This week we go back to a countdown that originally aired a mere two days before John Hinckley Jr. attempted to assassinate Ronald Reagan to impress Jodie Foster. What a strange world. Reagan, of course, survived. And no, Alexander Haig, you were never in charge. Anyway, here was the popular music of that time.
40 - "Who Do You Think You're Foolin"," Donna Summer
39 - "How 'Bout Us," Champaign
38 - "Turn Me Loose," Loverboy
37 - "Sweetheart," Franke and the Knockouts
36 - "It's a Love Thing," The Whispers
35 - "Fade Away," Bruce Springsteen
34 - "Time Out of Mind," Steely Dan
33 - "Too Much Time On My Hands," Styx
32 - "Take it On the Run," REO Speedwagon
31 - "Games People Play," The Alan Parsons Project
We'll start with some R&B artists. Donna Summer's post-disco career dip was beginning when she only reached #40 with this synth-popper about the struggles of fame. It's not bad, but you can tell she wasn't quite in her comfort zone. Champaign return from my very first 80s lookback, back in June of last year, with their decent ballad about questioning a relationship's strength. And The Whispers had their third pop hit with a pleasant bit of lite funk about the side effects of romance. It's kind of like the stuff Kool and the Gang was putting out at this time, but better.
The rest of this section is rock, and I'm dividing the seven songs into groups marked "hard rock" and "less hard rock." First among the former is the debut hit from Calgary's Loverboy, a fun bit of cheese about a guy too wild to be tamed by love. But no, Mike Reno, you are not the craziest boy I've ever seen. Styx is back from June with their synth-driven ode to the devil's playthings, and REO Speedwagon return from that same chart with one of their few hits that still holds up to me, a power ballad about confronting a cheating partner. On this one, their poofy corporate sound actually sounds...right.
And lastly there's the stuff that isn't quite as loud as the ones I covered above, but still rocks, to varying degrees. Franke and the Knockouts return from last June with their limp debut single. I think I actually liked this as a kid. Silly boy. Bruce Springsteen followed up his first pop Top Ten, "Hungry Heart," with this mournful ballad about a man who knows his lover is drifting away from him, partly because of his own neglect, and his promise to change back into the man she loved in the first place. Very emotional. It isn't played as much as some of The Boss' other classics, but it's up there with his best. Steely Dan are here with their last Top 40 hit, a jazzy bit of almost-disco with their usual obtuse lyrics. I can tell you that "chasing the dragon" is a term for inhaling opiates. What that has to do with anything, only those guys know. And The Alan Parsons Project are back from January with their song about gambling or something. Like the singer of this song, I too don't want to spend the rest of my life quietly fading away.
30 - "Ain't Even Done with the Night," John Cougar
29 - "Just Between You and Me," April Wine
28 - "Guitar Man," Elvis Presley
27 - "Being with You," Smokey Robinson
26 - "I Ain't Gonna Stand for It" Stevie Wonder
25 - "Don't Stop the Music," Yarbrough and Peoples
24 - "Treat Me Right," Pat Benatar
23 - "Her Town Too," James Taylor and J.D. Souther
22 - "Precious to Me," Phil Seymour
21 - "Somebody's Knockin'" Terri Gibbs
We kick off this group with solo rockers. John Cougar had his first Top 20 hit with this urgent midtempo number about a guy who isn't sure he's the man his girlfriend wants and needs him to be. The shout-out to Sam Cooke is a nice touch. Plus, I swear I once saw him perform this on TV, during which he did the James Brown bit of being wrapped in a cape and led offstage, seemingly exhausted, then breaking loose and performing some more. Anyway, to me, it stand's as the man's best song. Four years after his death, Elvis popped back up on the charts with a 13-year-old recording of him singing a minor Jerry Reed country hit set to a new instrumental background. It's a cool little number that tells a tale of a guitar player struggling to find work in nightclubs. The cynical-seeming creation of this track makes me uneasy, but I still have to say I like it. Pat Benatar is back with her swaggering demand to get what she deserves from her man. And Phil Seymour, who first tasted success alongside fellow Oklohoman Dwight Twilley, had his one taste of solo success with this catchy bit of pop-rock love songcraft. Seymour has a distinctive, almost boyish voice, and it adds even more personality to an already solid track. Yet another lost gem.
Then there are a bands and two duos. Montreal rockers April Wine had their third, last, and biggest American hit with this ballad about a love built to last. Okay, but the only thing even slightly remarkable about it is the line they sing in French near the end. To me, "Oowatanite" is probably the best they ever did. Dallas natives Cavin Yarbrough and Alisa Peoples made their one big impression on the pop world with this spacey funk jam about keeping the tunes comin'. The contrast between Yarbrough's growls and Peoples' sweet singing works wonderfully, and that Chipmunksian bit of distorted vocals in the middle adds some extra flavor. No surprise that it's been a popular source for hip-hop sampling. And James Taylor made his last Top 40 appearance on this team-up with J.D. "You're Only Lonely" Souther. It's a sad, folky tale about a woman who feels isolated from the outside world after breaking up with her lover, because she doesn't want to hear what people are saying about her or to run into people she knows were friends with both her and her ex. Not a well-plumbed topic in pop songwriting, but a worthy one. Not a bad curtain call for Sweet Baby James.
The first half closes with three non-rock solo acts. Smokey Robinson is back from June with with his drippy "I love you, and I don't care what anyone says" ballad. For a much better variation on this theme, why not try Tracey Ullman's 1984 hit cover of Kirsty MacColl's "They Don't Know"? Stevie Wonder returns from January's '81 chart with a playful-yet-still-serious declaration that he will no longer put up with infidelity. And Terri Gibbs, a blind country singer, had her biggest hit with this sultry tune about being visited by none other than the Devil Himself, who appears before her with "blue eyes and blue jeans" and promises her "one heavenly night." An okay song, but I have to admit that for a while after this came out, I was sure that a guy was singing this. Her voice is kind of deep, you see. Plus there's that name, which when you only hear it, could belong to either gender. Anyway, Ms. Gibbs, should you ever chance upon this, I offer heartfelt apologies on behalf of my confused ten-year-old self.
Tomorrow: a song about a lover's commute, forbidden lust in the halls of academia, and an alien with a strange, rhyming appetite.
Friday, March 30, 2012
Monday, March 26, 2012
March 22, 1986 Part Two
Before we finish off 1986, let's go pay a visit to March 31, 1973. Roberta Flack was on top with "Killing Me Softly with His Song." The Top Ten included "Love Train," "Danny's Song," and "The Night the Lights Went Out in Georgia." And below...
..."Can you hear me, Major Tom?" David Bowie was at #17 with his first American hit, the space-mission-gone-wrong tale, "Space Oddity"...Judy Collins was at #32, using food as a metaphor for...something on the folky "Cook with Honey"...Aretha Franklin gets effectively seductive on "Master of Eyes (The Deepness of Your Eyes)" at #33...Bill Withers really enjoys liplocking with his special lady on the spectacularly funky "Kissing My Love" at #35...Jim Croce had his third hit with this week's #37, the leavin' song "One Less Set of Footsteps"...And at #38, The Chi-Lites get delusional by fooling themselves into thinking their getting a note from a special someone by writing "A Letter to Myself." But this week, the spotlight shines on...
16 - "Dead Skunk," Loudon Wainwright III
The son of a Life magazine writer, and future father of recording artists Rufus and Martha Wainwright, this North Carolina-born folksinger had his first and only pop hit with this country-flavored novelty ditty about roadkill. It mentions other deceased animals, but it focuses on one particularly odorous casualty, which is "stinkin' to high heaven." At the time, some saw the song as a metaphor for the shady dealings of the Nixon Administration, a view which Wainwright has never confirmed nor denied. Any way you hear it, it's a strange, fun little number.
Okay, now back to '86
20 - "(How to be a) Millionaire," ABC
19 - "Tender Love," Force MDs
18 - "Addicted to Love," Robert Palmer
17 - "Beat's So Lonely," Charlie Sexton
16 - "Silent Running," Mike and the Mechanics
We begin the second half with ABC and their danceable musing on the quest for wealth. Hey, these guys had some hits, they must have made some pretty good money, so I wouldn't give them any advice even if I had it. And apropos of nothing, this song reminds me of Depeche Mode.
Force MDs weren't army doctors, but rather a New York group that tried to combine doo-wop and hip-hop. Their only Top 40 hit was this seduction ballad. Not spectacular, but okay.
Next is Robert Palmer with what would be his biggest hit, a grinding rocker about the effects of a crippling dependency: heart problems, breathing problems, insomnia, loss of appetite. What awful drug causes such havoc on the body? Why, love, of course. An 80s perrennial, perhaps even better known for the video, in which Palmer is backed by a band of chalkily made-up, short-skirted women. Though I suspect they weren't actually playing those instruments. Just a feeling I have.
Then it's Austin-based singer-guitarist Charlie Sexton, who was still in his teens when he scored his only Top 40 hit with this New-Wavey rocker about unrequited lust. Big things were predicted for young Charlie, and while they didn't quite pan out, he's had a solid career in various bands, as a session musician, and is currently in Bob Dylan's touring group. So he's done all right.
This section ends with Mike and the Mechanics, back from last time with their grim tale of a future filled with war and tyranny. To me, it was their best single, even though their most successful would be 1989's "The Living Years." I wasn't a fan.
15 - "Manic Monday," The Bangles
14 - "Sanctify Yourself," Simple Minds
13 - "Let's Go All the Way," Sly Fox
12 - "How Will I Know," Whitney Houston
11 - "This Could Be the Night," Loverboy
This group opens with the first Top 40 hit from The Bangles, a Prince-penned pop treat about the pressures of getting ready to go back to work after the weekend, especially when your unemployed boyfriend insisted on sex the night before. "Walk Like an Egyptian" has its charms, but for my money, this is their best single.
Scotland's Simple Minds had their thrid American hit with this dance-rocker about trying to remember that "love is all you need" in the midst of the strife and stress of the world. There's even a bit of a religious overtone in the line where Jim Kerr says he prays that "you'll come back down here and show me the way." Regardless, a strong single that's probably been forgotten by many people.
Next are Sly Fox, an American New Wave/funk duo put together by a British producer who had their only major hit with this beat-heavy butt-mover whose title makes one think of sex, but whose verses contain somewhat obtuse lyrics about presidential parties, "cartoon capers," and the fact that "the Hollywood Squares are living in Disneyland." Whatever. I've always thought this was one of the decades better hits. It just has a flavor to it. "Zhum zhum zinny zinny" indeed.
Then it's Whitney Houston, back singing about a man who "takes me to the clouds above." Unfortunately, that means something different than it did back then.
Closing out this bunch are Canada's Loverboy with their last U.S. Top Ten, a bland ballad about "the night to end all nights." Apparently, that means he's taking his girlfriend's virginity. Some of these supposedly romantic songs really aren't when you break them down.
With the Top Ten, you get eggroll.
10 - "Kiss," Prince and the Revolution
The first and most successful single from the Parade LP, which was a soundtrack from Under the Cherry Moon, his flop film follow-up to Purple Rain. The film has been forgotten, but this, slinky, minimalist funk, which features a rare bit of falsetto by Mr. Nelson, as well as the helpful-but-dated reminder that "You don't have to watch Dynasty to have an attitude," has held up as a classic. The Art of Noise version with Tom Jones is fun, but it still doesn't hold a candle to the original.
9 - "What You Need," INXS
The first U.S. Top Ten for these Aussies is this okay rocker about throwing off the chains of worry. Me, I much prefer the title track from this album, Listen Like Thieves, even though it didn't make the Top 40.
8 - "King for a Day," The Thompson Twins
The non-twins return from last time with a song about acquiring power just to "give it all away." Yeah, that's not pointless at all.
7 - "Nikita," Elton John
Sir Elton appears this week with a tender love song to an East German border guard, separated from him by the Berlin Wall. In the video, the object of Elton's crush is a blonde woman, but as everyone with a knowledge of Cold War history knows, "Nikita" is a Russian male name (as in 50s-60s Soviet leader Nikita Khrushchev). Even at 15, I knew this. But it didn't matter to me. Whatever Nikita's gender, it's kind of a bland song.
6 - "Kyrie," Mr. Mister
The band the French might call "M. Monsieur" return with their song about life and spirtituality and such. "Broken Wings" beats this all ends up.
5 - "R.O.C.K. in the U.S.A.," John Cougar Mellencamp
Johnny had the biggest hit of the "Mellencamp" era with this rootsy rocker about how people from both "the cities" and "the smaller towns" all leave their homes, families and friends to pursue the dream of pop stardom. Then near the end, he lists several 50s and 60s artist that may have influenced these dreamers, including Bobby Fuller, the Young Rascals, the Shangri-Las, "and don't forget James Brown." How could anyone forget James Brown. Not a bad song, but well down my Cougar playlist.
4 - "Rock Me Amadeus," Falco
Yeah, you know this one. Cheesy rap-rock from an Austrian star. There were quite a few versions of this, but the version Casey played was the one that featured a spoken-word recitation of several important dates in Wolfgang Amadeus Mozart's life, from his birth, to his first piano conerto, to his wedding, to the debut of The Magic Flute, to his death, and most importantly of all, to the date Falco recorded this song. This is probably my favorite version. Oh, and because I can, I'm yanking the Uneasy Rider from Sting and giving it to Falco. Sorry, Gordon.
3 - "Secret Lovers," Atlantic Starr
Adultery never sounded so boring.
2 - "Sara," Starship
Maybe the worst #1 ever. And that includes some of the truly terrible ones from recent years. It's just that bad.
And at the peak of pop in '86, we find...
1 - "These Dreams," Heart
This band's first #1 finds them at the height of their suckitude. It's a gooey, craptastic ballad over which Nancy Wilson sings about mist and candles and woods and princes. A bad romance novel set to muIsic. The best I can say about it is that it's a thousand times better than "Sara." But ten thousand times worse than silence.
The NotCaseys this week were "I Can't Wait" by Nu Shooz, "Why Can't This be Love" by Van Halen, "Take Me Home" by Phil Collins, and "If You Leave" by Orchestral Manoeuvres in the Dark. Just to piss me off (or so I thought at the time), Casey opened the show by playing "Sara," the previous week's #1. And there were two LDDs. In the first, a man from Austria dedicated "That's What Friends are For" by Dionne and Friends to the Maryland farmer who employed the man's father when he was a POW during World War II, and with whom both father and son have since bonded. And in the second, a man about to go into the Army dedicated Harry Chapin's "Cat's in the Cradle" to the father whom circumstances have prevented him from seeing as much as both of them would like.
Sorry for the delay, but that just means a shorter wait for the next one.
..."Can you hear me, Major Tom?" David Bowie was at #17 with his first American hit, the space-mission-gone-wrong tale, "Space Oddity"...Judy Collins was at #32, using food as a metaphor for...something on the folky "Cook with Honey"...Aretha Franklin gets effectively seductive on "Master of Eyes (The Deepness of Your Eyes)" at #33...Bill Withers really enjoys liplocking with his special lady on the spectacularly funky "Kissing My Love" at #35...Jim Croce had his third hit with this week's #37, the leavin' song "One Less Set of Footsteps"...And at #38, The Chi-Lites get delusional by fooling themselves into thinking their getting a note from a special someone by writing "A Letter to Myself." But this week, the spotlight shines on...
16 - "Dead Skunk," Loudon Wainwright III
The son of a Life magazine writer, and future father of recording artists Rufus and Martha Wainwright, this North Carolina-born folksinger had his first and only pop hit with this country-flavored novelty ditty about roadkill. It mentions other deceased animals, but it focuses on one particularly odorous casualty, which is "stinkin' to high heaven." At the time, some saw the song as a metaphor for the shady dealings of the Nixon Administration, a view which Wainwright has never confirmed nor denied. Any way you hear it, it's a strange, fun little number.
