Finishing up '86.
20 - "Your Love," The Outfield
19 - "No One is to Blame," Howard Jones
18 - "Take Me Home," Phil Collins
17 - "Nothin' At All," Heart
16 - "Bad Boy," Miami Sound Machine
The second half begins with The Outfield, returning from last time with their biggest hit. I wonder what happened when Josie got back from vacation.
Next is British synth man Howard Jones' biggest U.S. hit. It's a spare ballad in which he describes how it feels to be attracted to someone but unable to do anything about it with a series of metaphors. It's like, among other things, being able to look at a menu but not being able to eat, being the fastest runner but not being permitted to win, and putting together a puzzle and finding that the last piece doesn't fit. I'm not sure this works for everyone, but I find it an extremely well-crafted pop song, defintely in my Top 100 of the decade.
Phil Collins had his fourth and last hit from No Jacket Required with this oddly catchy tune that he says takes the point of view of a patient in a mental institution. Apparently, this patient is resigned to his fate, for he sings "There's no point escaping, I don't worry anymore. It's probably between this and "In the Air Tonight" for the title of my favorite Phil solo hit.
Then it's Heart, also with the fourth single from their then-current album. It's a standard corporate semi-hard rocker about how great Ann Wilson thinks her current relationship is. Bland and undistinguished. But better than "These Dreams."
This section is wrapped up by Gloria Estefan and company with their second Top 40 hit, a peppy, fluffy pop song about being in love with a guy who's no angel. Although the way this song portrays him, I'm guessing he's more of the unpaid parking tickets type than some murderous drug dealer.
15 - "A Different Corner," George Michael
14 - "West End Girls," The Pet Shop Boys
13 - "There'll be Sad Songs (To Make You Cry)," Billy Ocean
12 - "Move Away," Culture Club
11 - "Crush on You," The Jets
This group is led off by the first single credited to George Michael alone in the U.S. (in Britain, "Careless Whisper" was just him, but credited to Wham! in America). It's a spare-yet-lush ballad about being afraid of how much he loves someone and how much it would hurt to lose them. A timeless emotion, conveyed very effectively. Clearly, he was going to do just fine without Ridgeley.
The Pet Shop Boys return from last time with their ode to the females of a certain part of London. This song makes me think of the British superlative "smashing" for some reason.
Next is Billy Ocean with what would be his second American charttopper, a ballad about the songs that make us think wistfully of lovers past and present. I'm not sure if it screams "Number One" to me, but it's pleasant enough. Many worse songs have hit that particular spot.
Then it's the final American hit for Culture Club, a synth-soul tune on which Boy George basically tells a would-be lover that he's not good for them. Not quite up to their best hits, but still very good. It was this same year that George appeared on The A-Team. By then, both cultural institutions were clearly losing steam, and neither helped slow the other's decline.
This bunch is closed out by Minnesota's Tongan-American Wolfgramm siblings with their first hit, a lite-funk tune about an infatuation made public. This isn't really my kind of thing, but I appreciate that it's well put-together and serves its purpose.
They're the Top Ten, they're the Tower of Pisa.
10 - "What Have You Done for Me Lately," Janet Jackson
The most successful Jackson sister returns with her first hit, on which she gives a shout out to the soap opera One Life to Live. My mother used to watch that. Yes, you needed to know that.
9 - "Be Good to Yourself," Journey
The San Francisco arena-rock franchise had its last Top Ten with this reminder to treat oneself nicely, because "nobody else will." That's a bit of a dark attitude to have. Still, I like this better than most Journey, because at least it rocks a bit.
8 - "Is it Love," Mr. Mister
The band the French might have called M. Monsieur had their third and last Top Ten with a song that wonders if it is love that whoever they're singing to is after. Well, on the off chance it's me, I'll answer, "yes, it is, thank you." As for the song, just plain uptempo soft rock, nothing special.
7 - "Something About You," Level 42
This jazz-influenced British pop group had their biggest American hit with a song about how nice it is to find love in an imperfect world. Or something. Whatever. It's pleasant, it's catchy, good for them.
6 - "All I Need is a Miracle," Mike and the Mechanics
Genesis guitarist Mike Rutherford and his not-really-auto-repairmen had their second hit with a song that promises if the titlular improbability happens and singer Paul Young (not the "Everytime You Go Away" guy, a different one) gets a second chance with the l's biover he wronged, he would do much better by her. Did he get that opportunity? We never find out. I don't care enough that it matters, though. But still, a fair pop song.
5 - "I Can't Wait," Nu Shooz
The first and biggest hit by these spelling-challenged Oregonians was this poppy bit of frivolity about impatience for contact with one's significant other. It's one of those songs that seems like it would be hard to resist, but I'm somehow immune to its charms. I don't know why.
4 - "If You Leave," Orchestral Manoevres in the Dark
OMD's biggest American hit was this suitably achy midtempo synthpop ballad from the soundtrack of the John Hughes teen flick Pretty in Pink. Andy McCluskey drips desperation in every line. I like this better than "Don't You (Forget About Me)." as far as Hughes movie songs go.
3 - "On My Own," Patti LaBelle and Michael McDonald
The ex-Doobie and the woman who sang "Lady Marmalade" teamed up on this Burt Bacharach/Carole Bayer Sager number on which they portray participants in a dying relationship. It's pretty good, I suppose, but I'm still surprised it hit #1.
2 - "Live to Tell," Madonna
Ms.Ciccone scored her third #1 with this ballad from the movie At Close Range, which starred her then-husband Sean Penn. It's a dark, mysterious tune about secrets and what happens when one decides to tell them. Definietly in the upper tier of Madge's hits.
And on top of the heap 26 years ago was...
1 - "The Greatest Love of All," Whitney Houston
This song was originally written in 1977 for the Muhammad Ali biopic The Greatest (in which he played himself), and became a hit for George Benson. But it was launched into international smash hitdom when it became Whitney's third American #1. We all know it: children are the future, they can't take away your dignity, and the title refers to "learning to love yourself. " It's big, it's emotional, it's probably her signature song.
