world? Did the sound and tone of the album bring big attention from everyone else? This album sounds completely different from much that I hear during this era. Keep in mind, I wasn't born yet so I didn't experince this time period on my own. That's why I'm asking this question for you guys who are more in the know. What did the album 1999 do the 1980's?

[Edited 10/14/16 4:43am]

[Edited 10/14/16 4:43am]

Wolfie87 said:

Did the otherworldy production keep interest from big producers around the world? Did the sound and tone of the album bring big attention from everyone else? This album sounds completely different from much that I hear during this era. Keep in mind, I wasn't born yet so I didn't experince this time period on my own. That's why I'm asking this question for you guys who are more in the know. What did the album 1999 do the 1980's?

[Edited 10/14/16 4:43am]

[Edited 10/14/16 4:43am]

http://tinyurl.com/m786yz

Click on '...Thriller: The Album'

Interesting reading, here's the snippet about Prince...

Brian Banks (synthesizers) "It was late in the evening one night when we were working, and Quincy came to us. We all knew how ‘Thriller’ was going – they were trying to get Vincent Price, they were doing all this stuff – but he wanted this huge chord sequence."

He said, “There's this sound that I've got in my head. There's this underground, this new artist, that nobody's ever really heard of but he's great, he's hot, he's got this great song.” And he pulled out the album and it was Prince, '1999'. And you know the opening sound on that? Duh-da da, dur-duh-duh? Well, that was the sound – that big, bitey chord sound at the opening of '1999' – he wanted that, but bigger, for ‘Thriller’."

Wolfie87 said:

Did the otherworldy production keep interest from big producers around the world? Did the sound and tone of the album bring big attention from everyone else? This album sounds completely different from much that I hear during this era. Keep in mind, I wasn't born yet so I didn't experince this time period on my own. That's why I'm asking this question for you guys who are more in the know. What did the album 1999 do the 1980's?

[Edited 10/14/16 4:43am]

[Edited 10/14/16 4:43am]

Beyond that u can really feel a shift in the sound of funk and dance music starting in 1984. Electronic pop was there but it was mostly a British thing, definitely a "white" thing, and some of it was dancey (obvioulsy Gary Numan, The Human League, early Depeche Mode or Yazoo, to name a few, had some songs aimed at clubs) but it had a more intellectual, typically Brit pop vibe to it. Of course there was NY, the newborn electroboogie scene, but that was a niche, and it was more a mix of early electronica such as Kraftwerk and YMO and early NY hip-hop than a precursor to the minneapolis sound.

.

Then, others than Prince were taking awareness of the potential synths and drum machines had for Black and dance music, but usually live drums were still there, and so were horns, there was just more synth than before (see -to name the most obvious examples- Clinton's Atomic Dog, Chaka's Chaka, Rick James' Street Songs, even Thriller which despite what I posted above still relied on live drums, and even Prince and André themselves prior to Vanity 6 and 1999). Notably, work on Madonna's eponymous first album began before 1999 got released (but was completed after). This is important because this album would be as influencial as 1999.

.

Then comes 1984 and everything. And I mean everything that isn't electroboogie sounds like a mix between 1999 and Madonna. Just check out Chaka's I Feel For You, The Deele's Beat Street the Jackson girls 1984 albums (Janet, La Toya, randy), geez even the Jacksons' Victory, Stevie Wonder, Cameo, Larry Graham, Rick James, George and Bootsy... everyone did it! I could then go on with a list of dozens and dozens of funk and/or dance records by both minor and major acts, released between 1984 and 1991, that follow this receipe to the letter, and that's without including the Minneaopilis scene. The few funk acts who insisted on keeping the "old" sound would soon be deemed outdated and sink into obscurity. Soon, the British new wave/synthpop scene would add it to its sound palette, when acts desired to score a dance hit. What was the receipe? If I had to sum it up, I'd say:

- Heavy, dominant synth and no (or few) horns.

- A drum machine and no (or few) drums.

- Melodies and vocals that try to sound sexy and erotic, while at the same time often romantic and somewhat naive.

- Highly danceable, but very agressive grooves, with a strong focus of something that I could hardly explain but that I'd call "the Prince balance", i.e. the science of balancing keys, bass, rhythm guitar and a drum machine to create an asthetically perfect groove (mostly an extrapolation on what James Brown and everyone after him had been trying to achieve in the 70's, what I'd call the "JB balance").

.