Okay, now back to '86
20 - "(How to be a) Millionaire," ABC
19 - "Tender Love," Force MDs
18 - "Addicted to Love," Robert Palmer
17 - "Beat's So Lonely," Charlie Sexton
16 - "Silent Running," Mike and the Mechanics
We begin the second half with ABC and their danceable musing on the quest for wealth. Hey, these guys had some hits, they must have made some pretty good money, so I wouldn't give them any advice even if I had it. And apropos of nothing, this song reminds me of Depeche Mode.
Force MDs weren't army doctors, but rather a New York group that tried to combine doo-wop and hip-hop. Their only Top 40 hit was this seduction ballad. Not spectacular, but okay.
Next is Robert Palmer with what would be his biggest hit, a grinding rocker about the effects of a crippling dependency: heart problems, breathing problems, insomnia, loss of appetite. What awful drug causes such havoc on the body? Why, love, of course. An 80s perrennial, perhaps even better known for the video, in which Palmer is backed by a band of chalkily made-up, short-skirted women. Though I suspect they weren't actually playing those instruments. Just a feeling I have.
Then it's Austin-based singer-guitarist Charlie Sexton, who was still in his teens when he scored his only Top 40 hit with this New-Wavey rocker about unrequited lust. Big things were predicted for young Charlie, and while they didn't quite pan out, he's had a solid career in various bands, as a session musician, and is currently in Bob Dylan's touring group. So he's done all right.
This section ends with Mike and the Mechanics, back from last time with their grim tale of a future filled with war and tyranny. To me, it was their best single, even though their most successful would be 1989's "The Living Years." I wasn't a fan.
15 - "Manic Monday," The Bangles
14 - "Sanctify Yourself," Simple Minds
13 - "Let's Go All the Way," Sly Fox
12 - "How Will I Know," Whitney Houston
11 - "This Could Be the Night," Loverboy
This group opens with the first Top 40 hit from The Bangles, a Prince-penned pop treat about the pressures of getting ready to go back to work after the weekend, especially when your unemployed boyfriend insisted on sex the night before. "Walk Like an Egyptian" has its charms, but for my money, this is their best single.
Scotland's Simple Minds had their thrid American hit with this dance-rocker about trying to remember that "love is all you need" in the midst of the strife and stress of the world. There's even a bit of a religious overtone in the line where Jim Kerr says he prays that "you'll come back down here and show me the way." Regardless, a strong single that's probably been forgotten by many people.
Next are Sly Fox, an American New Wave/funk duo put together by a British producer who had their only major hit with this beat-heavy butt-mover whose title makes one think of sex, but whose verses contain somewhat obtuse lyrics about presidential parties, "cartoon capers," and the fact that "the Hollywood Squares are living in Disneyland." Whatever. I've always thought this was one of the decades better hits. It just has a flavor to it. "Zhum zhum zinny zinny" indeed.
Then it's Whitney Houston, back singing about a man who "takes me to the clouds above." Unfortunately, that means something different than it did back then.
Closing out this bunch are Canada's Loverboy with their last U.S. Top Ten, a bland ballad about "the night to end all nights." Apparently, that means he's taking his girlfriend's virginity. Some of these supposedly romantic songs really aren't when you break them down.
With the Top Ten, you get eggroll.
10 - "Kiss," Prince and the Revolution
The first and most successful single from the Parade LP, which was a soundtrack from Under the Cherry Moon, his flop film follow-up to Purple Rain. The film has been forgotten, but this, slinky, minimalist funk, which features a rare bit of falsetto by Mr. Nelson, as well as the helpful-but-dated reminder that "You don't have to watch Dynasty to have an attitude," has held up as a classic. The Art of Noise version with Tom Jones is fun, but it still doesn't hold a candle to the original.
9 - "What You Need," INXS
The first U.S. Top Ten for these Aussies is this okay rocker about throwing off the chains of worry. Me, I much prefer the title track from this album, Listen Like Thieves, even though it didn't make the Top 40.
8 - "King for a Day," The Thompson Twins
The non-twins return from last time with a song about acquiring power just to "give it all away." Yeah, that's not pointless at all.
7 - "Nikita," Elton John
Sir Elton appears this week with a tender love song to an East German border guard, separated from him by the Berlin Wall. In the video, the object of Elton's crush is a blonde woman, but as everyone with a knowledge of Cold War history knows, "Nikita" is a Russian male name (as in 50s-60s Soviet leader Nikita Khrushchev). Even at 15, I knew this. But it didn't matter to me. Whatever Nikita's gender, it's kind of a bland song.
6 - "Kyrie," Mr. Mister
The band the French might call "M. Monsieur" return with their song about life and spirtituality and such. "Broken Wings" beats this all ends up.
5 - "R.O.C.K. in the U.S.A.," John Cougar Mellencamp
Johnny had the biggest hit of the "Mellencamp" era with this rootsy rocker about how people from both "the cities" and "the smaller towns" all leave their homes, families and friends to pursue the dream of pop stardom. Then near the end, he lists several 50s and 60s artist that may have influenced these dreamers, including Bobby Fuller, the Young Rascals, the Shangri-Las, "and don't forget James Brown." How could anyone forget James Brown. Not a bad song, but well down my Cougar playlist.
4 - "Rock Me Amadeus," Falco
Yeah, you know this one. Cheesy rap-rock from an Austrian star. There were quite a few versions of this, but the version Casey played was the one that featured a spoken-word recitation of several important dates in Wolfgang Amadeus Mozart's life, from his birth, to his first piano conerto, to his wedding, to the debut of The Magic Flute, to his death, and most importantly of all, to the date Falco recorded this song. This is probably my favorite version. Oh, and because I can, I'm yanking the Uneasy Rider from Sting and giving it to Falco. Sorry, Gordon.
3 - "Secret Lovers," Atlantic Starr
Adultery never sounded so boring.
2 - "Sara," Starship
Maybe the worst #1 ever. And that includes some of the truly terrible ones from recent years. It's just that bad.
And at the peak of pop in '86, we find...
1 - "These Dreams," Heart
This band's first #1 finds them at the height of their suckitude. It's a gooey, craptastic ballad over which Nancy Wilson sings about mist and candles and woods and princes. A bad romance novel set to muIsic. The best I can say about it is that it's a thousand times better than "Sara." But ten thousand times worse than silence.
The NotCaseys this week were "I Can't Wait" by Nu Shooz, "Why Can't This be Love" by Van Halen, "Take Me Home" by Phil Collins, and "If You Leave" by Orchestral Manoeuvres in the Dark. Just to piss me off (or so I thought at the time), Casey opened the show by playing "Sara," the previous week's #1. And there were two LDDs. In the first, a man from Austria dedicated "That's What Friends are For" by Dionne and Friends to the Maryland farmer who employed the man's father when he was a POW during World War II, and with whom both father and son have since bonded. And in the second, a man about to go into the Army dedicated Harry Chapin's "Cat's in the Cradle" to the father whom circumstances have prevented him from seeing as much as both of them would like.
Sorry for the delay, but that just means a shorter wait for the next one.
Friday, March 23, 2012
March 22, 1986 Part One
This week we journey back to March of 1986. In a month's time, Geraldo Rivera would thrill us all by showing us all the amazing things Al Capone kept in his secret vault. If you're not old enough to remember that, look it up. It's exciting stuff. But before that happened, we had to settle for entertaining ourselves with the popular music of the day. And this was it:
40 - "Overjoyed," Stevie Wonder
39 - "What Have You Done for Me Lately," Janet Jackson
38 - "Russians," Sting
37 - "Your Love," The Outfield
36 - "Stages," ZZ Top
35 - "Live is Live," Opus
34 - "So Far Away," Dire Straits
33 - "I Think its Love," Jermaine Jackson
32 - "I'm Not the One," The Cars
31 - "Harlem Shuffle," The Rolling Stones
We begin with the solo singers. Stevie Wonder is here with a sweet ballad in which he tries to persuade someone to be as much in love with him as he is with her. The nature sounds in the background give it a cool extra bit of flavor. Janet Jackson debuted this week with the hit that began her road to superstardom, a swaggering stomp in which she takes her boyfriend to task for taking her for granted and not being as affectionate as he used to be. She provides the require attitude and sass, and proves that she's not just "the little sister." Sting is here with a dark, melodramatic ballad about fear of nuclear conflict between the United States and the Soviet Union. The only thing preventing this disaster, he says, is "if the Russians love their children too." It had good intentions, but it takes itself far too seriously, and those ticking clock sound effects at the beginning and end just put it over the top. I don't know if it contributed to the end of the Cold War, but it does win this week's Uneasy Rider. And Janet's brother Jermaine had his last pop Top 40 with this midtempo R&B blob about true romance. Not much, but I guess I can give him a bonus point for using the word "vacillating" in the lyrics.
There are three British bands in this section. The Outfield, whose name was inspired by the decidedly non-British game of baseball (their original moniker, in fact, was The Baseball Boys), had their biggest hit with this catchy pop-rocker a guy who has a one-night stand with an old flame while his girlfriend Josie is "on a vacation far away." A good song, and also one of those songs that everybody knows when they hear it but 99% have no idea who did it. Dire Straits had their third hit from the massive Brothers in Arms LP with this nice midtempo lament about being apart from a lover. Mellow, but not boring. It holds up. And the Stones are here with a strutting cover of a 1963 R&B hit by Bob and Earl. It's a gritty little dance tune with a lot of animal references. Not great, but certainly fun.
We close this group with two American bands and an Austrian one. Texans ZZ Top had another hit from their synth-heavy period with this okay number about not knowing where one stands in a relationship. Not one of the more distinctive songs from this era of their career. It lacks the musical and/or lyrical hooks of their best. Opus, from Graz, Austria, had their lone U.S. hit with this beer-hall singalong recorded live in concert. The lyrics don't really make sense: something about how "when we all give the power, we all give the best." And with his accent, the singer sounds like he's singing "life is life." But it's strangely appealing, with its "na na na na na"s and "labadab bop bop"s, and I heard quite a bit of it back in the day, because it went to #1 here in Canada. And Boston's Cars are here with a remixed version of a track from 1981's Shake it Up, a ballad about not being interested in someone. This falls into the "he doth protest too much" category. Okay song, but not one of their essential hits.
30 - "West End Girls," The Pet Shop Boys
29 - "When the Going Gets Tough, The Tough Get Going," Billy Ocean
28 - "Night Moves," Marilyn Martin
27 - "Life in a Northern Town," The Dream Academy
26 - "Living in America," James Brown
25 - "I Can't Wait," Stevie Nicks
24 - "Calling America," The Electric Light Orchestra
23 - "No Easy Way Out," Robert Tepper
22 - "Another Night," Aretha Franklin
21 - "The Sweetest Taboo," Sade
We begin this bunch by looking at the groups. The Pet Shop Boys had their first hit, and only American #1, with this synthpop classic on which Neil Tennant essentially raps the verses. Not sure what the lyrics are about, but they give off a general vibe of urban desperation. Anyway, great stuff, and I don't think they topped it. The Dream Academy return with their, um, dreamy hit about Salvation Army bands, lemonade, and reminiscing. And ELO had their last American hit with this song about being unable to reach a lover who's in America. Buddy, she's not coming back, and she doesn't even want to talk to you anymore. Take the hint. And as a song, it's an okay finale to their chart career.
Then we go to the solo men. Billy Ocean is back from last time with his movie hit about persistence. Also returning with a song from a movie is James Brown, gracing us again with his reminder that "you may not be looking for the promised land, but you might find it anyway." A nice thought. And also from Rocky IV, we have the one and only hit by New Jersey's Rober Tepper. It's a big, bold, state-of-the-art rock anthem about not giving up. Or maybe it is about giving up, because the chorus says "givin' in can't be wrong." Whatever. It's a blood-pumping, fist-pumping blast of audio adrenaline that can't help but get one in the mood to take on whatever challenges may present themselves. Ivan Drago may have needed fancy exercise equipment and steroids to get ready to fight, but all Rocky Balboa had to do was to listen to this while speeding in his Lamborghini and flashing back on his life and career for four minutes. And that's why he won. Anyway, I enjoy this song beyond all reason.
We wrap up the first half with women on their own. Marilyn Martin followed up her charttopping duet with Phil Collins, "Separate Lives," with her only solo hit. No, it's not a cover of a Bob Seger smash, but a sultry tale of romance and intrigue that asks "is it the love of the danger, or the danger of the love?" I'm not sure. All I know is, she comes off as a poor man's Pat Benatar. Stevie Nicks is here with a propulsive dance-rocker about a woman desparate to reunite with an old lover, even though it might not be the best thing for her. The way Stevie abruptly switches tense from first to third person and back is a little jarring, but still, solid song. The Queen of Soul attends this party with a nice little tune about being determined to go out and have fun in spite of missing her ex. Okay song, but it works as an Aretha delivery system. And Sade is back from last time singing of a love that's so wrong but so right. Yes, Sade, I will keep on, I will keep on loving you.
Tomorrow: a plea for financial advice, a dependency that seems to involve heavily made-up women, and a crazy start to the week.
40 - "Overjoyed," Stevie Wonder
39 - "What Have You Done for Me Lately," Janet Jackson
38 - "Russians," Sting
37 - "Your Love," The Outfield
36 - "Stages," ZZ Top
35 - "Live is Live," Opus
34 - "So Far Away," Dire Straits
33 - "I Think its Love," Jermaine Jackson
32 - "I'm Not the One," The Cars
31 - "Harlem Shuffle," The Rolling Stones
We begin with the solo singers. Stevie Wonder is here with a sweet ballad in which he tries to persuade someone to be as much in love with him as he is with her. The nature sounds in the background give it a cool extra bit of flavor. Janet Jackson debuted this week with the hit that began her road to superstardom, a swaggering stomp in which she takes her boyfriend to task for taking her for granted and not being as affectionate as he used to be. She provides the require attitude and sass, and proves that she's not just "the little sister." Sting is here with a dark, melodramatic ballad about fear of nuclear conflict between the United States and the Soviet Union. The only thing preventing this disaster, he says, is "if the Russians love their children too." It had good intentions, but it takes itself far too seriously, and those ticking clock sound effects at the beginning and end just put it over the top. I don't know if it contributed to the end of the Cold War, but it does win this week's Uneasy Rider. And Janet's brother Jermaine had his last pop Top 40 with this midtempo R&B blob about true romance. Not much, but I guess I can give him a bonus point for using the word "vacillating" in the lyrics.
There are three British bands in this section. The Outfield, whose name was inspired by the decidedly non-British game of baseball (their original moniker, in fact, was The Baseball Boys), had their biggest hit with this catchy pop-rocker a guy who has a one-night stand with an old flame while his girlfriend Josie is "on a vacation far away." A good song, and also one of those songs that everybody knows when they hear it but 99% have no idea who did it. Dire Straits had their third hit from the massive Brothers in Arms LP with this nice midtempo lament about being apart from a lover. Mellow, but not boring. It holds up. And the Stones are here with a strutting cover of a 1963 R&B hit by Bob and Earl. It's a gritty little dance tune with a lot of animal references. Not great, but certainly fun.