This week's NotCaseys were "Invisible Touch" by Genesis, "Love Touch" by Rod Stewart, "One Hit (To the Body)" by The Rolling Stones, and "Dreams" by Van Halen. And there were three LDDs this week. First, a girl who was choosing to pursue a modelling career instead of college after graduation despite her parents' objections dedicated Cyndi Lauper's "Time After Time" to them to let them know she still appreciates all their love and support. Then, a soldier who had been through some rocky times with his fiancee before he deployed overseas requested Journey's "Faithfully" to show that he still loves her and has always been true. And lastly, another teenage girl sent Carole King's "You've Got a Friend" out to the boy who was her boyfriend for a couple months but then became her platonic best friend.
But this week's not over. Because this week's 70s chart happens to hit a sweet spot in 1971 that I wasn't able to cover last year, you'll be getting some bonus BGC action sometime this week. Maybe one entry, maybe two. Watch for it, and get excited.
Sunday, May 27, 2012
May 31, 1986 Part One
This weekend we go back to 1986. The weekend this countdown aired, soccer's World Cup opened in Mexico. It was the only one to date Canada has qualified for. We're still waiting for our first goal. Still, it was fun watching Maradona. Anyway, while that was going on, America got its kicks listening to the following songs.
40 - "When the Heart Rules the Mind," GTR
39 - "Sledgehammer," Peter Gabriel
38 - "Like a Rock," Bob Seger and the Silver Bullet Band
37 - "The Love Parade," The Dream Academy
36 - "Kiss," Prince and the Revolution
35 - "Rough Boy," ZZ Top
34 - "Never as Good as the First Time," Sade
33 - "Like No Other Night," .38 Special
32 - "Your Wildest Dreams," The Moody Blues
31 - "Tuff Enuff," The Fabulous Thunderbirds
We start our look back with three British bands. Ex-Yes guitarist Steve Howe teamed up with ex-Genesis guitarist Steve Hackett to form GTR, a band named after a short form for both men's instrument of choice. Their only pop hit was this proggy pop-rocker about following one's dreams or something like that. I liked it better then than I do now. Time has revealed it to be a pale imitation of Howe's other, better 80s band, Asia. The Dream Academy had their second and last American hit with a dreamy tune about a relationship challenged by outside temptations. Not quite the classic that "Life in a Norrthern Town" was, but still pretty awesome. I especially like the parts when the accordion is prominent. And The Moody Blues scored their third and final Top Ten with this liter-than-lite remembrance of long-ago romantic idyll. I'm not a fan. However, I hear The Satin Knights do a much better version in Vegas.
Two more Brits are in this section. Peter Gabriel had his first and only American #1 with this loose, funkish pop perennial in which he offers to be your implement of destruction. Just as well-remembered is the claymation-assisted video, which still ranks high on many best-of-all-time lists. I like both song and video, but stay away from my fruit cage, Pete! And Sade picked up her third Top 40 hit with sweetly soulful uptempo track about how the intial burst of a romance is always the best part. But yet, you keep going and keep trying, in spite of the fact that "it's like the weather, one day chicken, next day feathers." I don't know what that means, but I like it.
Next are two American singers and their credited backing bands. The Styx of Detroit is here with a ballad about how invincible and idealistic he felt when he was eighteen. I wonder if that idealism involved selling this song and having it used as a pickup truck jingle for over a decade. Anyway, removed from that context, it's not a bad little song, but those commercials certainly have blunted and distorted it. And Prince and company return from last time with an offer of fantasy and good times. However, unlike Mr. Nelson, I do think it's okay to sometimes act your shoe size instead of your age.
We finish off with three American bands. ZZ Top had another hit from their most commercially successful period with this ballad in which Billy Gibbons declares that he is capable of romance in spite of his craggy exterior. I think that's the point he's driving at. Not that the song is strong enough for me to care. .38 Special are here again with another offering of their watered-down Southern rock. The lyrics talk of offering a unique and wonderful experience, but the song itself offers no such thing. And Austin, Texas blues rockers The Fabulous Thunderbirds had their biggest pop hit with this chugging, danceable number in which singer Kim Wilson lists all of the things he would do for love, including wrestling wild animals, swimming large bodies of water, climbing tall builidings, and fighting Muhammad Ali. Just good, solid fun rock. Fabulous, indeed.
30 - "Tomorrow Doesn't Matter Tonight," Starship
29 - "Vienna Calling," Falco
28 - "All the Things She Said," Simple Minds
27 - "Mothers Talk," Tears for Fears
26 - "Rain on the Scarecrow," John Cougar Mellencamp
25 - "Who's Johnny," El DeBarge
24 - "Addicted to Love," Robert Palmer
23 - "I Wanna Be a Cowboy," Boys Don't Cry
22 - "Holding Back the Years," Simply Red
21 - "Why Can't This Be Love," Van Halen
This section is bookended by American bands. Starship followed up back-to-back Number Ones with this midtempo tune in which Mickey Thomas begs for a one-night stand. Neither the cheesy triumph that was "We Built This City" nor the abomination that was "Sara." Simply bland and pointless. And Sammy Hagar made his Van Halen debut with this rocker that continues on the keyboard-driven path started on 1984. A decent pop song, though the lyrics are a bit lazy and cliched. And Hagar sings it okay, but his attempt at scatting is hilariously painful or painfully hilarious, depending on your viewpoint. Leave that sort of thing to DLR, Sam.
Next we have the male solo singers. The Austrian rock singer born Hans Holzel had his second and last American hit with this dance-rocker whose German lyrics are apparently about women all over the world; particularly in the Austrian capital, but also in places like "Tucson, Arizona and Toronto, Canada." A solid song, and charming in a different way than "Rock Me Amadeus." John Cougar Mellencamp is here with a darkly rocking track about a man whose family farm has fallen on hard times to the point where the bank had foreclosed. It was around the time that this was originally released on the album of the same name that Mellencamp became involved in the first Farm Aid concert, and he continues to raise awareness of farm issues. But it's unusual subject matter for a Top 40 hit, and therefore, it wins this week's Uneasy Rider. El DeBarge had his first hit away from his family band with this pop trifle from the Steve Guttenberg-Ally Sheedy robot flick Short Circuit. A fun little throwaway song from a ful little throwaway movie. "No disassessemble!" And Robert Palmer is back from last time with his immortal hit about romantic dependency. Might as well face it, this song may be stuck in your head for a while. It isn't? Lucky you.