One has to understand that the formula described above was virtually born with 1999. It hadn't come from nowhere of course, it had borrowed, and Prince and André themselves had been toying with that sound on their respective solo albums ever since For You in 1978, but 1999 made the formula more radical, and more imprtantly I think it was the first record that really showed producers that drum machines could be more than the emulation of live drums and that, even more importantly, a drum machine could be programmed in order to have a signature sound, a strong musical identity of its own. To some extent, the same could be said about synthesizers in the sense that that's when producers realized they could really be more than a fancy fad, but a very effective tool in order to create a feeling of modernity and sexiness. However all of this can also be found, though in a quite different way, in Madonna, and Madonna's warmer, more accessible sound, but the album came nearly after 1999.

.

I'm a huge fan of 1980's electrofunk, dance music, electroboogie, new wave, post punk, and synthpop, sometimes to the level of absurdity (I have dozens, if not hundreds of obscure records in those genres that most people would find despicable and still I somehow dig them, and I can tell you that I can find the aforementioned musical elements from of 1999 on most of those, and that moreover I can totally see a huge difference between 1983 and 1984, as if we'd jumped from a century to the next.

.

Then of course, soon after, came new jack swing, in parts thanks to Jam & Lewis and their unique capacity to bring the formula to a higher level and make it something else. But without the minneapolis sound (which goes much beyond the mpls scene, contrarily to what many often believe), there wouldn't have been new jack swing.

.

Finally, after about a decade where everything 80's was violently rejected by the music scene, in the early to mid 2000's, came the electroclash movement. It was extremely diverse in influences but a good half of its acts had an obvious Prince influence, even quoting the Linn or the synths Prince was using in 1982 on occasions. That half in turn directly gave birth to the huge, massive synthpop revival that's been going on for a decade, as well as the dreamwave movement and, to some extent, even the nu disco movement. Prince's influence, and particularly 1999's influence, is still all over the place in 2016.

.

So to reply your question? What did 1999 do to the 80's? It shaped them, no less. This album alone (or arguably this album and Madonna's debut), made the sound of a decade.

databank said:

So to reply your question? What did 1999 do to the 80's? It shaped them, no less. This album alone (or arguably this album and Madonna's debut), made the sound of a decade.

Even more monumentally proud of Prince after reading this. His work as an standalone engineer/producer is actually the single most amazing asset he showed of during his career, in my opinion.

Absolutely. "1999" is a highly influential album.

databank said:

Wolfie87 said:

Did the otherworldy production keep interest from big producers around the world? Did the sound and tone of the album bring big attention from everyone else? This album sounds completely different from much that I hear during this era. Keep in mind, I wasn't born yet so I didn't experince this time period on my own. That's why I'm asking this question for you guys who are more in the know. What did the album 1999 do the 1980's?

[Edited 10/14/16 4:43am]

[Edited 10/14/16 4:43am]

Beyond that u can really feel a shift in the sound of funk and dance music starting in 1984. Electronic pop was there but it was mostly a British thing, definitely a "white" thing, and some of it was dancey (obvioulsy Gary Numan, The Human League, early Depeche Mode or Yazoo, to name a few, had some songs aimed at clubs) but it had a more intellectual, typically Brit pop vibe to it. Of course there was NY, the newborn electroboogie scene, but that was a niche, and it was more a mix of early electronica such as Kraftwerk and YMO and early NY hip-hop than a precursor to the minneapolis sound.

.

Then, others than Prince were taking awareness of the potential synths and drum machines had for Black and dance music, but usually live drums were still there, and so were horns, there was just more synth than before (see -to name the most obvious examples- Clinton's Atomic Dog, Chaka's Chaka, Rick James' Street Songs, even Thriller which despite what I posted above still relied on live drums, and even Prince and André themselves prior to Vanity 6 and 1999). Notably, work on Madonna's eponymous first album began before 1999 got released (but was completed after). This is important because this album would be as influencial as 1999.

.

Then comes 1984 and everything. And I mean everything that isn't electroboogie sounds like a mix between 1999 and Madonna. Just check out Chaka's I Feel For You, The Deele's Beat Street the Jackson girls 1984 albums (Janet, La Toya, randy), geez even the Jacksons' Victory, Stevie Wonder, Cameo, Larry Graham, Rick James, George and Bootsy... everyone did it! I could then go on with a list of dozens and dozens of funk and/or dance records by both minor and major acts, released between 1984 and 1991, that follow this receipe to the letter, and that's without including the Minneaopilis scene. The few funk acts who insisted on keeping the "old" sound would soon be deemed outdated and sink into obscurity. Soon, the British new wave/synthpop scene would add it to its sound palette, when acts desired to score a dance hit. What was the receipe? If I had to sum it up, I'd say:

- Heavy, dominant synth and no (or few) horns.