We close this group with two American bands and an Austrian one. Texans ZZ Top had another hit from their synth-heavy period with this okay number about not knowing where one stands in a relationship. Not one of the more distinctive songs from this era of their career. It lacks the musical and/or lyrical hooks of their best. Opus, from Graz, Austria, had their lone U.S. hit with this beer-hall singalong recorded live in concert. The lyrics don't really make sense: something about how "when we all give the power, we all give the best." And with his accent, the singer sounds like he's singing "life is life." But it's strangely appealing, with its "na na na na na"s and "labadab bop bop"s, and I heard quite a bit of it back in the day, because it went to #1 here in Canada. And Boston's Cars are here with a remixed version of a track from 1981's Shake it Up, a ballad about not being interested in someone. This falls into the "he doth protest too much" category. Okay song, but not one of their essential hits.
30 - "West End Girls," The Pet Shop Boys
29 - "When the Going Gets Tough, The Tough Get Going," Billy Ocean
28 - "Night Moves," Marilyn Martin
27 - "Life in a Northern Town," The Dream Academy
26 - "Living in America," James Brown
25 - "I Can't Wait," Stevie Nicks
24 - "Calling America," The Electric Light Orchestra
23 - "No Easy Way Out," Robert Tepper
22 - "Another Night," Aretha Franklin
21 - "The Sweetest Taboo," Sade
We begin this bunch by looking at the groups. The Pet Shop Boys had their first hit, and only American #1, with this synthpop classic on which Neil Tennant essentially raps the verses. Not sure what the lyrics are about, but they give off a general vibe of urban desperation. Anyway, great stuff, and I don't think they topped it. The Dream Academy return with their, um, dreamy hit about Salvation Army bands, lemonade, and reminiscing. And ELO had their last American hit with this song about being unable to reach a lover who's in America. Buddy, she's not coming back, and she doesn't even want to talk to you anymore. Take the hint. And as a song, it's an okay finale to their chart career.
Then we go to the solo men. Billy Ocean is back from last time with his movie hit about persistence. Also returning with a song from a movie is James Brown, gracing us again with his reminder that "you may not be looking for the promised land, but you might find it anyway." A nice thought. And also from Rocky IV, we have the one and only hit by New Jersey's Rober Tepper. It's a big, bold, state-of-the-art rock anthem about not giving up. Or maybe it is about giving up, because the chorus says "givin' in can't be wrong." Whatever. It's a blood-pumping, fist-pumping blast of audio adrenaline that can't help but get one in the mood to take on whatever challenges may present themselves. Ivan Drago may have needed fancy exercise equipment and steroids to get ready to fight, but all Rocky Balboa had to do was to listen to this while speeding in his Lamborghini and flashing back on his life and career for four minutes. And that's why he won. Anyway, I enjoy this song beyond all reason.
We wrap up the first half with women on their own. Marilyn Martin followed up her charttopping duet with Phil Collins, "Separate Lives," with her only solo hit. No, it's not a cover of a Bob Seger smash, but a sultry tale of romance and intrigue that asks "is it the love of the danger, or the danger of the love?" I'm not sure. All I know is, she comes off as a poor man's Pat Benatar. Stevie Nicks is here with a propulsive dance-rocker about a woman desparate to reunite with an old lover, even though it might not be the best thing for her. The way Stevie abruptly switches tense from first to third person and back is a little jarring, but still, solid song. The Queen of Soul attends this party with a nice little tune about being determined to go out and have fun in spite of missing her ex. Okay song, but it works as an Aretha delivery system. And Sade is back from last time singing of a love that's so wrong but so right. Yes, Sade, I will keep on, I will keep on loving you.
Tomorrow: a plea for financial advice, a dependency that seems to involve heavily made-up women, and a crazy start to the week.
Monday, March 19, 2012
March 19, 1983 Part Two
Before we return to '83, lets make a detour back to March 16, 1974. Terry Jacks was on top with the depressing-in-every-way-imaginacble "Seasons in the Sun." Other highlights of the Top Ten included "Dark Lady," "Jungle Boogie," "Rock On," and "Jet." And below...
...The first of the newbies shows up at #21, The Spinners mighty "Mighty Love, Part I." Mighty fine. Mighty...At #22, Anne Murray wants to show you "the peaceful feeling of my home" with the comforting "A Love Song"...Charlie Rich continued his run of hits with a song that was recorded several years earlier, the soul-tinged kiss-off "There Won't Be Anymore," found this week at #23...Yes, Stealers Wheel had a non-"Stuck in the Middle with You" American hit, and it was this week's #31, the "success isn't everything" tale "Star"...Dickie Goodman is at #35 with one of his "break-in" records. On "Energy Crisis '74," he uses hits by, among others, Helen Reddy, Stevie Wonder and three of the four Beatles to "interview" members of the Nixon Administration about the consequences of the then-current Arab oil embargo. Okay, but no "Mr. Jaws"..At #36. Johnnie Taylor worries that his illicit love affair is in danger of becoming public on his decent entry in the "adultery soul" genre, "We're Getting Careless with Our Love"...Jim Croce had his final Top Ten with the posthumously released ballad, "I'll Have to Say I Love You in a Song," this week's #38. Very sweet...And this week, I shine the Glovelight on not one but two singles, the first of which is...
26 - "Rock and Roll, Hoochie Koo," Rick Derringer
The guitarist from Indiana who was born Richard Zehringer had his first success with the band the McCoys, who went all the way to #1 in 1965 with "Hang on Sloopy." After that band broke up, he played in Edgar Winter's band, as well as on records by Alice Cooper, Todd Rundgren, and Steely Dan. But he did have one solo moment in the sun with a tale of a wild night at "the Old Town Hall" where he saw a band called "The Jokers" and ended up having sex with a young lady behind a barn. A fun little touchstone of 70s rock. A decade later, Derringer would write and perform what would become his second most famous song, "Real American," which accompanied Hulk Hogan's WWF ring entrances and later, a Newt Gingrich campaign speech.
Also featured this week...
40 - "W*O*L*D," Harry Chapin
The second of Chapin's four Top 40 hit s was this song that takes the form of a phone call from an aging disc jockey to his ex-wife. Inspired by a conversation he overheard between a Boston DJ and his ex, the main character recalls his career ups and downs, and insists that his current gig back in the town where he started, which involves hosting the morning show and emceeing high school dances, is making him happy, so she doesn't have to feel guilty about her contentment with her new husband. But of course, we aren't supposed to believe him. This certainly didn't reach the chart heights "Cat's in the Cradle" would later this year, but for my money, it's his best hit. I especially like the urgency of the strings and the echo that always follows the "D" in the title station's call letters.
Okay, now let's clean up 1983.
20 - "Der Kommissar," After the Fire
19 - "I've Got a Rock n'Roll Heart," Eric Clapton
18 - "Breaking Us in Two," Joe Jackson
17 - "Fall in Love with Me," Earth, Wind and Fire
16 - "Jeopardy," The Greg Kihn Band
The second half kicks off with England's After the Fire covering Austria's Falco. As I said when I encountered it on the year-end show, I like it better in German.
Next is Eric Clapton with a meh ballad in which he confesses to a would-be romantic partner that he "gets off" on '57 Chevys and "screaming guitars." So she'd better be ready for an interesting love life, to say the least.
Then it's Joe Jackson with his follow up to "Steppin' Out." It's a sophisticated piano-pop ballad about a relationship that, in spite of both parties' best efforts, just doesn't seem to work. Classy and classic.
Earth, Wind and Fire are here with what would be their last pop Top 40. It's rubbery midtempo funk in which the singer promises that if one takes him up on his offer, he'll "be your rock when Gibraltar falls." That's a damn good line. Maybe I'll steal it if I find an appropriate occasion to do so.
This bunch is anchored by Greg Kihn's hit about troubled love that became "Weird Al" Yankovic's ode to a then-defunct game show that was revived just months after that song came out. Coincidence? Well, yes.
15 - "I Know There's Something Going On," Frida
14 - "Come On Eileen," Dexy's Midnight Runners
13 - "Twilight Zone," Golden Earring
12 - "All Right," Christopher Cross
11 - "Stray Cat Strut," The Stray Cats
This section begins with former ABBA diva/current German princess Frida and her biggest solo hit. Darker than anything she did with the old band, and that's a good thing.
Next are Dexy's Midnight Runners with their iconic charttopper about a woman who makes the singer thing things that "verge on dirty." And the title of this song has had the same effect on many other people, I'm sure.
Holland's Golden Earring found one more American hit by borrowing a title from Rod Serling and a plot from Robert Ludlum. Even though I'm not a James Bond fan at all, I do have a mental list of songs that weren't Bond themes but could have and perhaps should have been, and this is on it.
Then it's Chris Cross with one of his later hits. The song title overrates it.
This group ends with New York's most successful rockabilly revivalists and their biggest hit, a song about a cat on the prowl. And yes, it does indeed have both cat class and cat style.
Cometh the hour, cometh the Top Ten.
10 - "Mr. Roboto," Styx
Chicago's Bob Seger get all futuristic and take us into a world where there are a lot of robots and people speak Japanese when they aren't mispronouncing the English word "modern." It was such a preposterous career move, and yet it worked. And lovers of the cheesy side of pop and rock are forever grateful.
9 - "One on One," Daryl Hall and John Oates
The uberduo of the decade get seductive while singing about a game that actually takes place nowhere near a basketball court. Or maybe it does. I don't know what these guys were into at this time.
8 - "Separate Ways (Worlds Apart)," Journey
Steve Perry sings that "one night will remind you" why you shouldn't have left him. Really, Steve, you're that good? Well, I have no interest in finding out for myself, so I'll take your word for it.
7 - "We've Got Tonight," Kenny Rogers and Sheena Easton
There was barely any reason for the original version of this song to exist, so a cover is even more negligible. But Kenny and Sheena wrang a Top Ten out of it, so good for them, I guess.
6 - "You Are," Lionel Richie
No, Lionel, you are. And I mean that in a good way.
5 - "Back on the Chain Gang," The Pretenders
Breaking metaphorical rocks with Chrissie Hynde and company on their only U.S. Top Five. This song is nothing like "a pigeon from hell," but I do like that line.
4 - "Hungry Like the Wolf," Duran Duran
The song that broke the Duranies in America. Impossibly catchy, exotic new wave. I will never apologize for making this the first 45 I ever bought. It might be in my all time Top 100.
3 - "Do You Really Want to Hurt Me," Culture Club
Boy George announced himself to the world on this aching ballad. Again, strip away the makeup and the image, and what's left is an undeniable blue-eyed soul gem.
2 - "Shame on the Moon," Bob Seger and the Silver Bullet Band
And here's the Styx of Detroit. But where his Chicago counterparts went all techno and sci-fi, Bobby went country and introspective. I'm sure this has been performed much less at karaoke, but it's clearly the better artistic achievement.
And 29 years ago, the pop chart was topped by...
1 - "Billie Jean," Michael Jackson
The defining hit of his career, bar none. Think what you want about the man, but this cannot be denied. Quincy Jones thought having the song go thirty seconds before the vocals came in was too long, but Michael disagreed, saying that this part was the "jelly" that made him want to dance. He won out, and then we all did.
The NotCaseys were "It's Raining Men" by The Weather Girls, "Shoud I Stay or Should I Go" by The Clash, "Photograph" by Def Leppard, and "Always Something There to Remind Me" by Naked Eyes. And there were two LDDs. A woman in Trinidad dedicated Kenny Rogers' "You Decorated My Life" to the man she fell in love with and intended to marry, and a Navy sailor deployed in the Mediterrenean sent out John Denver's "Annie's Song" to his wife, despite the fact that her name was Debbie.
And there you have it, whether you want it or not. But you've read this far, so I imagine you did. And if you want more, I will provide in a week or so.
...The first of the newbies shows up at #21, The Spinners mighty "Mighty Love, Part I." Mighty fine. Mighty...At #22, Anne Murray wants to show you "the peaceful feeling of my home" with the comforting "A Love Song"...Charlie Rich continued his run of hits with a song that was recorded several years earlier, the soul-tinged kiss-off "There Won't Be Anymore," found this week at #23...Yes, Stealers Wheel had a non-"Stuck in the Middle with You" American hit, and it was this week's #31, the "success isn't everything" tale "Star"...Dickie Goodman is at #35 with one of his "break-in" records. On "Energy Crisis '74," he uses hits by, among others, Helen Reddy, Stevie Wonder and three of the four Beatles to "interview" members of the Nixon Administration about the consequences of the then-current Arab oil embargo. Okay, but no "Mr. Jaws"..At #36. Johnnie Taylor worries that his illicit love affair is in danger of becoming public on his decent entry in the "adultery soul" genre, "We're Getting Careless with Our Love"...Jim Croce had his final Top Ten with the posthumously released ballad, "I'll Have to Say I Love You in a Song," this week's #38. Very sweet...And this week, I shine the Glovelight on not one but two singles, the first of which is...
26 - "Rock and Roll, Hoochie Koo," Rick Derringer
The guitarist from Indiana who was born Richard Zehringer had his first success with the band the McCoys, who went all the way to #1 in 1965 with "Hang on Sloopy." After that band broke up, he played in Edgar Winter's band, as well as on records by Alice Cooper, Todd Rundgren, and Steely Dan. But he did have one solo moment in the sun with a tale of a wild night at "the Old Town Hall" where he saw a band called "The Jokers" and ended up having sex with a young lady behind a barn. A fun little touchstone of 70s rock. A decade later, Derringer would write and perform what would become his second most famous song, "Real American," which accompanied Hulk Hogan's WWF ring entrances and later, a Newt Gingrich campaign speech.
Also featured this week...
40 - "W*O*L*D," Harry Chapin
The second of Chapin's four Top 40 hit s was this song that takes the form of a phone call from an aging disc jockey to his ex-wife. Inspired by a conversation he overheard between a Boston DJ and his ex, the main character recalls his career ups and downs, and insists that his current gig back in the town where he started, which involves hosting the morning show and emceeing high school dances, is making him happy, so she doesn't have to feel guilty about her contentment with her new husband. But of course, we aren't supposed to believe him. This certainly didn't reach the chart heights "Cat's in the Cradle" would later this year, but for my money, it's his best hit. I especially like the urgency of the strings and the echo that always follows the "D" in the title station's call letters.
Okay, now let's clean up 1983.
20 - "Der Kommissar," After the Fire
19 - "I've Got a Rock n'Roll Heart," Eric Clapton
18 - "Breaking Us in Two," Joe Jackson
17 - "Fall in Love with Me," Earth, Wind and Fire
16 - "Jeopardy," The Greg Kihn Band
The second half kicks off with England's After the Fire covering Austria's Falco. As I said when I encountered it on the year-end show, I like it better in German.
Next is Eric Clapton with a meh ballad in which he confesses to a would-be romantic partner that he "gets off" on '57 Chevys and "screaming guitars." So she'd better be ready for an interesting love life, to say the least.
Then it's Joe Jackson with his follow up to "Steppin' Out." It's a sophisticated piano-pop ballad about a relationship that, in spite of both parties' best efforts, just doesn't seem to work. Classy and classic.
Earth, Wind and Fire are here with what would be their last pop Top 40. It's rubbery midtempo funk in which the singer promises that if one takes him up on his offer, he'll "be your rock when Gibraltar falls." That's a damn good line. Maybe I'll steal it if I find an appropriate occasion to do so.
This bunch is anchored by Greg Kihn's hit about troubled love that became "Weird Al" Yankovic's ode to a then-defunct game show that was revived just months after that song came out. Coincidence? Well, yes.
15 - "I Know There's Something Going On," Frida
14 - "Come On Eileen," Dexy's Midnight Runners
13 - "Twilight Zone," Golden Earring
12 - "All Right," Christopher Cross
11 - "Stray Cat Strut," The Stray Cats
This section begins with former ABBA diva/current German princess Frida and her biggest solo hit. Darker than anything she did with the old band, and that's a good thing.