The first half closes with British bands. Scotland' Simple Minds had their last hit of the 80s with this anthemic song that's about...I'm not sure. It seems to be a call to some sort of action, but I'm not sure what. Taking to the streets...but for what purpose? And who is "she" and what exactly did she say? Okay song, but it raises too many questions. Tears for Fears had their fourth American hit with this song that was inspired both by a book of anti-nuclear cartoons and by the saying moms have been repeating for years "If you keep making that face, it'll stick that way." Interesting. Anyway, this wasn't nearly as big as their other Songs from the Big Chair singles, but I think it might be my favorite. I'm like that sometimes. Synth-poppers Boys Don't Cry had their only hit with this spare-yet-memorable curio about a man named Ted who dreams of riding the range and fighting off danger. A silly novelty, distinguished by "Ted's" dry, disintrested delivery and the breathless admiration of the lady who would be his cowgirl. And Simply Red had their first American hit with this future #1 ballad that was inspired by the fact that his mother left him when he was three years old. A genuinely affecting song, and easily my favorite by Mick Hucknall et al. And probably the biggest hit to employ the Latin parental terms "pater" and "mater."
Tomorrow: a futile quest for liability, advice on how to treat one's own person, and somebody thinks of the children.
40 - "When the Heart Rules the Mind," GTR
39 - "Sledgehammer," Peter Gabriel
38 - "Like a Rock," Bob Seger and the Silver Bullet Band
37 - "The Love Parade," The Dream Academy
36 - "Kiss," Prince and the Revolution
35 - "Rough Boy," ZZ Top
34 - "Never as Good as the First Time," Sade
33 - "Like No Other Night," .38 Special
32 - "Your Wildest Dreams," The Moody Blues
31 - "Tuff Enuff," The Fabulous Thunderbirds
We start our look back with three British bands. Ex-Yes guitarist Steve Howe teamed up with ex-Genesis guitarist Steve Hackett to form GTR, a band named after a short form for both men's instrument of choice. Their only pop hit was this proggy pop-rocker about following one's dreams or something like that. I liked it better then than I do now. Time has revealed it to be a pale imitation of Howe's other, better 80s band, Asia. The Dream Academy had their second and last American hit with a dreamy tune about a relationship challenged by outside temptations. Not quite the classic that "Life in a Norrthern Town" was, but still pretty awesome. I especially like the parts when the accordion is prominent. And The Moody Blues scored their third and final Top Ten with this liter-than-lite remembrance of long-ago romantic idyll. I'm not a fan. However, I hear The Satin Knights do a much better version in Vegas.
Two more Brits are in this section. Peter Gabriel had his first and only American #1 with this loose, funkish pop perennial in which he offers to be your implement of destruction. Just as well-remembered is the claymation-assisted video, which still ranks high on many best-of-all-time lists. I like both song and video, but stay away from my fruit cage, Pete! And Sade picked up her third Top 40 hit with sweetly soulful uptempo track about how the intial burst of a romance is always the best part. But yet, you keep going and keep trying, in spite of the fact that "it's like the weather, one day chicken, next day feathers." I don't know what that means, but I like it.
Next are two American singers and their credited backing bands. The Styx of Detroit is here with a ballad about how invincible and idealistic he felt when he was eighteen. I wonder if that idealism involved selling this song and having it used as a pickup truck jingle for over a decade. Anyway, removed from that context, it's not a bad little song, but those commercials certainly have blunted and distorted it. And Prince and company return from last time with an offer of fantasy and good times. However, unlike Mr. Nelson, I do think it's okay to sometimes act your shoe size instead of your age.
We finish off with three American bands. ZZ Top had another hit from their most commercially successful period with this ballad in which Billy Gibbons declares that he is capable of romance in spite of his craggy exterior. I think that's the point he's driving at. Not that the song is strong enough for me to care. .38 Special are here again with another offering of their watered-down Southern rock. The lyrics talk of offering a unique and wonderful experience, but the song itself offers no such thing. And Austin, Texas blues rockers The Fabulous Thunderbirds had their biggest pop hit with this chugging, danceable number in which singer Kim Wilson lists all of the things he would do for love, including wrestling wild animals, swimming large bodies of water, climbing tall builidings, and fighting Muhammad Ali. Just good, solid fun rock. Fabulous, indeed.
30 - "Tomorrow Doesn't Matter Tonight," Starship
29 - "Vienna Calling," Falco
28 - "All the Things She Said," Simple Minds
27 - "Mothers Talk," Tears for Fears
26 - "Rain on the Scarecrow," John Cougar Mellencamp
25 - "Who's Johnny," El DeBarge
24 - "Addicted to Love," Robert Palmer
23 - "I Wanna Be a Cowboy," Boys Don't Cry
22 - "Holding Back the Years," Simply Red
21 - "Why Can't This Be Love," Van Halen
This section is bookended by American bands. Starship followed up back-to-back Number Ones with this midtempo tune in which Mickey Thomas begs for a one-night stand. Neither the cheesy triumph that was "We Built This City" nor the abomination that was "Sara." Simply bland and pointless. And Sammy Hagar made his Van Halen debut with this rocker that continues on the keyboard-driven path started on 1984. A decent pop song, though the lyrics are a bit lazy and cliched. And Hagar sings it okay, but his attempt at scatting is hilariously painful or painfully hilarious, depending on your viewpoint. Leave that sort of thing to DLR, Sam.
Next we have the male solo singers. The Austrian rock singer born Hans Holzel had his second and last American hit with this dance-rocker whose German lyrics are apparently about women all over the world; particularly in the Austrian capital, but also in places like "Tucson, Arizona and Toronto, Canada." A solid song, and charming in a different way than "Rock Me Amadeus." John Cougar Mellencamp is here with a darkly rocking track about a man whose family farm has fallen on hard times to the point where the bank had foreclosed. It was around the time that this was originally released on the album of the same name that Mellencamp became involved in the first Farm Aid concert, and he continues to raise awareness of farm issues. But it's unusual subject matter for a Top 40 hit, and therefore, it wins this week's Uneasy Rider. El DeBarge had his first hit away from his family band with this pop trifle from the Steve Guttenberg-Ally Sheedy robot flick Short Circuit. A fun little throwaway song from a ful little throwaway movie. "No disassessemble!" And Robert Palmer is back from last time with his immortal hit about romantic dependency. Might as well face it, this song may be stuck in your head for a while. It isn't? Lucky you.