- A drum machine and no (or few) drums.

- Melodies and vocals that try to sound sexy and erotic, while at the same time often romantic and somewhat naive.

- Highly danceable, but very agressive grooves, with a strong focus of something that I could hardly explain but that I'd call "the Prince balance", i.e. the science of balancing keys, bass, rhythm guitar and a drum machine to create an asthetically perfect groove (mostly an extrapolation on what James Brown and everyone after him had been trying to achieve in the 70's, what I'd call the "JB balance").

.

One has to understand that the formula described above was virtually born with 1999. It hadn't come from nowhere of course, it had borrowed, and Prince and André themselves had been toying with that sound on their respective solo albums ever since For You in 1978, but 1999 made the formula more radical, and more imprtantly I think it was the first record that really showed producers that drum machines could be more than the emulation of live drums and that, even more importantly, a drum machine could be programmed in order to have a signature sound, a strong musical identity of its own. To some extent, the same could be said about synthesizers in the sense that that's when producers realized they could really be more than a fancy fad, but a very effective tool in order to create a feeling of modernity and sexiness. However all of this can also be found, though in a quite different way, in Madonna, and Madonna's warmer, more accessible sound, but the album came nearly after 1999.

.

I'm a huge fan of 1980's electrofunk, dance music, electroboogie, new wave, post punk, and synthpop, sometimes to the level of absurdity (I have dozens, if not hundreds of obscure records in those genres that most people would find despicable and still I somehow dig them, and I can tell you that I can find the aforementioned musical elements from of 1999 on most of those, and that moreover I can totally see a huge difference between 1983 and 1984, as if we'd jumped from a century to the next.

.

Then of course, soon after, came new jack swing, in parts thanks to Jam & Lewis and their unique capacity to bring the formula to a higher level and make it something else. But without the minneapolis sound (which goes much beyond the mpls scene, contrarily to what many often believe), there wouldn't have been new jack swing.

.

Finally, after about a decade where everything 80's was violently rejected by the music scene, in the early to mid 2000's, came the electroclash movement. It was extremely diverse in influences but a good half of its acts had an obvious Prince influence, even quoting the Linn or the synths Prince was using in 1982 on occasions. That half in turn directly gave birth to the huge, massive synthpop revival that's been going on for a decade, as well as the dreamwave movement and, to some extent, even the nu disco movement. Prince's influence, and particularly 1999's influence, is still all over the place in 2016.

.

So to reply your question? What did 1999 do to the 80's? It shaped them, no less. This album alone (or arguably this album and Madonna's debut), made the sound of a decade.

Thank you, quite interesting

This seems to be pure historical fiction, a not uncommon popular media practice of lesser players involved with major music artists shortly following the passing of an industry legend. Congratulatory, ties two of the biggest stars of their respective era together in a compelling way, and makes for nice clickbait, but an invented/'misremebered' story.

.

Most aspects of that 'big, bitey chord sound' are present are 'Starlight', a demo (and, perhaps, the initial tracking) of 'Thriller' recorded in mid-to-late 1981, more than a year before '1999' was released. 'Controversy' was most likely not even released as of the date of this demo.

.

And '1999' (the song) was most likely not yet recorded, and, certainly, months away from release, when 'Thriller' (the song), in the form appearing on the album of the same name, was completed (during the Winter or Spring of 1982).

.

Thriller's Nov 30 1982 release date is a product of wanting to capitalize fully (and not risk early burnout/overexposure) from the cloying 'The Girl is Mine' (late September pre-release, mid-October wide release). And 'Thriller' as a project was delayed prior to this in part by mixing concerns and final song choice issues (and narrowly averted becoming an early-80s-cheese, disco-hanger-on 'Off the Wall II' in the process).

.

I wouldn't wager that MJJ, Quincy, or anyone in their circles, at the time, had an abiding interest in Prince, access to, or were referring in their statement(s) to, a pre-release of '1999' (the album) or any songs slated to appear on it.

.