Next are Dexy's Midnight Runners with their iconic charttopper about a woman who makes the singer thing things that "verge on dirty." And the title of this song has had the same effect on many other people, I'm sure.
Holland's Golden Earring found one more American hit by borrowing a title from Rod Serling and a plot from Robert Ludlum. Even though I'm not a James Bond fan at all, I do have a mental list of songs that weren't Bond themes but could have and perhaps should have been, and this is on it.
Then it's Chris Cross with one of his later hits. The song title overrates it.
This group ends with New York's most successful rockabilly revivalists and their biggest hit, a song about a cat on the prowl. And yes, it does indeed have both cat class and cat style.
Cometh the hour, cometh the Top Ten.
10 - "Mr. Roboto," Styx
Chicago's Bob Seger get all futuristic and take us into a world where there are a lot of robots and people speak Japanese when they aren't mispronouncing the English word "modern." It was such a preposterous career move, and yet it worked. And lovers of the cheesy side of pop and rock are forever grateful.
9 - "One on One," Daryl Hall and John Oates
The uberduo of the decade get seductive while singing about a game that actually takes place nowhere near a basketball court. Or maybe it does. I don't know what these guys were into at this time.
8 - "Separate Ways (Worlds Apart)," Journey
Steve Perry sings that "one night will remind you" why you shouldn't have left him. Really, Steve, you're that good? Well, I have no interest in finding out for myself, so I'll take your word for it.
7 - "We've Got Tonight," Kenny Rogers and Sheena Easton
There was barely any reason for the original version of this song to exist, so a cover is even more negligible. But Kenny and Sheena wrang a Top Ten out of it, so good for them, I guess.
6 - "You Are," Lionel Richie
No, Lionel, you are. And I mean that in a good way.
5 - "Back on the Chain Gang," The Pretenders
Breaking metaphorical rocks with Chrissie Hynde and company on their only U.S. Top Five. This song is nothing like "a pigeon from hell," but I do like that line.
4 - "Hungry Like the Wolf," Duran Duran
The song that broke the Duranies in America. Impossibly catchy, exotic new wave. I will never apologize for making this the first 45 I ever bought. It might be in my all time Top 100.
3 - "Do You Really Want to Hurt Me," Culture Club
Boy George announced himself to the world on this aching ballad. Again, strip away the makeup and the image, and what's left is an undeniable blue-eyed soul gem.
2 - "Shame on the Moon," Bob Seger and the Silver Bullet Band
And here's the Styx of Detroit. But where his Chicago counterparts went all techno and sci-fi, Bobby went country and introspective. I'm sure this has been performed much less at karaoke, but it's clearly the better artistic achievement.
And 29 years ago, the pop chart was topped by...
1 - "Billie Jean," Michael Jackson
The defining hit of his career, bar none. Think what you want about the man, but this cannot be denied. Quincy Jones thought having the song go thirty seconds before the vocals came in was too long, but Michael disagreed, saying that this part was the "jelly" that made him want to dance. He won out, and then we all did.
The NotCaseys were "It's Raining Men" by The Weather Girls, "Shoud I Stay or Should I Go" by The Clash, "Photograph" by Def Leppard, and "Always Something There to Remind Me" by Naked Eyes. And there were two LDDs. A woman in Trinidad dedicated Kenny Rogers' "You Decorated My Life" to the man she fell in love with and intended to marry, and a Navy sailor deployed in the Mediterrenean sent out John Denver's "Annie's Song" to his wife, despite the fact that her name was Debbie.
And there you have it, whether you want it or not. But you've read this far, so I imagine you did. And if you want more, I will provide in a week or so.
Saturday, March 17, 2012
March 19, 1983 Part One
This week we go back to the third month of 1983. At this time, Jim Valvano and the North Carolina State Wolfpack were in the midst of their improbable run to the NCAA basketball championship. As far as I'm concerned, this was the year March truly went mad. While that was happening, the following music was popular:
40 - "So Close," Diana Ross
39 - "Burning Heart," Vandenberg
38 - "Winds of Change," Jefferson Starship
37 - "Little Red Corvette," Prince
36 - "She Blinded Me with Science," Thomas Dolby
35 - "On the Loose," Saga
34 - "Your Love is Driving Me Crazy," Sammy Hagar
33 - "Pass the Dutchie," Musical Youth
32 - "Lies," The Thompson Twins
31 - "My Kind of Lady," Supertramp
We'll start out with American solo acts. Diana Ross is here with a retro-love song that sounds kind of like "Earth Angel" or maybe even "Hey Paula." Serviceable, but I can see why it never got higher than 40, Prince returns from 1he '83 year-end special with his song that compares a Chevrolet to a certain part of a woman's anatomy. Only he could get away with that. From anyone else, it'd be crude and awkward. Prince had a gift. An odd, odd gift. And Sammy Hagar also cracked the year's Top 100 with this bland bit of commercial rock. At least "I Can't Drive 55" had a little personality.
Then we have bands from outside Britain. Dutch rockers Vandenberg had their only American hit with this cheesily charming power ballad. There's something about hair-metal with an accent. Still, as far as songs with that title go, it would get destroyed a couple years later by Survivor. Jefferson Starship have another song on one of these. I dreaded it, but it turns out it's not another terrible ballad, but rather a midtempo rocker about how one must prepare for life's unpredicability. You can actually hear a little Airplane in it, especially when Grace Slick is singing. I like it. And Canadian prog-rockers Saga (originally called Pockets) had their only American pop hit with this catchy ditty about casting inhibition aside and letting go for a little. I think that's it. Pretty good, and I like the instrumental bridge, but I still prefer one of their other singles, "Wind Him Up."
This section closes with acts from the U.K. Thomas Dolby is back with his delightfully daft synthpop experiment about the ultimate chemical reaction. May we all be renedered sightless in such fashion at least once in our lives. Musical Youth, a schoolboy reggae band from Birmingham, had their one American hit with this breezy singalong classic that was adapted from a song about marijuana called "Pass the Kouchie." A kouchie, apparently, is a bong, and so that was changed to "Dutchie," which is a sort of cooking pot. But the song's druggy origin still shines through (Pass the cooking pot on the left hand side? Suuuure.). Anyway, the earwormy nature of the song, combined with the exuberant performance, made it an international smash that's still well-remembered to this day. And for the strange, and ultimately unsuccessful, attempt that was made to not make people think the song was about weed, it wins this week's Uneasy Rider. The Thompson Twins had their first American hit with this poppy denounciation of deceit. It comes off as a bit dated now, with those brief detours into "Asian" and "Arabic" motifs now seeming extremely silly. But it's still pretty fun, and was a good setup for their run of hits to come. And Supertramp had their last hit with their classic lineup with this okay love ballad. I do, however, question Rick Davies' decision to go to the falsetto in a couple parts. It worked on "Goodbye Stranger," but here, it's just distracting.
30 - "Dreamin' is Easy," Steel Breeze
29 - "Make Love Stay," Dan Fogelberg
28 - "Change of Heart," Tom Petty and the Heartbreakers
27 - "Poison Arrow," ABC
26 - "You and I," Eddie Rabbitt and Crystal Gayle
25 - "Little Too Late," Pat Benatar
24 - "Beat It," Michael Jackson
23 - "Allentown," Billy Joel
22 - "Down Under," Men at Work
21 - "Baby, Come to Me," Patti Austin and James Ingram
We begin our look at this group with, well, groups. Sacramento, California's Steel Breeze had their second and final hit with this unremarkable pop-rocker about loneliness. "No one likes to dream alone," they sing. Wait, is their any other way to dream? Forgive me, I haven't seen Inception yet, though I fully intend to. Until then, this doesn't make sense. Tom Petty and company are here with a rockin' kiss-off to a lover. "You were the moon and sun, you're just a loaded gun now." Ouch. Well that certainly gets the point across. England's ABC had their secon American hit with another bit of slick, sophisticated New Wave, this one about love gone wrong. For some reason, I really enjoy the way Martin Fry sings the word "stupid" on this. And Aussies Men at Work are back from the Top 100 of the year with their second #1, the song that taught us the word "Vegemite." No, I've never tried it. And I've never wanted to. I would, however, be interested in having a strange lady take me in and give me breakfast.
Then we have some good old easy listening. Dan Fogelberg, one of the monsters of the genre, had another hit with this ballad about the mystery of what makes relationships last. I don't know the answer, but surely it doesn't involve lyrics like "precious flesh is greedily consumed." Make your lover think of cannibalism. Yeah, that'll work. And there are also two duets we've covered before, from the teams of Rabbitt/Gayle and Austin/Ingram. Both bore me to the point where I'm not going to say any more about them.
We end the first half with three of the decades prolific American hitmakers. Pat Benatar shows up with a solid diss of a guy who wants to come back to her after leaving her for "a good offer down on Third Avenue." I don't really remember this one, but it turns out it's one of her better ones. Michael Jackson cemented his emergence as the world's biggest music superstar by proving he could rock on this classic about, appropriately enough, proving oneself. He did indeed show how funky and strong he was. And Billy Joel is back again with his portrait of a dying Pennsylvania steel town. Besides the title burg, the song also mentions another city, Bethlehem, which gives me the opportunity to congratulate the latter community's Lehigh University Mountain Hawks for upsetting mighty Duke in the first round of the NCAAs. That was fun to watch.
Tomorrow: espionage, robots, and famished lupines.
40 - "So Close," Diana Ross
39 - "Burning Heart," Vandenberg
38 - "Winds of Change," Jefferson Starship
37 - "Little Red Corvette," Prince
36 - "She Blinded Me with Science," Thomas Dolby
35 - "On the Loose," Saga
34 - "Your Love is Driving Me Crazy," Sammy Hagar
33 - "Pass the Dutchie," Musical Youth
32 - "Lies," The Thompson Twins
31 - "My Kind of Lady," Supertramp
We'll start out with American solo acts. Diana Ross is here with a retro-love song that sounds kind of like "Earth Angel" or maybe even "Hey Paula." Serviceable, but I can see why it never got higher than 40, Prince returns from 1he '83 year-end special with his song that compares a Chevrolet to a certain part of a woman's anatomy. Only he could get away with that. From anyone else, it'd be crude and awkward. Prince had a gift. An odd, odd gift. And Sammy Hagar also cracked the year's Top 100 with this bland bit of commercial rock. At least "I Can't Drive 55" had a little personality.
Then we have bands from outside Britain. Dutch rockers Vandenberg had their only American hit with this cheesily charming power ballad. There's something about hair-metal with an accent. Still, as far as songs with that title go, it would get destroyed a couple years later by Survivor. Jefferson Starship have another song on one of these. I dreaded it, but it turns out it's not another terrible ballad, but rather a midtempo rocker about how one must prepare for life's unpredicability. You can actually hear a little Airplane in it, especially when Grace Slick is singing. I like it. And Canadian prog-rockers Saga (originally called Pockets) had their only American pop hit with this catchy ditty about casting inhibition aside and letting go for a little. I think that's it. Pretty good, and I like the instrumental bridge, but I still prefer one of their other singles, "Wind Him Up."
This section closes with acts from the U.K. Thomas Dolby is back with his delightfully daft synthpop experiment about the ultimate chemical reaction. May we all be renedered sightless in such fashion at least once in our lives. Musical Youth, a schoolboy reggae band from Birmingham, had their one American hit with this breezy singalong classic that was adapted from a song about marijuana called "Pass the Kouchie." A kouchie, apparently, is a bong, and so that was changed to "Dutchie," which is a sort of cooking pot. But the song's druggy origin still shines through (Pass the cooking pot on the left hand side? Suuuure.). Anyway, the earwormy nature of the song, combined with the exuberant performance, made it an international smash that's still well-remembered to this day. And for the strange, and ultimately unsuccessful, attempt that was made to not make people think the song was about weed, it wins this week's Uneasy Rider. The Thompson Twins had their first American hit with this poppy denounciation of deceit. It comes off as a bit dated now, with those brief detours into "Asian" and "Arabic" motifs now seeming extremely silly. But it's still pretty fun, and was a good setup for their run of hits to come. And Supertramp had their last hit with their classic lineup with this okay love ballad. I do, however, question Rick Davies' decision to go to the falsetto in a couple parts. It worked on "Goodbye Stranger," but here, it's just distracting.
30 - "Dreamin' is Easy," Steel Breeze
29 - "Make Love Stay," Dan Fogelberg
28 - "Change of Heart," Tom Petty and the Heartbreakers
27 - "Poison Arrow," ABC
26 - "You and I," Eddie Rabbitt and Crystal Gayle
25 - "Little Too Late," Pat Benatar
24 - "Beat It," Michael Jackson
23 - "Allentown," Billy Joel
22 - "Down Under," Men at Work
21 - "Baby, Come to Me," Patti Austin and James Ingram
We begin our look at this group with, well, groups. Sacramento, California's Steel Breeze had their second and final hit with this unremarkable pop-rocker about loneliness. "No one likes to dream alone," they sing. Wait, is their any other way to dream? Forgive me, I haven't seen Inception yet, though I fully intend to. Until then, this doesn't make sense. Tom Petty and company are here with a rockin' kiss-off to a lover. "You were the moon and sun, you're just a loaded gun now." Ouch. Well that certainly gets the point across. England's ABC had their secon American hit with another bit of slick, sophisticated New Wave, this one about love gone wrong. For some reason, I really enjoy the way Martin Fry sings the word "stupid" on this. And Aussies Men at Work are back from the Top 100 of the year with their second #1, the song that taught us the word "Vegemite." No, I've never tried it. And I've never wanted to. I would, however, be interested in having a strange lady take me in and give me breakfast.
Then we have some good old easy listening. Dan Fogelberg, one of the monsters of the genre, had another hit with this ballad about the mystery of what makes relationships last. I don't know the answer, but surely it doesn't involve lyrics like "precious flesh is greedily consumed." Make your lover think of cannibalism. Yeah, that'll work. And there are also two duets we've covered before, from the teams of Rabbitt/Gayle and Austin/Ingram. Both bore me to the point where I'm not going to say any more about them.
We end the first half with three of the decades prolific American hitmakers. Pat Benatar shows up with a solid diss of a guy who wants to come back to her after leaving her for "a good offer down on Third Avenue." I don't really remember this one, but it turns out it's one of her better ones. Michael Jackson cemented his emergence as the world's biggest music superstar by proving he could rock on this classic about, appropriately enough, proving oneself. He did indeed show how funky and strong he was. And Billy Joel is back again with his portrait of a dying Pennsylvania steel town. Besides the title burg, the song also mentions another city, Bethlehem, which gives me the opportunity to congratulate the latter community's Lehigh University Mountain Hawks for upsetting mighty Duke in the first round of the NCAAs. That was fun to watch.
Tomorrow: espionage, robots, and famished lupines.
Sunday, March 11, 2012
March 12, 1988 Part Two
Before we close '88, let's have a little glimpse at the action from March 12, 1977.