The first half closes with British bands. Scotland' Simple Minds had their last hit of the 80s with this anthemic song that's about...I'm not sure. It seems to be a call to some sort of action, but I'm not sure what. Taking to the streets...but for what purpose? And who is "she" and what exactly did she say? Okay song, but it raises too many questions. Tears for Fears had their fourth American hit with this song that was inspired both by a book of anti-nuclear cartoons and by the saying moms have been repeating for years "If you keep making that face, it'll stick that way." Interesting. Anyway, this wasn't nearly as big as their other Songs from the Big Chair singles, but I think it might be my favorite. I'm like that sometimes. Synth-poppers Boys Don't Cry had their only hit with this spare-yet-memorable curio about a man named Ted who dreams of riding the range and fighting off danger. A silly novelty, distinguished by "Ted's" dry, disintrested delivery and the breathless admiration of the lady who would be his cowgirl. And Simply Red had their first American hit with this future #1 ballad that was inspired by the fact that his mother left him when he was three years old. A genuinely affecting song, and easily my favorite by Mick Hucknall et al. And probably the biggest hit to employ the Latin parental terms "pater" and "mater."
Tomorrow: a futile quest for liability, advice on how to treat one's own person, and somebody thinks of the children.
Sunday, May 20, 2012
May 19, 1984 Part Two
Once again, I have to start with an R.I.P., this time to Robin Gibb. Damn.
Before we resume our 1984 coverage, let's go back to May 21, 1977. Stevie Wonder was on top with "Sir Duke." The Top Ten also included "Dreams," "Gonna Fly Now," "Hotel California," and "Lucille." Below that, there are only three newbies. First are The Jacksons at #28 with their second post-Motown hit, the able disco track "Show You the Way to Go." Solid, but not spectacular. At #33, we find Bob Seger's second hit, a ballad on which the Styx of Detroit reminisces about lusting after an Ann Arbor, Michigan stripper. At least that's what I've been able to deduce about "Mainstreet." And lastly, and coming under my spotlight this week, we find...
39 - "Everybody be Dancin'," Starbuck
I'm assure like me, you assumed that these Atlantans only cracked the 40 once, with "Moonlight Feels Right." Well, WRONG! They managed to squeak out one more Top 40 with this song that.Al..sounds basically like a sped-up "Moonlight Feels Right." Oh, and it namechecks The Rolling Stones. So there. They had TWO hits, and I insist that we all give them the respect that this accomplishment deserves. Okay, "insist" is too strong a word. Just go ahead and adjust your level of esteem towards them however you see fit.
All right, back to 1984.
20 - "Tonight," Kool and the Gang
19 - "I'll Wait," Van Halen
18 - "Dancin' in the Sheets," Shalamar
17 - "They Don't Know," Tracy Ullman
16 - "Sister Christian," Night Ranger
The second half opens with Kool and the Gang, returning from last time with their funky reminiscence of lost teenage innocence. Again, above average for them in this decade.
Van Halen followed up the huge success of "Jump," with another synth-heavy rocker. The music was co-written by Eddie and none other than Doobie Brothers de-clawer Michael McDonald. You would think that would be death, but David Lee Roth saved it with a lyric inspired by an attractive lady in a Calvin Klein print ad. Still, Roth at one point wanted it removed from the 1984 album. And apprently, the group are having differences of opinion again, which is causing them to cut their tour short and "postpone" all the dates scheduled after the end of June. I am shocked, shocked.
Next we have the only post-Jody Watley pop hit for Shalamar, a lust-drenched electro-funk tune from the ever-present Footloose soundtrack. It's not bad, and probably my second-favorite hit from that record.
Then it's Tracy Ullman and her retro smash about a love that will not be dissuaded by friends' doubts. If you'd told me I'd like it more now than I did then, I surely wouldn't have believed you. But here we are.
This bunch closes with what would become Night Ranger's biggest hit, a ballad that drummer Kelly Keagy wrote as a way of advising his teenage sister Christy not to be in such a hurry to grow up. But singer Jack Blades thought the lyric said "Christian" instead, so that stuck. Anyway, it's slick and overwrought, but that's what provides it's enduring charm. Along with trying to figure out what "Motorin', what's your price for flight?" means.
15 - "The Authority Song," John Cougar Mellencamp
14 - "The Longest Time," Billy Joel
13 - "Breakdance," Irene Cara
12 - "The Reflex," Duran Duran
11 - "Head Over Heels," The Go-Gos
Leading off this quintet is JCM with his ode to battling the powers that be. Twenty years later, he'd write a song and pretty much instantly sold it as a jingle to a car company. Oh well, these things happen.
Billy Joel also returns with his one-man stab at old-school a capella. And it worked. He was never cool, but he knew what sounded good on the radio.
Next is Irene Cara with her last major hit, a song about the then-rising style of hip-hop dancing that was at the time being chronicled in films like Breakin' and Krush Groove. She didn't exactly sound in her element covering this subject, but she did all right. And yes, back in the day, I laid down the cardboard a few times and tried a few moves. I didn't injure myself, so I guess that's something.
Then it's Duran Duran with what would be their first American Number One. It's their usual dancey, New Wavish pop, with lyrics about a child looking for treasure, selling expensive art, and of course, that unknown thing that one should use but try not to bruise. Definitely in my Top 5 of theirs.
This group is anchored by The Go-Gos and their hit from last time. I was effusive in my praise of it then, and nothing has changed. Awesome.
Top Ten, assemble!
10 - "Footloose," Kenny Loggins
The smash title track from the movie about the town that outlawed dancing. Silly fun from the Logginator. Kick off those Sunday shoes already!
9 - "You Might Think," The Cars
Yes, Ric, I might think. But then again, I might not. I do, however, think this is a good song. Happy?
8 - "Oh Sherrie," Steve Perry
The Journey frontman's biggest solo hit was this bombastically sung rock ballad about a love that "holds on" in spite of everything. Not surprisingly, it was used in the hit jukebox musical Rock of Ages. As was "Sister Christian." This led to one of the main characters being named...wait for it...Sherrie Christian. Outstanding. And yeah, I'll probably go see the movie version when it comes out next month, in spite of my aversion to Tom Cruise.
7 - "Love Somebody," Rick Springfield
The rocker/soap star returns with his final Top Ten. After this, he pushed it just a little too far.
6 - "Time After Time," Cyndi Lauper
The pop pixie from Queens followed up the sprightly "Girls Just Wanna Have Fun" with a complete 180 in the form of this tender, mature ballad about pledging to always be there for someone even when distance and circumstance separates you. A more-than-deserving #1, and certainly one of the standout ballads of the entire decade.