If any contemporary material is a source of inspiration for that track, it would the design of the horn section, some of the synths, and the bassline (lifted wholesale) from RJ's 'Give It to Me Baby', and Temperton's own 'Off the Wall' from the previous album of the same name.

databank said:

Brian Banks (synthesizers) "It was late in the evening one night when we were working, and Quincy came to us. We all knew how ‘Thriller’ was going – they were trying to get Vincent Price, they were doing all this stuff – but he wanted this huge chord sequence."

He said, “There's this sound that I've got in my head. There's this underground, this new artist, that nobody's ever really heard of but he's great, he's hot, he's got this great song.” And he pulled out the album and it was Prince, '1999'. And you know the opening sound on that? Duh-da da, dur-duh-duh? Well, that was the sound – that big, bitey chord sound at the opening of '1999' – he wanted that, but bigger, for ‘Thriller’."

.

[Edited 10/14/16 18:14pm]

imprimis said:

This seems to be pure historical fiction, a not uncommon popular media practice of lesser players involved with major music artists shortly following the passing of an industry legend. Congratulatory, ties two of the biggest stars of their respective era together in a compelling way, and makes for nice clickbait, but an invented/'misremebered' story.

.

Most aspects of that 'big, bitey chord sound' are present are 'Starlight', a demo (and, perhaps, the initial tracking) of 'Thriller' recorded in mid-to-late 1981, more than a year before '1999' was released. 'Controversy' was most likely not even released as of the date of this demo.

.

And '1999' (the song) was most likely not yet recorded, and, certainly, months away from release, when 'Thriller' (the song), in the form appearing on the album of the same name, was completed (during the Winter or Spring of 1982).

.

Thriller's Nov 30 1982 release date is a product of wanting to capitalize fully (and not risk early burnout/overexposure) from the cloying 'The Girl is Mine' (late September pre-release, mid-October wide release). And 'Thriller' as a project was delayed prior to this in part by mixing concerns and final song choice issues (and narrowly averted becoming an early-80s-cheese, disco-hanger-on 'Off the Wall II' in the process).

.

I wouldn't wager that MJJ, Quincy, or anyone in their circles, at the time, had an abiding interest in Prince, access to, or were referring in their statement(s) to, a pre-release of '1999' (the album) or any songs slated to appear on it.

.

If any contemporary material is a source of inspiration for that track, it would the design of the horn section, some of the synths, and the bassline (lifted wholesale) from RJ's 'Give It to Me Baby', and Temperton's own 'Off the Wall' from the previous album of the same name.

databank said:

Brian Banks (synthesizers) "It was late in the evening one night when we were working, and Quincy came to us. We all knew how ‘Thriller’ was going – they were trying to get Vincent Price, they were doing all this stuff – but he wanted this huge chord sequence."

He said, “There's this sound that I've got in my head. There's this underground, this new artist, that nobody's ever really heard of but he's great, he's hot, he's got this great song.” And he pulled out the album and it was Prince, '1999'. And you know the opening sound on that? Duh-da da, dur-duh-duh? Well, that was the sound – that big, bitey chord sound at the opening of '1999' – he wanted that, but bigger, for ‘Thriller’."

.

[Edited 10/14/16 18:14pm]

I'd never paid attention to the dates but with 1999 (the song) being out on September 24 and Thriller (the album) on November 30, it doesn't seem to add-up. Jones once claims that the whole album was recorded in 8 weeks in 1982 but on the other hand according to Wikipedia it took from April 8 to November 8 so if those dates are correct and if the opening hook of Thriller was recorded quite at the end of the sessions, then it does add-up. It's not unthinkable that last minute arrangements could have been added to some tracks between late September and mid November, particularly when one knows that MJ would even go as far as to rework some tracks after an album was out, for the album's second printing (i happened with OTW, Bad and History). However I'm absolutely no MJ specialist so IDK, I just pasted this quote because I had no reason to doubt it so far, but I'll leave that to the MJ experts

Just found Starlight on YT and indeed the "duh-dah" is already there. And I assume it's impossible that Starlight wasn't already Thriller in October 82.

databank said:

Just found Starlight on YT and indeed the "duh-dah" is already there. And I assume it's impossible that Starlight wasn't already Thriller in October 82.

.

The Vincent Price voice-over session occurred in April, so the track as we know it in its final form was already completed by this time.