Barbra Streisand was on top with "Evergreen." Below her, the Top Ten included favorites like "Blinded by the Light," "Dancing Queen," "Rich Girl," and "Go Your Own Way"...The first newbie is at #12, "Boogie Child" by the Bee Gees. It was their attempt at more of a straight-up funk number, rather than disco. Honestly, I think it's borderline embarrassing. But they would rebound from this. Would they ever...Boston had their second hit with "Long Time," this week at #22. I'm sure some classic rock station somewhere is playing it right now...At #24, George Harrison invites you to "Crackerbox Palace." From the sounds of it, it seems like quite an odd place, but I'd still go if I had the chance...Elton John is here with an invitation for people in various American locales to "move that muscle and shake that fat" on "Bite Your Lip (Get Up and Dance)" at #26. Isn't that also sometimes called "The White Man's Overbite?"...Five years after his first hit, "Doctor My Eyes," Jackson Browne finally picked up his second with this week's #27, "Here Come Those Tears Again," It's sensitive balladry about missing a lost love, typical of his work...Olivia Newton-John is at #32 with a ballad on which she pines for a man named "Sam." I remember it from back in the day, and even then, it wasn't one of my favorites of hers...At 33 we find ELO with "Do Ya," a song that was originally recorded in 1971 by Jeff Lynne's old band, The Move. A catchy rock song about how a woman is more amazing to him than all the other sights he's seen in his life. One of their more underrated hits...Future Johnny Mathis duet partner and "Let's Hear It for the Boy" charttopper Deneice Williams is at #34 with her first hit, "Free." It's a midtempo seduction tune in which she tries to entice a lover with her "magic potion of love." I can't begin to speculate what that might contain...Detroit soulsters Enchantment had their first of two pop hits with the ballad "Gloria," this week's #36. Nice, but nothing that sticks to the mind...And Rufus featuring Chaka Khan do their usual funky thing, promising nocturnal pleasures on the very good "At Midnight (My Love Will Lift You Up)" at #39...But this week, the BGC spotlight falls on...
19 - "Say You'll Stay Until Tomorrow," Tom Jones
The Welshman had been a steady presence on the charts, and on television, and in Las Vegas for over a decade, but by the mid-70s, his popularity was waning. But unlike many declining acts who tried to stay relevant by hopping on the disco bandwagon, Tommy opted to give country a try. The result, this solid plea for a departing lover to just give him one more chance, not only topped the country charts, but returned hit to the pop Top 40 for the first time in five years. He would never return on his own (though he did slip on in 1988 on The Art of Noise's Prince cover, "Kiss"), but this did open the door to a brief but accomplished (seven Top 40 singles) country career in the 80s.
Okay, now let's zip ahead eleven years and take care of business.
20 - "Hungry Eyes," Eric Carmen
19 - "Girlfriend," Pebbles
18 - "What Have I Done to Deserve This," The Pet Shop Boys with Dusty Springfield
17 - "(Sittin' On) The Dock of the Bay," Michael Bolton
16 - "Rocket 2 U," The Jets
The second half kicks off with Eric Carmen's peckish optic organs. I believe I've said before that it sucks, so let's move on.
Perri Anne McKissick conducted her musical career under her childhood nickname, first with the band Con Funk Shun, and later as a solo artist. Her first hit on her own is this sassy bit of advice to a friend to dump her roaming lover, because "he's just a canine runnin' round in heat." The best of her handful of hits. She didn't have a long recording career, but she have later success as a writer and producer. Speaking of the latter, she married the co-producer of this record, Antonio "L.A." Reid. They divorced in 1996. Too bad.
Next are the Pet Shop Boys and Dusty Springfield, back one more time on their collaborative breakup lament. Still masterful pop.
Then it's Michael Bolton with his second hit, a pointless, needless, overwrought, overproduced, just plain awful desecration of Otis Redding's soul standard. If you've never heard it, consider yourself lucky.
This section is closed by the Minneapolis-based Wolfgramm siblings with another Top Ten dance-popper in which the singer declares that his lover shouldn't call him when her TV, car, or plumbing isn't working. He can't fix those things, or anything else mechanical, but he can "fix" her. Whatever he means by that. And I'm not sure why there are rockets involved. She's probably better off just not calling this guy at all.
15 - "Be Still My Beating Heart," Sting
14 - "Hysteria," Def Leppard
13 - "Love Overboard," Gladys Knight and the Pips
12 - "Get Outta My Dreams, Get Into My Car," Billy Ocean
11 - "I Found Someone," Cher
This section opens with a returning Sting ballad about reluctance in romance. It's still pretty good. I have no more to add.
Def Leppard follow with the title track to their most successful album. It's a midtempo rocker about a love that they describe as "a magical mysteria." I don't think that's a real thing, but whatever, it became their first Top Ten hit, and it's a decent song, so I'll allow it.
Next are Gladys and her Pips, back from last time with a song about drowning in desire. There are worse ways to go, I suppose. And I wouldn't mind if Gladys happened to be the one to sing me out of this mortal coil.
Then it's Billy Ocean's third and final American #1, a fun bit of synthetic funk in which Billy invites a woman into his automobile so he can be her "non-stop lover" It's silly, but impossible to hate. But when you think about it, it is pretty amazing that this guy had three Number One hits. It's one of those things that doesn't sound true but is. Like "the two-time World Series Champion Florida Marlins."
Last in this bunch is Cher and her power ballad about discovering a new love. I wonder if Sonny thought "I'm happy for her" whenever he heard it. I imagine he did. They were pretty amicable by this point.
Before the Sweet Sixteen, the Elite Eight, and the Final Four, there was the Top Ten.
10 - "Can't Stay Away from You," Gloria Estefan and Miami Sound Machine
The Latin pop outfit continued their run of hits with a pretty ballad about not wanting to let go of a relationship even though one knows it's going to end sometime. Just okay, but eleveated somewhat by Gloria's voice. She was really starting to emerge as one of pop's better singers.
9 - "I Want Her," Keith Sweat
Yes, that's still his real name. And it's still a high-grade, lusty rump-shaker.
8 - "Out of the Blue," Debbie Gibson
Debbie G. returns with one of her sweetest pieces of ear candy. And I don't care if she is 41 now, I'm still not going to call her Deborah. Hey, Debbie Reynolds is almost twice her age, and she never gets uptight about it.
7 - "Man in the Mirror," Michael Jackson
The fourth #1 from Bad was this anthemic ballad about how changing the world starts with changing yourself. Employing a gospel choir to sing backup was an obvious move, but still a very effective one. Songs like this aren't normally my thing, but I can't deny that this is extremely well-crafted, and it comes off as very genuine and un-cynical. And there's plenty of room for that in the world.
6 - "Just Like Paradise," David Lee Roth
DLR returns from last time, having a ball in a very corporate-rock sort of way. This is where, for me, the novelty of him as a solo act wore off.
5 - "Endless Summer Nights," Richard Marx
I'll say this for Richie-boy: he's better than Eric Carmen. Michael Bolton, too. That's probably all he can expect from me in terms of praise when he's in ballad mode.
4 - "I Get Weak," Belinda Carlisle
As did I, Belinda, watching you in videos during your Go-Gos days. Jane Wiedlin did have an understated sex appeal, but clearly Belinda was the bombshell.
3 - "She's Like the Wind," Patrick Swayze
Stop exposing your tree to the wind, Patrick! There are laws against that sort of thing!
2 - "Father Figure," George Michael
In which George promises to "be your preacher, teacher, anything you have in mind." Well, what if I need an accountant? Can you do my taxes, George? Or do I have to call in Ridgeley? He's probably less busy anyway.
And on top of pop 24 years ago was...
1 - "Never Gonna Give You Up," Rick Astley
The first of two U.S. charttoppers for the man from Lancashire. I'm not sure how he feels about the odd way in which this song has gained new life, but if there's been new money to go along with it, I'm sure he's dealing with it.
The NotCaseys were "Going Back to Cali" by LL Cool J, "Pamela" by Toto, "One Step Up" by Bruce Springsteen, and "Pink Cadillac" by Natalie Cole. And there was just one LDD: A sixteen-year-old half-Vietnamese girl dedicated Linda Ronstadt and James Ingram's "Somewhere Out There" to the American father she had, to that point, never known.
And that is that. And soon, there will be more of this.
Barbra Streisand was on top with "Evergreen." Below her, the Top Ten included favorites like "Blinded by the Light," "Dancing Queen," "Rich Girl," and "Go Your Own Way"...The first newbie is at #12, "Boogie Child" by the Bee Gees. It was their attempt at more of a straight-up funk number, rather than disco. Honestly, I think it's borderline embarrassing. But they would rebound from this. Would they ever...Boston had their second hit with "Long Time," this week at #22. I'm sure some classic rock station somewhere is playing it right now...At #24, George Harrison invites you to "Crackerbox Palace." From the sounds of it, it seems like quite an odd place, but I'd still go if I had the chance...Elton John is here with an invitation for people in various American locales to "move that muscle and shake that fat" on "Bite Your Lip (Get Up and Dance)" at #26. Isn't that also sometimes called "The White Man's Overbite?"...Five years after his first hit, "Doctor My Eyes," Jackson Browne finally picked up his second with this week's #27, "Here Come Those Tears Again," It's sensitive balladry about missing a lost love, typical of his work...Olivia Newton-John is at #32 with a ballad on which she pines for a man named "Sam." I remember it from back in the day, and even then, it wasn't one of my favorites of hers...At 33 we find ELO with "Do Ya," a song that was originally recorded in 1971 by Jeff Lynne's old band, The Move. A catchy rock song about how a woman is more amazing to him than all the other sights he's seen in his life. One of their more underrated hits...Future Johnny Mathis duet partner and "Let's Hear It for the Boy" charttopper Deneice Williams is at #34 with her first hit, "Free." It's a midtempo seduction tune in which she tries to entice a lover with her "magic potion of love." I can't begin to speculate what that might contain...Detroit soulsters Enchantment had their first of two pop hits with the ballad "Gloria," this week's #36. Nice, but nothing that sticks to the mind...And Rufus featuring Chaka Khan do their usual funky thing, promising nocturnal pleasures on the very good "At Midnight (My Love Will Lift You Up)" at #39...But this week, the BGC spotlight falls on...
19 - "Say You'll Stay Until Tomorrow," Tom Jones
The Welshman had been a steady presence on the charts, and on television, and in Las Vegas for over a decade, but by the mid-70s, his popularity was waning. But unlike many declining acts who tried to stay relevant by hopping on the disco bandwagon, Tommy opted to give country a try. The result, this solid plea for a departing lover to just give him one more chance, not only topped the country charts, but returned hit to the pop Top 40 for the first time in five years. He would never return on his own (though he did slip on in 1988 on The Art of Noise's Prince cover, "Kiss"), but this did open the door to a brief but accomplished (seven Top 40 singles) country career in the 80s.
Okay, now let's zip ahead eleven years and take care of business.
20 - "Hungry Eyes," Eric Carmen
19 - "Girlfriend," Pebbles
18 - "What Have I Done to Deserve This," The Pet Shop Boys with Dusty Springfield
17 - "(Sittin' On) The Dock of the Bay," Michael Bolton
16 - "Rocket 2 U," The Jets
The second half kicks off with Eric Carmen's peckish optic organs. I believe I've said before that it sucks, so let's move on.
Perri Anne McKissick conducted her musical career under her childhood nickname, first with the band Con Funk Shun, and later as a solo artist. Her first hit on her own is this sassy bit of advice to a friend to dump her roaming lover, because "he's just a canine runnin' round in heat." The best of her handful of hits. She didn't have a long recording career, but she have later success as a writer and producer. Speaking of the latter, she married the co-producer of this record, Antonio "L.A." Reid. They divorced in 1996. Too bad.
Next are the Pet Shop Boys and Dusty Springfield, back one more time on their collaborative breakup lament. Still masterful pop.
Then it's Michael Bolton with his second hit, a pointless, needless, overwrought, overproduced, just plain awful desecration of Otis Redding's soul standard. If you've never heard it, consider yourself lucky.
This section is closed by the Minneapolis-based Wolfgramm siblings with another Top Ten dance-popper in which the singer declares that his lover shouldn't call him when her TV, car, or plumbing isn't working. He can't fix those things, or anything else mechanical, but he can "fix" her. Whatever he means by that. And I'm not sure why there are rockets involved. She's probably better off just not calling this guy at all.
15 - "Be Still My Beating Heart," Sting
14 - "Hysteria," Def Leppard
13 - "Love Overboard," Gladys Knight and the Pips
12 - "Get Outta My Dreams, Get Into My Car," Billy Ocean
11 - "I Found Someone," Cher
This section opens with a returning Sting ballad about reluctance in romance. It's still pretty good. I have no more to add.
Def Leppard follow with the title track to their most successful album. It's a midtempo rocker about a love that they describe as "a magical mysteria." I don't think that's a real thing, but whatever, it became their first Top Ten hit, and it's a decent song, so I'll allow it.
Next are Gladys and her Pips, back from last time with a song about drowning in desire. There are worse ways to go, I suppose. And I wouldn't mind if Gladys happened to be the one to sing me out of this mortal coil.
Then it's Billy Ocean's third and final American #1, a fun bit of synthetic funk in which Billy invites a woman into his automobile so he can be her "non-stop lover" It's silly, but impossible to hate. But when you think about it, it is pretty amazing that this guy had three Number One hits. It's one of those things that doesn't sound true but is. Like "the two-time World Series Champion Florida Marlins."
Last in this bunch is Cher and her power ballad about discovering a new love. I wonder if Sonny thought "I'm happy for her" whenever he heard it. I imagine he did. They were pretty amicable by this point.
Before the Sweet Sixteen, the Elite Eight, and the Final Four, there was the Top Ten.
10 - "Can't Stay Away from You," Gloria Estefan and Miami Sound Machine
The Latin pop outfit continued their run of hits with a pretty ballad about not wanting to let go of a relationship even though one knows it's going to end sometime. Just okay, but eleveated somewhat by Gloria's voice. She was really starting to emerge as one of pop's better singers.
9 - "I Want Her," Keith Sweat
Yes, that's still his real name. And it's still a high-grade, lusty rump-shaker.
8 - "Out of the Blue," Debbie Gibson
Debbie G. returns with one of her sweetest pieces of ear candy. And I don't care if she is 41 now, I'm still not going to call her Deborah. Hey, Debbie Reynolds is almost twice her age, and she never gets uptight about it.
7 - "Man in the Mirror," Michael Jackson
The fourth #1 from Bad was this anthemic ballad about how changing the world starts with changing yourself. Employing a gospel choir to sing backup was an obvious move, but still a very effective one. Songs like this aren't normally my thing, but I can't deny that this is extremely well-crafted, and it comes off as very genuine and un-cynical. And there's plenty of room for that in the world.
6 - "Just Like Paradise," David Lee Roth
DLR returns from last time, having a ball in a very corporate-rock sort of way. This is where, for me, the novelty of him as a solo act wore off.
5 - "Endless Summer Nights," Richard Marx
I'll say this for Richie-boy: he's better than Eric Carmen. Michael Bolton, too. That's probably all he can expect from me in terms of praise when he's in ballad mode.
4 - "I Get Weak," Belinda Carlisle
As did I, Belinda, watching you in videos during your Go-Gos days. Jane Wiedlin did have an understated sex appeal, but clearly Belinda was the bombshell.
3 - "She's Like the Wind," Patrick Swayze
Stop exposing your tree to the wind, Patrick! There are laws against that sort of thing!
2 - "Father Figure," George Michael
In which George promises to "be your preacher, teacher, anything you have in mind." Well, what if I need an accountant? Can you do my taxes, George? Or do I have to call in Ridgeley? He's probably less busy anyway.
And on top of pop 24 years ago was...
1 - "Never Gonna Give You Up," Rick Astley
The first of two U.S. charttoppers for the man from Lancashire. I'm not sure how he feels about the odd way in which this song has gained new life, but if there's been new money to go along with it, I'm sure he's dealing with it.
The NotCaseys were "Going Back to Cali" by LL Cool J, "Pamela" by Toto, "One Step Up" by Bruce Springsteen, and "Pink Cadillac" by Natalie Cole. And there was just one LDD: A sixteen-year-old half-Vietnamese girl dedicated Linda Ronstadt and James Ingram's "Somewhere Out There" to the American father she had, to that point, never known.