5 - "To All the Girls I've Loved Before," Julio Iglesias and Willie Nelson
The Latin heartthrob and the country legend return with their odd coupling. It didn't claim the Uneasy Rider last time, but it does on its second attempt. And yes, I realize that I didn't give out the award last week. Sometimes when there are no glaring candidates, it slips my mind. And going back now, I can't even pick one. Sorry.
4 - "Hold Me Now," The Thompson Twins
I like your song and all, guys, but no. Maybe some other time.
3 - "Against All Odds (Take a Look at Me Now)," Phil Collins
Back from last time, even still in the same spot. That's convenient. I'm going to go out on a limb and say that his is Phil's best ballad.
2 - "Let's Hear it For the Boy," Deneice Williams
The woman born June Deneice Chandler had her only solo #1 with this okay bit of pop-funk about a man who lacks in money, style, eloquence, and singing ability, but is her "loving one-man show" regardless. And yes, that makes four songs from Footloose on this week's chart. That soundtrack was just ubiqitious. But I must say, I don't think it's held up as well as the one from, say, Saturday Night Fever.
And at the top of pop 28 years ago was...
1 - "Hello," Lionel Richie
Indeed, it was this sweet ballad that pop fans were looking for at this time. Not one of my favorites by any means, but there's no doubt that Lionel can sell a song. Hell, he's currently selling many of his big hits all over again, in counrty form, on his recent smash album Tuskegee.
The NotCaseys this week were "Magic" by the Cars, "Dance Hall Days" by Wang Chung, "What is Love" by Howard Jones, and "Legs" by ZZ Top. And Casey played two LDDs. In the first, a teenage boy dedicated Van Halen's "Jump" to the friends he'd recently won a fifth-grade talent show with by lip-synching that song. And in the second, a teenage girl dedicated Asia's "Only Time Will Tell" to the three brothers she'd been long separated from by family circumstances.
To my fellow Canadians, Happy Victoria Day. And to everyone else, see you next week.
Before we resume our 1984 coverage, let's go back to May 21, 1977. Stevie Wonder was on top with "Sir Duke." The Top Ten also included "Dreams," "Gonna Fly Now," "Hotel California," and "Lucille." Below that, there are only three newbies. First are The Jacksons at #28 with their second post-Motown hit, the able disco track "Show You the Way to Go." Solid, but not spectacular. At #33, we find Bob Seger's second hit, a ballad on which the Styx of Detroit reminisces about lusting after an Ann Arbor, Michigan stripper. At least that's what I've been able to deduce about "Mainstreet." And lastly, and coming under my spotlight this week, we find...
39 - "Everybody be Dancin'," Starbuck
I'm assure like me, you assumed that these Atlantans only cracked the 40 once, with "Moonlight Feels Right." Well, WRONG! They managed to squeak out one more Top 40 with this song that.Al..sounds basically like a sped-up "Moonlight Feels Right." Oh, and it namechecks The Rolling Stones. So there. They had TWO hits, and I insist that we all give them the respect that this accomplishment deserves. Okay, "insist" is too strong a word. Just go ahead and adjust your level of esteem towards them however you see fit.
All right, back to 1984.
20 - "Tonight," Kool and the Gang
19 - "I'll Wait," Van Halen
18 - "Dancin' in the Sheets," Shalamar
17 - "They Don't Know," Tracy Ullman
16 - "Sister Christian," Night Ranger
The second half opens with Kool and the Gang, returning from last time with their funky reminiscence of lost teenage innocence. Again, above average for them in this decade.
Van Halen followed up the huge success of "Jump," with another synth-heavy rocker. The music was co-written by Eddie and none other than Doobie Brothers de-clawer Michael McDonald. You would think that would be death, but David Lee Roth saved it with a lyric inspired by an attractive lady in a Calvin Klein print ad. Still, Roth at one point wanted it removed from the 1984 album. And apprently, the group are having differences of opinion again, which is causing them to cut their tour short and "postpone" all the dates scheduled after the end of June. I am shocked, shocked.
Next we have the only post-Jody Watley pop hit for Shalamar, a lust-drenched electro-funk tune from the ever-present Footloose soundtrack. It's not bad, and probably my second-favorite hit from that record.
Then it's Tracy Ullman and her retro smash about a love that will not be dissuaded by friends' doubts. If you'd told me I'd like it more now than I did then, I surely wouldn't have believed you. But here we are.
This bunch closes with what would become Night Ranger's biggest hit, a ballad that drummer Kelly Keagy wrote as a way of advising his teenage sister Christy not to be in such a hurry to grow up. But singer Jack Blades thought the lyric said "Christian" instead, so that stuck. Anyway, it's slick and overwrought, but that's what provides it's enduring charm. Along with trying to figure out what "Motorin', what's your price for flight?" means.
15 - "The Authority Song," John Cougar Mellencamp
14 - "The Longest Time," Billy Joel
13 - "Breakdance," Irene Cara
12 - "The Reflex," Duran Duran
11 - "Head Over Heels," The Go-Gos
Leading off this quintet is JCM with his ode to battling the powers that be. Twenty years later, he'd write a song and pretty much instantly sold it as a jingle to a car company. Oh well, these things happen.
Billy Joel also returns with his one-man stab at old-school a capella. And it worked. He was never cool, but he knew what sounded good on the radio.
Next is Irene Cara with her last major hit, a song about the then-rising style of hip-hop dancing that was at the time being chronicled in films like Breakin' and Krush Groove. She didn't exactly sound in her element covering this subject, but she did all right. And yes, back in the day, I laid down the cardboard a few times and tried a few moves. I didn't injure myself, so I guess that's something.
Then it's Duran Duran with what would be their first American Number One. It's their usual dancey, New Wavish pop, with lyrics about a child looking for treasure, selling expensive art, and of course, that unknown thing that one should use but try not to bruise. Definitely in my Top 5 of theirs.
This group is anchored by The Go-Gos and their hit from last time. I was effusive in my praise of it then, and nothing has changed. Awesome.
Top Ten, assemble!
10 - "Footloose," Kenny Loggins
The smash title track from the movie about the town that outlawed dancing. Silly fun from the Logginator. Kick off those Sunday shoes already!
9 - "You Might Think," The Cars
Yes, Ric, I might think. But then again, I might not. I do, however, think this is a good song. Happy?