That is a great question I think it was a gamechanger because Prince wrote and produced it as a double album. He also wrote and produced both The Time and Vanity 6's albums at the same time, and then they toured together which was very successful. Plus Prince was getting alot more radio and television exposure (via MTV).....which led to Purple Rain

I'd disagree that this album sounds like nothing else released in 1982, it sounds like plenty, but it generally does the same thing a touch better. I think a lot of the funk bands were a few steps behind the synth bands in terms of sound, but the synth bands couldn't do the funk thing as well.

With respect to, say, Heaven 17 and Zapp and Cameo (who are all excellent) in 1982 you can still see/hear the seams between their various influences. 1999 is a complete synthesis of a lot of influences which I don't think anyone else had managed yet (although if anyone has some counter examples i'd love to hear them).

databank said:

It probably had some influence but that was also the way music was going at the time. Phil Collins has acknowledged that the Sussudio riff was directly lifted from 1999 though.

databank said:

Wolfie87 said:

Did the otherworldy production keep interest from big producers around the world? Did the sound and tone of the album bring big attention from everyone else? This album sounds completely different from much that I hear during this era. Keep in mind, I wasn't born yet so I didn't experince this time period on my own. That's why I'm asking this question for you guys who are more in the know. What did the album 1999 do the 1980's?

[Edited 10/14/16 4:43am]

[Edited 10/14/16 4:43am]

http://tinyurl.com/m786yz

Click on '...Thriller: The Album'

Interesting reading, here's the snippet about Prince...

Brian Banks (synthesizers) "It was late in the evening one night when we were working, and Quincy came to us. We all knew how ‘Thriller’ was going – they were trying to get Vincent Price, they were doing all this stuff – but he wanted this huge chord sequence."

He said, “There's this sound that I've got in my head. There's this underground, this new artist, that nobody's ever really heard of but he's great, he's hot, he's got this great song.” And he pulled out the album and it was Prince, '1999'. And you know the opening sound on that? Duh-da da, dur-duh-duh? Well, that was the sound – that big, bitey chord sound at the opening of '1999' – he wanted that, but bigger, for ‘Thriller’."

Ha! But of course the "official" narrative is that Prince was an MJ imitator. I've said it before, I'll say it again: Prince OWNED the 80s. 1999 sounds way ahead of its time. Shit, "Soft and Wet" sounds way ahead of its time. I hear so many one-hit wonders from the late 80s with floppy imitation Prince production.

206Michelle said:

databank said:

http://tinyurl.com/m786yz

Click on '...Thriller: The Album'

Interesting reading, here's the snippet about Prince...

Brian Banks (synthesizers) "It was late in the evening one night when we were working, and Quincy came to us. We all knew how ‘Thriller’ was going – they were trying to get Vincent Price, they were doing all this stuff – but he wanted this huge chord sequence."

He said, “There's this sound that I've got in my head. There's this underground, this new artist, that nobody's ever really heard of but he's great, he's hot, he's got this great song.” And he pulled out the album and it was Prince, '1999'. And you know the opening sound on that? Duh-da da, dur-duh-duh? Well, that was the sound – that big, bitey chord sound at the opening of '1999' – he wanted that, but bigger, for ‘Thriller’."

I also wasn't born yet. I wonder if the synthesizer chords at the beginning of 1999 also influenced the intro to Van Halen's "Jump" and the synth chords in Springsteen's "Glory Days"?

"Jump," bless it, sounds lifted from "Dirty Mind." I'm cribbing that from someone else on here who pointed that out.

jaawwnn said:

I'd disagree that this album sounds like nothing else released in 1982, it sounds like plenty, but it generally does the same thing a touch better. I think a lot of the funk bands were a few steps behind the synth bands in terms of sound, but the synth bands couldn't do the funk thing as well.

With respect to, say, Heaven 17 and Zapp and Cameo (who are all excellent) in 1982 you can still see/hear the seams between their various influences. 1999 is a complete synthesis of a lot of influences which I don't think anyone else had managed yet (although if anyone has some counter examples i'd love to hear them).

Zapp and Cameo were still using live drums and some horns in 1982. They had begun to integrate synthesizers but not to the extent they would after 1984.

Heaven 17 (a Human League offspring) belonged to that British scene that was way more advances than the US scene in terms of drum machines and synthesizers. However the sound of Heaven 17, while visionary, had little in common at first with what would become the Minneapolis sound, and its numerous variations starting with 1984 (the "forumula" I was evoking above).