And that is that. And soon, there will be more of this.
Saturday, March 10, 2012
March 13, 1988 Part One
This week we revisit the week before the official start of the spring of 1988. The U.S. presidential primaries that would eventually produce a Bush/Dukakis matchup were taking place. And as Republicans and Democrats drove to the polls, many of their car radios were playing the following:
40 - "Prove Your Love," Taylor Dayne
39 - "Need You Tonight," INXS
38 - "You Don't Know," Scarlett and Black
37 - "Never Knew Love Like This," Alexander O'Neal featuring Cherelle
36 - "I Saw Him Standing There," Tiffany
35 - "Don't Shed a Tear," Paul Carrack
34 - "Push It," Salt-N-Pepa
33 - "Could've Been," Tiffany
32 - "Rock of Life," Rick Springfield
31 - "Because of You," The Cover Girls
I'm going to start with songs by female solo singers. Taylor Dayne picked up her second hit with another serviceable slice of dance-pop. She needs to know if someone's affection for her is genuine. She doesn't have to worry about that with me. I can't even pretend I enjoy her music. And teen sensation Tiffany is here twice. First, she shows up with a terrible Beatles' cover that turns a British invasion classic into a limp, synth-pop disaster. Tiffany makes a game attampt to affect a raspy edge to her voice on it, but all in all, it's just a travesty. And what's worse, I'm now learning that whereas I thought I remembered that it got stuck in the 20s, it turns out it made it to #7. Ugh. Compared to this, "Could've Been," which is back for a third time, is a masterpiece.
There are two groups here with songs we've already encountered. INXS still have there funky nocturnal desires, And the Cover Girls are still jumping and annoying me with their high voices. So let's move on.
Three duos grace us with their presence. Britain's Scarlett and Black, whose names were actually Sue and Robin, had their only success with this Tears for Fears-ish lite-popper about not being able to express one's emotions. Perhaps it's appropriate that this song makes me feel absolutely nothing. Ex-The Time singer Alexander O'Neal and R&B hitmaker Cheryl Anne Norton had their second and last hit together with this okay soul-popper about a really good love affair. Cherrelle, for the record, also recorded the original version of Robert Palmer's #2 hit "I Didn't Mean to Turn You On." That's nice. And Salt-N-Pepa return one more time with their immortal rap standard about a dance that isn't for everyone, "only the sexy people." So it's for me, then.
We finish this opening bunch with solo men. Paul Carrack is back again, telling his ex that there's no need to cry for him. Before he played it, Casey played a medley of hits with "tear" in the title, including Jackie Wilson's "Lonely Teardrops," ? and the Mysterians "96 Tears," The Rolling Stones' "As Tears Go By," and Smokey Robinson and the Miracles "The Tears of a Clown." All of which are better songs than "Don't Shed a Tear." And Rick Springfield had his last American hit with a song he wrote after a three year absence from show business. During this time, he had his first child, who is referenced as "the little boy in my hands" in the lyrics. Overall, it's an awkward attempt to update his sound while remaining true to the pop-rock he made his name with. The horns and synths sound like they were forced on him. It might have been a better in a stripped-down version, but either way, it was clear that pop had passed him by.
30 - "Angel," Aerosmith
29 - "Say You Will," Foreigner
28 - "Where Do Broken Hearts Go," Whitney Houston
27 - "Wishing Well," Terence Trent D'Arby
26 - "Seasons Change," Exposé
25 - "When We was Fab," George Harrison
24 - "Check it Out," John Cougar Mellencamp
23 - "Some Kind of Lover," Jody Watley
22 - "Devil Inside," INXS
21 - "Pump Up the Volume," M/A/R/R/S
We begin this section with rock bands. Aerosmith followed up their comeback hit "Dude (Looks Like a Lady)," with this earnest power ballad about how love can rescue the lonely. Featuring a pop-friendly string arrangement, it's as sappy as hell, but it worked, becoming the band's first Top Five hit and cementing them as being back to stay. And it's several thousand times better than "I Don't Want to Miss a Thing." Foreigner are back, asking you to make up your mind about them. I have, guys. You were solid back in the day, but by this point, you were just phoning it in. And INXS had their second hit this week with a sleek, slightly menacing rocker about how we all have a little bit of a naughty streak in us. Not me, though. I've never had even the most remotely sinful thought in my head. Unless you count the ones about Christina Hendricks.
Then we have three R&B hits. Whitney Houston is here with the ballad about trying to find one's way back to love that became the last of her record-setting seven consecutive #1s. It's one of her stronger love songs, even though she was initially reluctant to record it. Of course, some of her albums have returned to the upper reaches of the charts lately because of her death. That's always an odd phenomenon to me. Terence Trent D'Arby was born in Manhattan, raised in Florida, moved to Germany when he joined the Army, then went AWOL to pursue a music career. After being in a few bands in Germany, he moved to London, where he got a record deal and quickly became a major star. Then his music reached the land of his birth, and he scored a #1 with this sexy, retroish soul number. It definitely sounded nothing like the electronics-heavy productions that were ruling the R&B scene at the time, and that probably helped it stand out and make an impact. It holds up, but I have to say, my favorite TTD single will always be the one before this, "If You Let Me Stay." That one fell short of the Top 40, which I still say is an injustice. And ex Shalamar singer Jody Watley about a guy who's really good at kissing and stuff. It's probably my favorite of hers, but that just means it's slightly above average.
Two non-rock groups return with hits we've already covered. Exposé are here one more time, singing about the passing of time, which seems slower than it actually is when I listen to this boring-ass song. And M/A/R/R/S return with their groundbreaking dance classic that, due to lack of new competition, becomes a rare repeat winner of the Uneasy Rider.
We finish the first half with two solo male rock singers. George Harrison had his last Top 40 hit with this paean to his days with The Beatles. The lyrics are a bit inscrutable ("But you mo better wise when the buzz gonna come and take you away"?), but still, it really captures the spirit of the thing. Of course, this wasn't the Quiet Beatle's last great pop culture moment. That came five years later, when he met a "nice fella" named Homer Simpson and directed him to a big pile of brownies. And John Cougar Mellencamp is here with a pensive midtempo rocker that ruminates on the responsiblities of adulthood {jobs, kids, home buying), and wonders if that's really the most fulfilling way to live. Also, Mellencamp hopes that future generation "have a better understanding" of how to be happy. Pretty deep stuff, but buried in a catchy melody that helps the medicine go down.
Tomorrow, a singer who is in no way related to Fred Flintstone, nocturnal visions are invited into automobiles, and a cover even worse than "I Saw Him Standing There."
40 - "Prove Your Love," Taylor Dayne
39 - "Need You Tonight," INXS
38 - "You Don't Know," Scarlett and Black
37 - "Never Knew Love Like This," Alexander O'Neal featuring Cherelle
36 - "I Saw Him Standing There," Tiffany
35 - "Don't Shed a Tear," Paul Carrack
34 - "Push It," Salt-N-Pepa
33 - "Could've Been," Tiffany
32 - "Rock of Life," Rick Springfield
31 - "Because of You," The Cover Girls
I'm going to start with songs by female solo singers. Taylor Dayne picked up her second hit with another serviceable slice of dance-pop. She needs to know if someone's affection for her is genuine. She doesn't have to worry about that with me. I can't even pretend I enjoy her music. And teen sensation Tiffany is here twice. First, she shows up with a terrible Beatles' cover that turns a British invasion classic into a limp, synth-pop disaster. Tiffany makes a game attampt to affect a raspy edge to her voice on it, but all in all, it's just a travesty. And what's worse, I'm now learning that whereas I thought I remembered that it got stuck in the 20s, it turns out it made it to #7. Ugh. Compared to this, "Could've Been," which is back for a third time, is a masterpiece.
There are two groups here with songs we've already encountered. INXS still have there funky nocturnal desires, And the Cover Girls are still jumping and annoying me with their high voices. So let's move on.
Three duos grace us with their presence. Britain's Scarlett and Black, whose names were actually Sue and Robin, had their only success with this Tears for Fears-ish lite-popper about not being able to express one's emotions. Perhaps it's appropriate that this song makes me feel absolutely nothing. Ex-The Time singer Alexander O'Neal and R&B hitmaker Cheryl Anne Norton had their second and last hit together with this okay soul-popper about a really good love affair. Cherrelle, for the record, also recorded the original version of Robert Palmer's #2 hit "I Didn't Mean to Turn You On." That's nice. And Salt-N-Pepa return one more time with their immortal rap standard about a dance that isn't for everyone, "only the sexy people." So it's for me, then.
We finish this opening bunch with solo men. Paul Carrack is back again, telling his ex that there's no need to cry for him. Before he played it, Casey played a medley of hits with "tear" in the title, including Jackie Wilson's "Lonely Teardrops," ? and the Mysterians "96 Tears," The Rolling Stones' "As Tears Go By," and Smokey Robinson and the Miracles "The Tears of a Clown." All of which are better songs than "Don't Shed a Tear." And Rick Springfield had his last American hit with a song he wrote after a three year absence from show business. During this time, he had his first child, who is referenced as "the little boy in my hands" in the lyrics. Overall, it's an awkward attempt to update his sound while remaining true to the pop-rock he made his name with. The horns and synths sound like they were forced on him. It might have been a better in a stripped-down version, but either way, it was clear that pop had passed him by.
30 - "Angel," Aerosmith
29 - "Say You Will," Foreigner
28 - "Where Do Broken Hearts Go," Whitney Houston
27 - "Wishing Well," Terence Trent D'Arby
26 - "Seasons Change," Exposé
25 - "When We was Fab," George Harrison
24 - "Check it Out," John Cougar Mellencamp
23 - "Some Kind of Lover," Jody Watley
22 - "Devil Inside," INXS
21 - "Pump Up the Volume," M/A/R/R/S
We begin this section with rock bands. Aerosmith followed up their comeback hit "Dude (Looks Like a Lady)," with this earnest power ballad about how love can rescue the lonely. Featuring a pop-friendly string arrangement, it's as sappy as hell, but it worked, becoming the band's first Top Five hit and cementing them as being back to stay. And it's several thousand times better than "I Don't Want to Miss a Thing." Foreigner are back, asking you to make up your mind about them. I have, guys. You were solid back in the day, but by this point, you were just phoning it in. And INXS had their second hit this week with a sleek, slightly menacing rocker about how we all have a little bit of a naughty streak in us. Not me, though. I've never had even the most remotely sinful thought in my head. Unless you count the ones about Christina Hendricks.
Then we have three R&B hits. Whitney Houston is here with the ballad about trying to find one's way back to love that became the last of her record-setting seven consecutive #1s. It's one of her stronger love songs, even though she was initially reluctant to record it. Of course, some of her albums have returned to the upper reaches of the charts lately because of her death. That's always an odd phenomenon to me. Terence Trent D'Arby was born in Manhattan, raised in Florida, moved to Germany when he joined the Army, then went AWOL to pursue a music career. After being in a few bands in Germany, he moved to London, where he got a record deal and quickly became a major star. Then his music reached the land of his birth, and he scored a #1 with this sexy, retroish soul number. It definitely sounded nothing like the electronics-heavy productions that were ruling the R&B scene at the time, and that probably helped it stand out and make an impact. It holds up, but I have to say, my favorite TTD single will always be the one before this, "If You Let Me Stay." That one fell short of the Top 40, which I still say is an injustice. And ex Shalamar singer Jody Watley about a guy who's really good at kissing and stuff. It's probably my favorite of hers, but that just means it's slightly above average.
Two non-rock groups return with hits we've already covered. Exposé are here one more time, singing about the passing of time, which seems slower than it actually is when I listen to this boring-ass song. And M/A/R/R/S return with their groundbreaking dance classic that, due to lack of new competition, becomes a rare repeat winner of the Uneasy Rider.
We finish the first half with two solo male rock singers. George Harrison had his last Top 40 hit with this paean to his days with The Beatles. The lyrics are a bit inscrutable ("But you mo better wise when the buzz gonna come and take you away"?), but still, it really captures the spirit of the thing. Of course, this wasn't the Quiet Beatle's last great pop culture moment. That came five years later, when he met a "nice fella" named Homer Simpson and directed him to a big pile of brownies. And John Cougar Mellencamp is here with a pensive midtempo rocker that ruminates on the responsiblities of adulthood {jobs, kids, home buying), and wonders if that's really the most fulfilling way to live. Also, Mellencamp hopes that future generation "have a better understanding" of how to be happy. Pretty deep stuff, but buried in a catchy melody that helps the medicine go down.
Tomorrow, a singer who is in no way related to Fred Flintstone, nocturnal visions are invited into automobiles, and a cover even worse than "I Saw Him Standing There."
Monday, March 5, 2012
March 2, 1985 Part Two
Before we wrap up 1985, let's take a very quick stop in 1972.
On the chart dated March 4, Nilsson was on top with "Without You"...The Top Ten also included "Down By the Lazy River," "Everything I Own," "Heart of Gold," and "Let's Stay Together"...The first of the newbies is found at #22, in the form of the second and final hit from New Orleans-born, Buffalo-raised soul singer Donnie Elbert's second and last pop hit, a cover of The Four Tops' "I Can't Help Myself." It has a lazy groove, and Elbert puts his own stamp on it. Worthwhile, and much better than Bonnie Pointer's version from last week...A bunch of singers from across the pond called The English Congregation are at #29 with "Softly Whispering I Love You." It's kind of like a 60s soul singer backed by a European boys' choir. Interesting mix...James Brown compares uninformed opinions to "a dull knife (that) just ain't cuttin'" on the fantastic "Talkin' Loud and Sayin' Nothing," at #30...And vocal group The Detroit Emeralds scored their first pop hit by assuring a lover of their ability to provide on "You Want It, You Got It" at #37...But this week, I shine the spotlight on...
33 - "Ring the Living Bell" and 36 - "The Nickel Song," Melanie
Ms. Safka had just had her biggest hit with the #1 "Brand New Key." Most Number One hits have immediate follow-ups, but in Melanie's case, there were two: one from her current record label, and another from the one she'd just left. The official follow-up on Neighborhood Records, the label founded by Safka and her husband, was "Ring the Living Bell." It's the kind of gospel-tinged hippy-dippy stuff that she seemed to specialize in, with metaphors about trying to find fulfillment in life. Meanwhile, her old label, Buddha, decided that they would reach back into their archives and put out a single of their own to capitalize on the success of "Brand New Key." Interestingly, they chose for this purpose "The Nickel Song," which seems to be a thinly veiled swipe at the way the music industry does business, with lyrics like "They're only putting in a nickel and they want a dollar song." Funny that they'd purposely release a song that appears to explain why she decided to leave them in the first place. Anyway, neither song cracked the Top 30, and Melanie would only have one more Top 40, 1973's "Bitter Bad." But between the two, I definitely prefer "The Nickel Song." It's a fun little singalong, and its theme is still very much relevant.
Okay, now let's get back to nineteen, nineteen, nineteen eighty-five.
20 - "Only the Young," Journey
19 - "Relax," Frankie Goes to Hollywood
18 - "Material Girl," Madonna
17 - "Solid," Ashford and Simpson
16 - "Private Dancer," Tina Turner
The second half opens with Journey's contribution to the soundtrack of the high-school wrestling movie Vision Quest. That soundtrack is best remembered for containing the Madonna hit "Crazy for You." That movie isn't remembered at all. As for this Journey track, it's they're typical corporate rock, with Steve Perry singing about the hunger of youth and such. Nothing interesting at all.