8 - "Oh Sherrie," Steve Perry
The Journey frontman's biggest solo hit was this bombastically sung rock ballad about a love that "holds on" in spite of everything. Not surprisingly, it was used in the hit jukebox musical Rock of Ages. As was "Sister Christian." This led to one of the main characters being named...wait for it...Sherrie Christian. Outstanding. And yeah, I'll probably go see the movie version when it comes out next month, in spite of my aversion to Tom Cruise.
7 - "Love Somebody," Rick Springfield
The rocker/soap star returns with his final Top Ten. After this, he pushed it just a little too far.
6 - "Time After Time," Cyndi Lauper
The pop pixie from Queens followed up the sprightly "Girls Just Wanna Have Fun" with a complete 180 in the form of this tender, mature ballad about pledging to always be there for someone even when distance and circumstance separates you. A more-than-deserving #1, and certainly one of the standout ballads of the entire decade.
5 - "To All the Girls I've Loved Before," Julio Iglesias and Willie Nelson
The Latin heartthrob and the country legend return with their odd coupling. It didn't claim the Uneasy Rider last time, but it does on its second attempt. And yes, I realize that I didn't give out the award last week. Sometimes when there are no glaring candidates, it slips my mind. And going back now, I can't even pick one. Sorry.
4 - "Hold Me Now," The Thompson Twins
I like your song and all, guys, but no. Maybe some other time.
3 - "Against All Odds (Take a Look at Me Now)," Phil Collins
Back from last time, even still in the same spot. That's convenient. I'm going to go out on a limb and say that his is Phil's best ballad.
2 - "Let's Hear it For the Boy," Deneice Williams
The woman born June Deneice Chandler had her only solo #1 with this okay bit of pop-funk about a man who lacks in money, style, eloquence, and singing ability, but is her "loving one-man show" regardless. And yes, that makes four songs from Footloose on this week's chart. That soundtrack was just ubiqitious. But I must say, I don't think it's held up as well as the one from, say, Saturday Night Fever.
And at the top of pop 28 years ago was...
1 - "Hello," Lionel Richie
Indeed, it was this sweet ballad that pop fans were looking for at this time. Not one of my favorites by any means, but there's no doubt that Lionel can sell a song. Hell, he's currently selling many of his big hits all over again, in counrty form, on his recent smash album Tuskegee.
The NotCaseys this week were "Magic" by the Cars, "Dance Hall Days" by Wang Chung, "What is Love" by Howard Jones, and "Legs" by ZZ Top. And Casey played two LDDs. In the first, a teenage boy dedicated Van Halen's "Jump" to the friends he'd recently won a fifth-grade talent show with by lip-synching that song. And in the second, a teenage girl dedicated Asia's "Only Time Will Tell" to the three brothers she'd been long separated from by family circumstances.
To my fellow Canadians, Happy Victoria Day. And to everyone else, see you next week.
May 19, 1984 Part One
Unfortunately, once again I must lead off this week's edition by acknowledging a passing. On Thursday, we lost Donna Summer. She was one of the most prominent voices on the radio when I was between the ages of 7 and 9, so she's definitely become ingrained in my musical conciousness. And what a voice it was. It could wail, it could rock, it could coo, and it was almost always sexy as anything. R.I.P.
This week, we look back at May of 1984. A few days before this countdown aired. Austrailia introduced a one-dollar coin. Three years later, my country would follow. The U.S. has made several attempts at this, but none have caught on. Personally, I like it. And the toonie too. But I digress. Here's what was on the charts 28 years ago.
40 - "Almost Paradise," Mike Reno and Ann Wilson
39 - "Eyes Without a Face," Billy Idol
38 - "Who's That Girl," Eurythmics
37 - "Modern Day Delilah," Van Stephenson
36 - "Love Will Show Us How," Christine McVie
35 - "Stay the Night," Chicago
34 - "My Ever Changing Moods," The Style Council
33 - "A Fine Fine Day," Tony Carey
32 - "Run Runaway," Slade
31 - "It's My Life," Talk Talk
We start with a Can-Am duo and an American group. Loverboy's Mike Reno teamed up with Heart's Ann Wilson for this power ballad about finding true love that was one of the six Top 40 hits produced by the Footloose soundtrack. Just big cheesy eightiesness, made for couples' skates at the roller rink. And Chicago are here with their most uptempo 80s hit, a song that's probably as close to hard rock as they ever game. Peter Cetera tries to convey lustful urgency for once, instead of his usual puppy love. He doesn't quite pull it off, but I give him credit for the effort. And he gets even more points if he really did perform the stunts in the song's car chase-laden video. I doubt that's true, though.
Then we have two British solo singers. Billy Idol cracked the U.S. Top Ten for the first time with this midtempo rocker about disillusionment with life and love. It has a slow-burning energy, and the bridge in which he sings about going to Las Vegas in a stolen car while "reading murder books and trying to stay hip" is particularly intense. His best song by far. And Christine McVie had her second and final solo hit with this catchy pop-rocker about staying faithful. It's pretty bare-bones lyrically, but I have to say, I like it better than any of the Fleetwood Mac singles she sang on. And I must specifiy singles, because "Songbird" rules.
A whopping four British bands are in this section. Eurythmics picked up their fourth American hit with this icy number in which Annie Lennox witheringly calls out her cheating lover. I tell you, there's no one else who can truly put across the meaning of a line like "Dumb hearts get broken just like china cups" nearly as effectively as Annie. Another great one from them. The Style Council, the group formed by Paul Weller after the breakup of The Jam, are here with their one American hit. this soul-inflected pop-rocker that seems to be about trying to stay sane and true in a complicated world. I think that's it. Whatever, it's a great song. Still, I can't believe The Jam didn't hit even once in America. I mean, not even "A Town Called Malice." How is that possible? Slade had been a dominant chart force int the U.K. for over a decade, but they hadn't done anything in America until Quiet Riot's hit cover of "Cum on Feel the Noize" brought attention to them. Capitalizing on this, the signed a new U.S. record deal, and it paid off with this beat-heavy rock anthem. The lyrics are pretty nonsensical, but it's still an amazing singalong earworm. Here in Canada, the folky cover version by Great Big Sea is probably better known these days, but for my money, the original kicks its ass several times over. And New Wavers Talk Talk had their only American hit with this atmospheric statement of ownership of one's existence. This too has been famously covered since, by No Doubt in 2003. They did pretty good with it, but again, the original wins easily.