It is of course possible that I have overlooked some acts that would have released music comparable to 1999 and Vanity 6 in 1982 or earlier, but those 3 do not qualify.

However do not overlook what I wrote in my OP: Prince definitely did borrow a lot from a lot of other people, and the synth and drum machine revolution was bound to happen, and already happening, with or without him. But as far as I know V6 and 1999 were 2 of their kind when released, and more defining to the 80's than anything else save maybe Madonna's Madonna.

databank said:

jaawwnn said:

I'd disagree that this album sounds like nothing else released in 1982, it sounds like plenty, but it generally does the same thing a touch better. I think a lot of the funk bands were a few steps behind the synth bands in terms of sound, but the synth bands couldn't do the funk thing as well.

With respect to, say, Heaven 17 and Zapp and Cameo (who are all excellent) in 1982 you can still see/hear the seams between their various influences. 1999 is a complete synthesis of a lot of influences which I don't think anyone else had managed yet (although if anyone has some counter examples i'd love to hear them).

Zapp and Cameo were still using live drums and some horns in 1982. They had begun to integrate synthesizers but not to the extent they would after 1984.

Heaven 17 (a Human League offspring) belonged to that British scene that was way more advances than the US scene in terms of drum machines and synthesizers. However the sound of Heaven 17, while visionary, had little in common at first with what would become the Minneapolis sound, and its numerous variations starting with 1984 (the "forumula" I was evoking above).

It is of course possible that I have overlooked some acts that would have released music comparable to 1999 and Vanity 6 in 1982 or earlier, but those 3 do not qualify.

However do not overlook what I wrote in my OP: Prince definitely did borrow a lot from a lot of other people, and the synth and drum machine revolution was bound to happen, and already happening, with or without him. But as far as I know V6 and 1999 were 2 of their kind when released, and more defining to the 80's than anything else save maybe Madonna's Madonna.

I never said they were part of the minneapolis sound but they were all experimenting with synths and drum machines (to some extent or other) and funk music in the studio, as was Prince. I think Prince hit on a thing that they were all reaching towards without fully getting there. Cameo had a lot of similar sounds but, yeah, still using live drums. I actually wasn't aware Zapp were still using live drums in the studio.

[Edited 10/16/16 14:58pm]

jaawwnn said:

databank said:

Zapp and Cameo were still using live drums and some horns in 1982. They had begun to integrate synthesizers but not to the extent they would after 1984.

Heaven 17 (a Human League offspring) belonged to that British scene that was way more advances than the US scene in terms of drum machines and synthesizers. However the sound of Heaven 17, while visionary, had little in common at first with what would become the Minneapolis sound, and its numerous variations starting with 1984 (the "forumula" I was evoking above).

It is of course possible that I have overlooked some acts that would have released music comparable to 1999 and Vanity 6 in 1982 or earlier, but those 3 do not qualify.

However do not overlook what I wrote in my OP: Prince definitely did borrow a lot from a lot of other people, and the synth and drum machine revolution was bound to happen, and already happening, with or without him. But as far as I know V6 and 1999 were 2 of their kind when released, and more defining to the 80's than anything else save maybe Madonna's Madonna.

I never said they were part of the minneapolis sound but they were all experimenting with synths and drum machines and funk music in the studio, as was Prince. I think Prince hit on a thing that they were all reaching towards without fully getting there.

Yeah, we pretty much agree.

databank said:

jaawwnn said:

I never said they were part of the minneapolis sound but they were all experimenting with synths and drum machines and funk music in the studio, as was Prince. I think Prince hit on a thing that they were all reaching towards without fully getting there.

Yeah, we pretty much agree.

mtlfan said:

206Michelle said:

databank said: I also wasn't born yet. I wonder if the synthesizer chords at the beginning of 1999 also influenced the intro to Van Halen's "Jump" and the synth chords in Springsteen's "Glory Days"?

"Jump," bless it, sounds lifted from "Dirty Mind." I'm cribbing that from someone else on here who pointed that out.

.

With all due respect affording to '1999', which I hold to be his best album, 'Jump' has more in common with 'Subdivisions' by Rush than '1999' (the song) or 'Dirty Mind'.

.

[Edited 10/16/16 15:34pm]

jaawwnn said:

It probably had some influence but that was also the way music was going at the time. Phil Collins has acknowledged that the Sussudio riff was directly lifted from 1999 though.

it does sound alot like 1999.

[Edited 10/16/16 18:34pm]