Ah, Frankie Goes to Hollywood. I remember that time well, with the "Frankie Say" T-shirts and the Reagan vs. Chernenko wrestling video for "Two Tribes" and all. They weren't as big in Canada as they were in their native U.K., but they were definitely bigger here than in the States, where "Relax" was their only Top 40, reaching #10 over a year after its controversial run to the top in Britain. Why the controversy? First of all, in an era where even Boy George was coy about his sexuality, two members of the band, inculding lead singer Holly Johnson, were openly gay men. Then, there was the bondage-themed art on the 45 sleeve. And then there was the song itself, a thumping technodisco number over which Johnson sang about pre-empting orgasm, and later moaned suggestively and shouted "I'm coming! I'm coming!" Combined, this led a popular BBC disc jockey to make a show of pulling the record off the turntable during a broadcast and deeming it "obscene." Probably not coincidentally, the single then rocketed to #1, where it stayed for five weeks. Somehow, when the song was unleashed on U.S. radio, none of this controversy seemed to follow it. It was just seen as a fun little dance tune. But there is, of course, much more to it than that, and for that reason, it's this week's Uneasy Rider.
Next is Madonna with the follow-up to her first #1, "Like a Virgin." It's a breezy dance tune about how she can only be wooed by men with means. So naturally, the song's video recreated Marilyn Monroe's "Diamonds are a Girl's Best Friend" sequence from Gentlemen Prefer Blondes. I enjoyed that video. Take that to mean whatever you will.
Then it's the only pop hit for the prolific songwriting team of Nicholas Ashford and Valerie Simpson. It's an okay bit of pop-soul about a relationship that stays strong in the face of all obstacles. I never liked it that much, but I appreciate it as well-crafted songcraft.
This group is rounded out by the third Top Ten hit of Tina Turner's 80s comeback. It's a Mark Knopfler-written ballad from the point of view of a stripper or prostitute, dreaming of a better life while going through the motions ("You keep your mind on the money, keeping your eyes on the wall"). Tina plays the character with all the required world-weariness. A very good record.
15 - "Too Late for Goodbyes," Julian Lennon
14 - "Lovergirl," Teena Marie
13 - "Misled," Kool and the Gang
12 - "Mr. Telephone Man," New Edition
11 - "Method of Modern Love," Daryl Hall and John Oates
This bunch is led off by the second and last Top Ten hit by John Lennon's oldest son. It's a lazy little midtempo pop number about a bad breakup. A nice little tune. The voice obviously reminds me of John, but for some reason, the song itself reminds me of something George would have done.
Next is the biggest pop hit by white R&B star Teena Marie. It's a catchy, snappy slice of seduction funk. I especially enjoy the way the bass pops on this record. She can rock my world anytime.
Then it's Kool and the Gang with a song about a mysterious, exciting, and "heavy as a Chevy" (?) woman with the unlikely name of Misled. It's a pretty cool bit of funk-rock, and probably as good as these guys got in this decade. I can't believe this came from the same album as the dreadful "Cherish."
New Edition were four Boston-area teens that were discovered by producer Maurice Starr, who gave them a new name because he felt they were a "new edition" of the Jackson 5. This, their second pop Top 40, follows the familiar theme of a guy who can't reach his girlfriend, and thinks it may be due to some sort of technical phone problem. But of course, that's not it at all. It's sweet bubblegum soul, but unfortunately, one can't hear it without thinking of the mess Bobby Brown became. But hey, Bell Biv Devoe were pretty good.
This section closes with Hall and Oates with another of their many many hits. It's fairly decent pop funk. I do think it's funny that they only spell out three of the four words in the song title durning the chorus. You know, guys, I'm sure you could have figured out to fit "M-O-D-E-R-N" in there if you'd taken five more minutes to work on this.
And now, for the no one in attendance, and the tens who will we be watching around the world...Let's get ready to Top Tennnnnnnnnn!
10 - "The Old Man Down the Road," John Fogerty
The first solo hit in over ten years by the ex-Creedence Clearwater Revival frontman would be his biggest, and would help propel the Centerfield album to #1. It's a typically swampy number about a ghostly figure with otherworldly powers, and it compares favorably with much of CCR's best tunes. Also comparing it to Creedence was a man named Saul Zaentz, who owned the publishing rights to all of that band's original songs. In fact, Zaentz felt that "The Old Man Down the Road" was so similar to that of Creedence's "Run Through the Jungle" that he had grounds to sue Fogerty for plagiarism. And since Fogerty had also written "Run Through the Jungle," he was in the strange position of being accused of plagirarizing himself. Zaentz lost the suit, and was later forced to pay all of Fogerty's legal fees. Justice was done, I'd have to say.
9 - "Sugar Walls," Sheena Easton
This Prince-written synth-funk number caused controversy, because some people thought that the "sugar walls" Sheena was singing about were, in fact, located in the interior of her vagina. Hmm, let's see. It was written by noted carnality enthusiast Prince, there's a line that says "Blood races to your private spots," and the "sugar walls" in question are compared to "heaven on Earth." By gum, I think those people were on to something! Who knows how many innocents were seduced into believing that sex was some sort of enjoyable pastime by these dirty, dirty lyrics? For shame, Sheena!
8 - "Easy Lover," Philip Bailey and Phil Collins
Bailey, the lead singer of Earth, Wind and Fire, had his biggest hit without the rest of that band with this smash rock duet with the lead vocalist of Genesis. Lyrically, it explores a theme that has popped up in rock song since at least "Runaround Sue," and I'm sure it was around long before that. I'll bet there were even Gregorian chants about women like the one described in this song. As for this one, it's crazy catchy, and the two Phils' voices jell surpisingly well together.
7 - "I Want to Know What Love Is," Foreigner
The band's biggest hit. It's about overcoming hardship while searching for a meaningful relationship. Possibly with a lover, or pehraps with something greater. The song is given a strong gospel feel by the backing vocals of the New Jersey Mass Choir. I have nothing negative to say about this. It's an unimpeachable pop production.
6 - "Neutron Dance," The Pointer Sisters
Ruth, June and Anita's most recent Top Ten is an energetic pop song about trying to make it through life's rough patches. The song gives no clue as to what the "Neutron Dance" is, but apparently, they were just burning to do it.
5 - "Loverboy," Billy Ocean
After going to #1 with "Caribbean Queen," Billy just missed doing it again with this slick dance track about how much Billy wants whoever he's singing to. Not quite as interesting or distinctive as "Caribbean Queen," but still, pretty good.
4 - "The Heat is On," Glenn Frey
Like "Neutron Dance," this also came from the soundtrack of Beverly Hills Cop, the movie that launched the career of Judge Reinhold. Oh, and Eddie Murphy was in it too, I think. As for this song, it's just Glenn singing about heat and the street and the beat and stuff, and there's a lot of saxophone. It's pretty much everything I hate about Glenn Frey's solo career in one compact package.
3 - "California Girls," David Lee Roth
Diamond Dave was still a month away from officially quitting Van Halen when this cover of the Beach Boys' immortal ode to the beach babes of the Golden State hit its chart peak. It's a decent version, somewhat faithful to the original (the backing vocals of Carl Wilson helped in that department), but DLR's own horndog personality adds a touch of...something. And I'm glad he and VH are back together. But still, it'd be better with Michael Anthony instead of Wolfgang.
2 - "Can't Fight this Feeling," REO Speedwagon
These guys picked up their second and last #1 with this wusstastic ballad. Kevin Cronin's voice is a bit grating in the best of circumstances, but here, it's fingernails-on-chalkboard squared. Just terrible.
And on top of the charts 27 years ago, we find...
1 - "Careless Whisper," Wham featuring George Michael
This was the second straight charttopper from the band's U.S. breakthrough, Make it Big. Strangely, in England, it was credited to George Michael alone, even though it was the only song on the album that Andrew Ridgeley co-wrote with George. No matter who gets the credit, it's a cool, soulful ballad about a man who regrets blowing his chance with his true love by cheating on her. And George uses it as a showcase for his considerable vocal talent. This is where you could tell that he, at least, had plenty of hits in him to come.
The NotCaseys this week were "Missing You" by Diana Ross, "Smooth Operator" by Sade, "Don't You (Forget About Me)" by Simple Minds, and "One Night in Bangkok" by Murray Head. And Casey played two LDDs. First, a young woman dedicated Chicago's "Stay the Night" to her sister, who was the one member of her family who stayed by her side as she battled drug addiction. Later, a woman dedicated Minnie Riperton's "Lovin' You," to her husband serving in the military, whom she met in an arena parking lot after a basketball game.
And that's that for this. More soon.
On the chart dated March 4, Nilsson was on top with "Without You"...The Top Ten also included "Down By the Lazy River," "Everything I Own," "Heart of Gold," and "Let's Stay Together"...The first of the newbies is found at #22, in the form of the second and final hit from New Orleans-born, Buffalo-raised soul singer Donnie Elbert's second and last pop hit, a cover of The Four Tops' "I Can't Help Myself." It has a lazy groove, and Elbert puts his own stamp on it. Worthwhile, and much better than Bonnie Pointer's version from last week...A bunch of singers from across the pond called The English Congregation are at #29 with "Softly Whispering I Love You." It's kind of like a 60s soul singer backed by a European boys' choir. Interesting mix...James Brown compares uninformed opinions to "a dull knife (that) just ain't cuttin'" on the fantastic "Talkin' Loud and Sayin' Nothing," at #30...And vocal group The Detroit Emeralds scored their first pop hit by assuring a lover of their ability to provide on "You Want It, You Got It" at #37...But this week, I shine the spotlight on...
33 - "Ring the Living Bell" and 36 - "The Nickel Song," Melanie
Ms. Safka had just had her biggest hit with the #1 "Brand New Key." Most Number One hits have immediate follow-ups, but in Melanie's case, there were two: one from her current record label, and another from the one she'd just left. The official follow-up on Neighborhood Records, the label founded by Safka and her husband, was "Ring the Living Bell." It's the kind of gospel-tinged hippy-dippy stuff that she seemed to specialize in, with metaphors about trying to find fulfillment in life. Meanwhile, her old label, Buddha, decided that they would reach back into their archives and put out a single of their own to capitalize on the success of "Brand New Key." Interestingly, they chose for this purpose "The Nickel Song," which seems to be a thinly veiled swipe at the way the music industry does business, with lyrics like "They're only putting in a nickel and they want a dollar song." Funny that they'd purposely release a song that appears to explain why she decided to leave them in the first place. Anyway, neither song cracked the Top 30, and Melanie would only have one more Top 40, 1973's "Bitter Bad." But between the two, I definitely prefer "The Nickel Song." It's a fun little singalong, and its theme is still very much relevant.
Okay, now let's get back to nineteen, nineteen, nineteen eighty-five.
20 - "Only the Young," Journey
19 - "Relax," Frankie Goes to Hollywood
18 - "Material Girl," Madonna
17 - "Solid," Ashford and Simpson
16 - "Private Dancer," Tina Turner
The second half opens with Journey's contribution to the soundtrack of the high-school wrestling movie Vision Quest. That soundtrack is best remembered for containing the Madonna hit "Crazy for You." That movie isn't remembered at all. As for this Journey track, it's they're typical corporate rock, with Steve Perry singing about the hunger of youth and such. Nothing interesting at all.
Ah, Frankie Goes to Hollywood. I remember that time well, with the "Frankie Say" T-shirts and the Reagan vs. Chernenko wrestling video for "Two Tribes" and all. They weren't as big in Canada as they were in their native U.K., but they were definitely bigger here than in the States, where "Relax" was their only Top 40, reaching #10 over a year after its controversial run to the top in Britain. Why the controversy? First of all, in an era where even Boy George was coy about his sexuality, two members of the band, inculding lead singer Holly Johnson, were openly gay men. Then, there was the bondage-themed art on the 45 sleeve. And then there was the song itself, a thumping technodisco number over which Johnson sang about pre-empting orgasm, and later moaned suggestively and shouted "I'm coming! I'm coming!" Combined, this led a popular BBC disc jockey to make a show of pulling the record off the turntable during a broadcast and deeming it "obscene." Probably not coincidentally, the single then rocketed to #1, where it stayed for five weeks. Somehow, when the song was unleashed on U.S. radio, none of this controversy seemed to follow it. It was just seen as a fun little dance tune. But there is, of course, much more to it than that, and for that reason, it's this week's Uneasy Rider.
Next is Madonna with the follow-up to her first #1, "Like a Virgin." It's a breezy dance tune about how she can only be wooed by men with means. So naturally, the song's video recreated Marilyn Monroe's "Diamonds are a Girl's Best Friend" sequence from Gentlemen Prefer Blondes. I enjoyed that video. Take that to mean whatever you will.
Then it's the only pop hit for the prolific songwriting team of Nicholas Ashford and Valerie Simpson. It's an okay bit of pop-soul about a relationship that stays strong in the face of all obstacles. I never liked it that much, but I appreciate it as well-crafted songcraft.
This group is rounded out by the third Top Ten hit of Tina Turner's 80s comeback. It's a Mark Knopfler-written ballad from the point of view of a stripper or prostitute, dreaming of a better life while going through the motions ("You keep your mind on the money, keeping your eyes on the wall"). Tina plays the character with all the required world-weariness. A very good record.
15 - "Too Late for Goodbyes," Julian Lennon
14 - "Lovergirl," Teena Marie
13 - "Misled," Kool and the Gang
12 - "Mr. Telephone Man," New Edition
11 - "Method of Modern Love," Daryl Hall and John Oates
This bunch is led off by the second and last Top Ten hit by John Lennon's oldest son. It's a lazy little midtempo pop number about a bad breakup. A nice little tune. The voice obviously reminds me of John, but for some reason, the song itself reminds me of something George would have done.
Next is the biggest pop hit by white R&B star Teena Marie. It's a catchy, snappy slice of seduction funk. I especially enjoy the way the bass pops on this record. She can rock my world anytime.
Then it's Kool and the Gang with a song about a mysterious, exciting, and "heavy as a Chevy" (?) woman with the unlikely name of Misled. It's a pretty cool bit of funk-rock, and probably as good as these guys got in this decade. I can't believe this came from the same album as the dreadful "Cherish."
New Edition were four Boston-area teens that were discovered by producer Maurice Starr, who gave them a new name because he felt they were a "new edition" of the Jackson 5. This, their second pop Top 40, follows the familiar theme of a guy who can't reach his girlfriend, and thinks it may be due to some sort of technical phone problem. But of course, that's not it at all. It's sweet bubblegum soul, but unfortunately, one can't hear it without thinking of the mess Bobby Brown became. But hey, Bell Biv Devoe were pretty good.
This section closes with Hall and Oates with another of their many many hits. It's fairly decent pop funk. I do think it's funny that they only spell out three of the four words in the song title durning the chorus. You know, guys, I'm sure you could have figured out to fit "M-O-D-E-R-N" in there if you'd taken five more minutes to work on this.
And now, for the no one in attendance, and the tens who will we be watching around the world...Let's get ready to Top Tennnnnnnnnn!
10 - "The Old Man Down the Road," John Fogerty
The first solo hit in over ten years by the ex-Creedence Clearwater Revival frontman would be his biggest, and would help propel the Centerfield album to #1. It's a typically swampy number about a ghostly figure with otherworldly powers, and it compares favorably with much of CCR's best tunes. Also comparing it to Creedence was a man named Saul Zaentz, who owned the publishing rights to all of that band's original songs. In fact, Zaentz felt that "The Old Man Down the Road" was so similar to that of Creedence's "Run Through the Jungle" that he had grounds to sue Fogerty for plagiarism. And since Fogerty had also written "Run Through the Jungle," he was in the strange position of being accused of plagirarizing himself. Zaentz lost the suit, and was later forced to pay all of Fogerty's legal fees. Justice was done, I'd have to say.