Rounding out this section are two American solo men. Nashville's Van Stephenson made his one foray into the Top 40 with this pop-rocker that compares a modern heartbreaker to the Biblical vixen who seduced Samson and then sheared off allvin of his strength-giving hair. He really commits to the hair-cutting metaphor, but it comes off kind of strained when he talks about how her scissors are "laser sharp" instead of razor sharp. Still, I like it. And Tony Carey returns from last time singing about his mysterious Uncle Sonny. Another forgotten song worth checking out.
30 - "It's a Miracle," Culture Club
29 - "You Can't Get What You Want (Till You Know What You Want)," Joe Jackson
28 - "Jump (For My Love)," The Pointer Sisters
27 - "Rock You Like a Hurricane," The Scorpions
26 - "White Horse," Laid Back
25 - "Miss Me Blind," Culture Club
24 - "Self Control," Laura Branigan
23 - "No More Words," Berlin
22 - "Borderline," Madonna
21 - "The Heart of Rock n' Roll," Huey Lewis and the News
We begin with Boy George and company, who appear twice in this section. First, there's a song that seems to be about reality not living up to one's expectations. Can't really tell. Definitely their weakest single to that point, and as such, it ended their streak of six consecutive Top Tens. And later, they return from last time with a song in which George tells someone, "Bet you got a good gun/Bet you know how to have some fun." Whatever could that mean?
Then we have three solo singers. Englishman Joe Jackson had his last Top 40 hit with this jazzy pop tune about waiting on a prospective lover to figure out what she needs. And of course, he's convinced that he's the one who can meet those needs. Good song, but unfortunately, Joe, I know from experience that playing that game doesn't always work. But I hope it did for you. Laura Branigan had the second-biggest hit of her career with another song that was originally a hit for an Italian. But at least this one was written in English right from the start. It's a dance-rocker about looking for sexual adventure among "the creatures of the night," and it was accompanied by a video, directed by Oscar-winner William Friedkin, that was considered shocking for its time, depicting as it did what appeared to be an Eyes Wide Shut-style masked orgy (though the participants were clothed). Anyway, I liked the whole thing at the time, and the song still holds up. And Madonna had her very first Top Ten hit with this deceptively bright-sounding plea for a lover to treat her better and return the love she has for him. Simple, but perfect. A clear classic to these ears, and to me, the best thing she's ever done.
Next are the American groups. The Pointer Sisters had what would be their last Top Five hit with this lusty bit of synth-disco in which one of them just outright says "Come on and jump on me." Calm down, ladies. I've grown to appreciate the song with time, but I don't think I liked it much when it was first out. Berlin returns from last time with their pulsing bit of synthpop relationship drama. I still want to remember them for this and "Sex (I'm A)" instead of...what was that other song they had? Yes, it's working! And Huey Lewis and his band continued their run of hits from breakthrough LP Sports with this jaunty pop number that covers the same basic lyrical ground as Billy Joel's "It's Still Rock n' Roll to Me." I like the former better, but still, I give Huey credit for going back into the studio and adding Toronto and Montreal to the list of cities he gives shoutouts to for the Canadian release. That was nice of him.
We close this section with two bands from mainland Europe. German metallers The Scorpions picked up their first American pop hit with this song about sex and lust and looking for "love at first sting." An enduring slab of dumb, catchy hard rock. Hard to resist, and good for accompanying fighter jet demonstrations at the Springfield Air Show. And Danish synth-pop duo Laid Back had their only American hit with this spare-but-effective dance track that recommends riding white ponies instead of white horses. It also has a bit of advice regarding wealth accumulation that involves the word "bitch," but that was censored on the countdown. Incidentally, "Rock You Like a Hurricane" also contains that word, and was also censored. I guess Europeans really liked that word in 1984. And Americans didn't.
Tomorrow: boat-rockin', poppin' and lockin', and "Motorin'!"
This week, we look back at May of 1984. A few days before this countdown aired. Austrailia introduced a one-dollar coin. Three years later, my country would follow. The U.S. has made several attempts at this, but none have caught on. Personally, I like it. And the toonie too. But I digress. Here's what was on the charts 28 years ago.
40 - "Almost Paradise," Mike Reno and Ann Wilson
39 - "Eyes Without a Face," Billy Idol
38 - "Who's That Girl," Eurythmics
37 - "Modern Day Delilah," Van Stephenson
36 - "Love Will Show Us How," Christine McVie
35 - "Stay the Night," Chicago
34 - "My Ever Changing Moods," The Style Council
33 - "A Fine Fine Day," Tony Carey
32 - "Run Runaway," Slade
31 - "It's My Life," Talk Talk
We start with a Can-Am duo and an American group. Loverboy's Mike Reno teamed up with Heart's Ann Wilson for this power ballad about finding true love that was one of the six Top 40 hits produced by the Footloose soundtrack. Just big cheesy eightiesness, made for couples' skates at the roller rink. And Chicago are here with their most uptempo 80s hit, a song that's probably as close to hard rock as they ever game. Peter Cetera tries to convey lustful urgency for once, instead of his usual puppy love. He doesn't quite pull it off, but I give him credit for the effort. And he gets even more points if he really did perform the stunts in the song's car chase-laden video. I doubt that's true, though.
Then we have two British solo singers. Billy Idol cracked the U.S. Top Ten for the first time with this midtempo rocker about disillusionment with life and love. It has a slow-burning energy, and the bridge in which he sings about going to Las Vegas in a stolen car while "reading murder books and trying to stay hip" is particularly intense. His best song by far. And Christine McVie had her second and final solo hit with this catchy pop-rocker about staying faithful. It's pretty bare-bones lyrically, but I have to say, I like it better than any of the Fleetwood Mac singles she sang on. And I must specifiy singles, because "Songbird" rules.