9 - "Sugar Walls," Sheena Easton
This Prince-written synth-funk number caused controversy, because some people thought that the "sugar walls" Sheena was singing about were, in fact, located in the interior of her vagina. Hmm, let's see. It was written by noted carnality enthusiast Prince, there's a line that says "Blood races to your private spots," and the "sugar walls" in question are compared to "heaven on Earth." By gum, I think those people were on to something! Who knows how many innocents were seduced into believing that sex was some sort of enjoyable pastime by these dirty, dirty lyrics? For shame, Sheena!
8 - "Easy Lover," Philip Bailey and Phil Collins
Bailey, the lead singer of Earth, Wind and Fire, had his biggest hit without the rest of that band with this smash rock duet with the lead vocalist of Genesis. Lyrically, it explores a theme that has popped up in rock song since at least "Runaround Sue," and I'm sure it was around long before that. I'll bet there were even Gregorian chants about women like the one described in this song. As for this one, it's crazy catchy, and the two Phils' voices jell surpisingly well together.
7 - "I Want to Know What Love Is," Foreigner
The band's biggest hit. It's about overcoming hardship while searching for a meaningful relationship. Possibly with a lover, or pehraps with something greater. The song is given a strong gospel feel by the backing vocals of the New Jersey Mass Choir. I have nothing negative to say about this. It's an unimpeachable pop production.
6 - "Neutron Dance," The Pointer Sisters
Ruth, June and Anita's most recent Top Ten is an energetic pop song about trying to make it through life's rough patches. The song gives no clue as to what the "Neutron Dance" is, but apparently, they were just burning to do it.
5 - "Loverboy," Billy Ocean
After going to #1 with "Caribbean Queen," Billy just missed doing it again with this slick dance track about how much Billy wants whoever he's singing to. Not quite as interesting or distinctive as "Caribbean Queen," but still, pretty good.
4 - "The Heat is On," Glenn Frey
Like "Neutron Dance," this also came from the soundtrack of Beverly Hills Cop, the movie that launched the career of Judge Reinhold. Oh, and Eddie Murphy was in it too, I think. As for this song, it's just Glenn singing about heat and the street and the beat and stuff, and there's a lot of saxophone. It's pretty much everything I hate about Glenn Frey's solo career in one compact package.
3 - "California Girls," David Lee Roth
Diamond Dave was still a month away from officially quitting Van Halen when this cover of the Beach Boys' immortal ode to the beach babes of the Golden State hit its chart peak. It's a decent version, somewhat faithful to the original (the backing vocals of Carl Wilson helped in that department), but DLR's own horndog personality adds a touch of...something. And I'm glad he and VH are back together. But still, it'd be better with Michael Anthony instead of Wolfgang.
2 - "Can't Fight this Feeling," REO Speedwagon
These guys picked up their second and last #1 with this wusstastic ballad. Kevin Cronin's voice is a bit grating in the best of circumstances, but here, it's fingernails-on-chalkboard squared. Just terrible.
And on top of the charts 27 years ago, we find...
1 - "Careless Whisper," Wham featuring George Michael
This was the second straight charttopper from the band's U.S. breakthrough, Make it Big. Strangely, in England, it was credited to George Michael alone, even though it was the only song on the album that Andrew Ridgeley co-wrote with George. No matter who gets the credit, it's a cool, soulful ballad about a man who regrets blowing his chance with his true love by cheating on her. And George uses it as a showcase for his considerable vocal talent. This is where you could tell that he, at least, had plenty of hits in him to come.
The NotCaseys this week were "Missing You" by Diana Ross, "Smooth Operator" by Sade, "Don't You (Forget About Me)" by Simple Minds, and "One Night in Bangkok" by Murray Head. And Casey played two LDDs. First, a young woman dedicated Chicago's "Stay the Night" to her sister, who was the one member of her family who stayed by her side as she battled drug addiction. Later, a woman dedicated Minnie Riperton's "Lovin' You," to her husband serving in the military, whom she met in an arena parking lot after a basketball game.
And that's that for this. More soon.
Saturday, March 3, 2012
March 2, 1985 Part One
This week we go back to 1985. I was 14. And this was the music.
40 - "The Borderlines," Jeffrey Osborne
39 - "I'm on Fire," Bruce Springsteen
38 - "Obsession," Animotion
37 - "Take Me With U," Prince and the Revolution with Apollonia
36 - "Operator," Midnight Star
35 - "I Wanna Hear it From Your Lips," Eric Carmen
34 - "Turn Up the Radio," Autograph
33 - "Nighrshift," The Commodores
32 - "You're The Inspiration," Chicago
31 - "Rockin' at Midnight," The Honeydrippers
We begin with R&B and dance-pop. Jeffrey Osborne had another one of his hits with this uptempo tale of a love that has to overcome obstacles that may involve some sort of international intrigue. I think it might be my favorite of his. It has spark. Animotion, a synth-pop group made up of five Los Angelenos and British singer Astrid Plane, had their biggest hit with this driving dancefloor number about all-consuming desire. The two lead singers go on about how much they want each other, with the man talking about how "my fantasy has turned to madness" and the woman saying that she wants to captutre and collect him like "a wild butterfly." Soundwise, it's very much of its time, but it has aged well. Kentucky's Midnight Star had their only pop Top 40 with this burbling funk groover that seems to be about an elaborate version of phone sex. I like it, but I probably enjoy one of their earlier R&B hits, "Freak-A-Zoid" more, and not only beause Apu Nahasapeemapetilon danced to it at his brother Sanjay's party. And the Commodores had their first and only post-Lionel pop Top 40 with this sweet tribute to two recently passed soul legends, Marvin Gaye and Jackie Wilson. It's not the greatest song, but their hearts were definitely in the right place.
Then we have rock. Bruce Springsteen had his fourth Born in the U.S.A. hit with this moody, chugging expression of barely-supressed lust. It's kind of like Bruce's version of "Every Breath You Take." Prince had the last and least-successful of his Purple Rain hits with this duet with his romantic lead in the movie, the woman born Patricia Kotero. Basically, the two of them go on about how much they like being around each other. It really isn't one of Prince's greatest moments, but it's not bad. L.A. pop-metallers had their only hit with this anthemic ode to cranking up the tunes. Not lyrically memorable, except when they repurpose an old Coca-Cola slogan by declaring "Things go better with rock." And they are not to be confused with the Russian band Autograph, who would be the Soviet Union's representatives at Live Aid that summer. And The Honeydrippers, Robert Plant and Jimmy Page's retro-rock lark, had their second and last hit with this cover of a 1949 R&B hit about a crazy party that involved stolen chickens, women losing their wigs, and brick-throwing. I guess you had to be there.
We finish with a couple chunks of MOR. Eric Carmen had his first hit in seven years with this song about wanting his lover to tell him he loves him. It's merely boring, and by Eric Carmen solo standards, that makes it practically a masterpiece. And Chicago are here with the pinnacle of their sappy suckitude, which appropriately was their last Top Ten hit with Peter Cetera. The two entities would then go their separate ways, giving the world twice as much syrupy crap as they could as one. Thanks, guys.
30 - "Somebody," Bryan Adams
29 - "Foolish Heart," Steve Perry
28 - "Just Another Night," Mick Jagger
27 - "Keeping the Faith," Billy Joel
26 - "The Boys of Summer," Don Henley
25 - "High on You," Survivor
24 - "Naughty Naughty," John Parr
23 - "Save a Prayer," Duran Duran
22 - "One More Night," Phil Collins
21 - "Jungle Love," The Time
This section is what the kids call a "sausage fest." How to divide it up...
I'll start with the solo men from outside the United States. Canada's Bryan Adams had his second hit from Reckless with this meat-and-potatoes rocker about the search for companionship. It's simple, but catchy. And sometimes that's enough. Mick Jagger had his first solo hit with this pop-rocker about wanting a tryst to last just a little bit longer. Nothing memorable or extraordinary about it. He needs Keith, and Keith needs him. England's John Parr had his first American hit with this sex-heavy rocker in which he tries to seduce a woman in spite of her insistence that "I don't want to be a girl like that." I think he wins out in the end. Anyway, it's hard to imagine that this panting horndog would come back a few months later with the squeaky-clean and inspirational "Man in Motion (St. Elmo's Fire)." And Phil Collins had his first solo #1 with this smooth, soulish ballad that was the first single from his monster No Jacket Required album. He does okay with it, but this was the beginning of him becoming a little too polished and smarmy for my taste.
Then we have the American males. Journey's Steve Perry is here, having a conversation with his heart, trying to convince it to be smarter in its choices of people to fall in love with. "You've been wrong before, don't be wrong anymore," he pleads. Yeah, Steve, it's that simple. Billy Joel squeezed out one more hit from An Innocent Man with this bouncy pop ditty about looking back to the clothes he wore and the things he did in his teenage days. Basically, it's the mission statement for that whole album, and it's a fairly decent song. Don Henley had his second Top 40 single with this slick rocker about getting older and seeing strange sights like "a Deadhead sticker on a Cadillac." Probably Don's best overall solo hit. And Casey used the Deadhead reference to mention that the Grateful Dead had never scored a Top 40 hit. Little did he know that two years later, that would change.
And to finish the first have, we have bands. Survivor picked up their first non-"Eye of the Tiger" Top Ten with this synth-laden rocker about a woman who causes "complete intoxication." I wonder if Breathalyzers can pick that up. Anyway, this isn't much. Nothing over the top like their Rocky hits. It's just there. Duran Duran are here with their first ballad hit, a song that didn't crack the U.S. charts until three years after its original release. Not sure what it's about, but it's well-crafted pop, just like most of their hits. And Minneapolis funk outfit The Time, who played Prince's rivals in Purple Rain, had their first pop hit with this fun ode to animalistic romance. And yes, I like this better than the Steve Miller song of the same name.
Tomorrow: self-control, self-plagiarism, and just plain selfishness.
40 - "The Borderlines," Jeffrey Osborne
39 - "I'm on Fire," Bruce Springsteen
38 - "Obsession," Animotion
37 - "Take Me With U," Prince and the Revolution with Apollonia
36 - "Operator," Midnight Star
35 - "I Wanna Hear it From Your Lips," Eric Carmen
34 - "Turn Up the Radio," Autograph
33 - "Nighrshift," The Commodores
32 - "You're The Inspiration," Chicago
31 - "Rockin' at Midnight," The Honeydrippers
We begin with R&B and dance-pop. Jeffrey Osborne had another one of his hits with this uptempo tale of a love that has to overcome obstacles that may involve some sort of international intrigue. I think it might be my favorite of his. It has spark. Animotion, a synth-pop group made up of five Los Angelenos and British singer Astrid Plane, had their biggest hit with this driving dancefloor number about all-consuming desire. The two lead singers go on about how much they want each other, with the man talking about how "my fantasy has turned to madness" and the woman saying that she wants to captutre and collect him like "a wild butterfly." Soundwise, it's very much of its time, but it has aged well. Kentucky's Midnight Star had their only pop Top 40 with this burbling funk groover that seems to be about an elaborate version of phone sex. I like it, but I probably enjoy one of their earlier R&B hits, "Freak-A-Zoid" more, and not only beause Apu Nahasapeemapetilon danced to it at his brother Sanjay's party. And the Commodores had their first and only post-Lionel pop Top 40 with this sweet tribute to two recently passed soul legends, Marvin Gaye and Jackie Wilson. It's not the greatest song, but their hearts were definitely in the right place.
Then we have rock. Bruce Springsteen had his fourth Born in the U.S.A. hit with this moody, chugging expression of barely-supressed lust. It's kind of like Bruce's version of "Every Breath You Take." Prince had the last and least-successful of his Purple Rain hits with this duet with his romantic lead in the movie, the woman born Patricia Kotero. Basically, the two of them go on about how much they like being around each other. It really isn't one of Prince's greatest moments, but it's not bad. L.A. pop-metallers had their only hit with this anthemic ode to cranking up the tunes. Not lyrically memorable, except when they repurpose an old Coca-Cola slogan by declaring "Things go better with rock." And they are not to be confused with the Russian band Autograph, who would be the Soviet Union's representatives at Live Aid that summer. And The Honeydrippers, Robert Plant and Jimmy Page's retro-rock lark, had their second and last hit with this cover of a 1949 R&B hit about a crazy party that involved stolen chickens, women losing their wigs, and brick-throwing. I guess you had to be there.
We finish with a couple chunks of MOR. Eric Carmen had his first hit in seven years with this song about wanting his lover to tell him he loves him. It's merely boring, and by Eric Carmen solo standards, that makes it practically a masterpiece. And Chicago are here with the pinnacle of their sappy suckitude, which appropriately was their last Top Ten hit with Peter Cetera. The two entities would then go their separate ways, giving the world twice as much syrupy crap as they could as one. Thanks, guys.
30 - "Somebody," Bryan Adams
29 - "Foolish Heart," Steve Perry
28 - "Just Another Night," Mick Jagger
27 - "Keeping the Faith," Billy Joel
26 - "The Boys of Summer," Don Henley
25 - "High on You," Survivor
24 - "Naughty Naughty," John Parr
23 - "Save a Prayer," Duran Duran
22 - "One More Night," Phil Collins
21 - "Jungle Love," The Time
This section is what the kids call a "sausage fest." How to divide it up...
I'll start with the solo men from outside the United States. Canada's Bryan Adams had his second hit from Reckless with this meat-and-potatoes rocker about the search for companionship. It's simple, but catchy. And sometimes that's enough. Mick Jagger had his first solo hit with this pop-rocker about wanting a tryst to last just a little bit longer. Nothing memorable or extraordinary about it. He needs Keith, and Keith needs him. England's John Parr had his first American hit with this sex-heavy rocker in which he tries to seduce a woman in spite of her insistence that "I don't want to be a girl like that." I think he wins out in the end. Anyway, it's hard to imagine that this panting horndog would come back a few months later with the squeaky-clean and inspirational "Man in Motion (St. Elmo's Fire)." And Phil Collins had his first solo #1 with this smooth, soulish ballad that was the first single from his monster No Jacket Required album. He does okay with it, but this was the beginning of him becoming a little too polished and smarmy for my taste.
Then we have the American males. Journey's Steve Perry is here, having a conversation with his heart, trying to convince it to be smarter in its choices of people to fall in love with. "You've been wrong before, don't be wrong anymore," he pleads. Yeah, Steve, it's that simple. Billy Joel squeezed out one more hit from An Innocent Man with this bouncy pop ditty about looking back to the clothes he wore and the things he did in his teenage days. Basically, it's the mission statement for that whole album, and it's a fairly decent song. Don Henley had his second Top 40 single with this slick rocker about getting older and seeing strange sights like "a Deadhead sticker on a Cadillac." Probably Don's best overall solo hit. And Casey used the Deadhead reference to mention that the Grateful Dead had never scored a Top 40 hit. Little did he know that two years later, that would change.
And to finish the first have, we have bands. Survivor picked up their first non-"Eye of the Tiger" Top Ten with this synth-laden rocker about a woman who causes "complete intoxication." I wonder if Breathalyzers can pick that up. Anyway, this isn't much. Nothing over the top like their Rocky hits. It's just there. Duran Duran are here with their first ballad hit, a song that didn't crack the U.S. charts until three years after its original release. Not sure what it's about, but it's well-crafted pop, just like most of their hits. And Minneapolis funk outfit The Time, who played Prince's rivals in Purple Rain, had their first pop hit with this fun ode to animalistic romance. And yes, I like this better than the Steve Miller song of the same name.
Tomorrow: self-control, self-plagiarism, and just plain selfishness.
Subscribe to:
Posts (Atom)