A whopping four British bands are in this section. Eurythmics picked up their fourth American hit with this icy number in which Annie Lennox witheringly calls out her cheating lover. I tell you, there's no one else who can truly put across the meaning of a line like "Dumb hearts get broken just like china cups" nearly as effectively as Annie. Another great one from them. The Style Council, the group formed by Paul Weller after the breakup of The Jam, are here with their one American hit. this soul-inflected pop-rocker that seems to be about trying to stay sane and true in a complicated world. I think that's it. Whatever, it's a great song. Still, I can't believe The Jam didn't hit even once in America. I mean, not even "A Town Called Malice." How is that possible? Slade had been a dominant chart force int the U.K. for over a decade, but they hadn't done anything in America until Quiet Riot's hit cover of "Cum on Feel the Noize" brought attention to them. Capitalizing on this, the signed a new U.S. record deal, and it paid off with this beat-heavy rock anthem. The lyrics are pretty nonsensical, but it's still an amazing singalong earworm. Here in Canada, the folky cover version by Great Big Sea is probably better known these days, but for my money, the original kicks its ass several times over. And New Wavers Talk Talk had their only American hit with this atmospheric statement of ownership of one's existence. This too has been famously covered since, by No Doubt in 2003. They did pretty good with it, but again, the original wins easily.
Rounding out this section are two American solo men. Nashville's Van Stephenson made his one foray into the Top 40 with this pop-rocker that compares a modern heartbreaker to the Biblical vixen who seduced Samson and then sheared off allvin of his strength-giving hair. He really commits to the hair-cutting metaphor, but it comes off kind of strained when he talks about how her scissors are "laser sharp" instead of razor sharp. Still, I like it. And Tony Carey returns from last time singing about his mysterious Uncle Sonny. Another forgotten song worth checking out.
30 - "It's a Miracle," Culture Club
29 - "You Can't Get What You Want (Till You Know What You Want)," Joe Jackson
28 - "Jump (For My Love)," The Pointer Sisters
27 - "Rock You Like a Hurricane," The Scorpions
26 - "White Horse," Laid Back
25 - "Miss Me Blind," Culture Club
24 - "Self Control," Laura Branigan
23 - "No More Words," Berlin
22 - "Borderline," Madonna
21 - "The Heart of Rock n' Roll," Huey Lewis and the News
We begin with Boy George and company, who appear twice in this section. First, there's a song that seems to be about reality not living up to one's expectations. Can't really tell. Definitely their weakest single to that point, and as such, it ended their streak of six consecutive Top Tens. And later, they return from last time with a song in which George tells someone, "Bet you got a good gun/Bet you know how to have some fun." Whatever could that mean?
Then we have three solo singers. Englishman Joe Jackson had his last Top 40 hit with this jazzy pop tune about waiting on a prospective lover to figure out what she needs. And of course, he's convinced that he's the one who can meet those needs. Good song, but unfortunately, Joe, I know from experience that playing that game doesn't always work. But I hope it did for you. Laura Branigan had the second-biggest hit of her career with another song that was originally a hit for an Italian. But at least this one was written in English right from the start. It's a dance-rocker about looking for sexual adventure among "the creatures of the night," and it was accompanied by a video, directed by Oscar-winner William Friedkin, that was considered shocking for its time, depicting as it did what appeared to be an Eyes Wide Shut-style masked orgy (though the participants were clothed). Anyway, I liked the whole thing at the time, and the song still holds up. And Madonna had her very first Top Ten hit with this deceptively bright-sounding plea for a lover to treat her better and return the love she has for him. Simple, but perfect. A clear classic to these ears, and to me, the best thing she's ever done.
Next are the American groups. The Pointer Sisters had what would be their last Top Five hit with this lusty bit of synth-disco in which one of them just outright says "Come on and jump on me." Calm down, ladies. I've grown to appreciate the song with time, but I don't think I liked it much when it was first out. Berlin returns from last time with their pulsing bit of synthpop relationship drama. I still want to remember them for this and "Sex (I'm A)" instead of...what was that other song they had? Yes, it's working! And Huey Lewis and his band continued their run of hits from breakthrough LP Sports with this jaunty pop number that covers the same basic lyrical ground as Billy Joel's "It's Still Rock n' Roll to Me." I like the former better, but still, I give Huey credit for going back into the studio and adding Toronto and Montreal to the list of cities he gives shoutouts to for the Canadian release. That was nice of him.
We close this section with two bands from mainland Europe. German metallers The Scorpions picked up their first American pop hit with this song about sex and lust and looking for "love at first sting." An enduring slab of dumb, catchy hard rock. Hard to resist, and good for accompanying fighter jet demonstrations at the Springfield Air Show. And Danish synth-pop duo Laid Back had their only American hit with this spare-but-effective dance track that recommends riding white ponies instead of white horses. It also has a bit of advice regarding wealth accumulation that involves the word "bitch," but that was censored on the countdown. Incidentally, "Rock You Like a Hurricane" also contains that word, and was also censored. I guess Europeans really liked that word in 1984. And Americans didn't.
Tomorrow: boat-rockin', poppin' and lockin', and "Motorin'!"
Monday, May 14, 2012
May 14, 1988 Part Two
Nothing new on the 70s front this week, so let's get straight back to the business of 1988.
20 - "My Girl," Suavé
19 - "Get Outta My Dreams, Get Into My Car," Billy Ocean
18 - "Dreaming," Orchestral Manoeuvres in the Dark
17 - "Together Forever," Rick Astley
16 - "Everything Your Heart Desires," Daryl Hall and John Oates
The second half begins with the only major hit for the man born Waymond Anderson, a New Jack Swing cover of the Temptations classic. Unfortunately, Anderson's story hasn't been a happy one since. He's currently serving a life sentence in prison for torching a crack house and killing an addict who was inside at the time, a crime he still insists he did not commit. Well, that sucks.
Billy Ocean is back from last time, asking a woman to move from his fantasies to his automobile. Still just okay.
Next are OMD with their last American hit, a bouncy bit of synth-pop about trying to win a woman back. All right, but they've done much better. And it seems kind of phoned in, which is perhaps not surprising for a new track tacked on to a greatest hits compilation.
Then it's Rick Astley with his second and last American #1. Very similar to "Never Gonna Give You Up" both musically and lyrically, but slightly more catchy. And I don't think it would make nearly as effective an internet meme.
This section closes with Daryl and John's last Top Ten hit. It's a song about someone who doesn't know how good they have it, so they keep searching for something better that probably doesn't exist. Their sound was up-to-date for '88, but still, they weren't quite fitting in. Two years later, they'd try co-writing with Jon Bon Jovi, and while I liked the resulting #11, "So Close," it was clear that their time as radio stalwarts was passing. But they had a hell of a run.
15 - "Prove Your Love," Taylor Dayne
14 - "Piano in the Dark," Brenda Russell featuring Joe Esposito
13 - "Two Occasions," The Deele
12 - "Wait," White Lion
11 - "Where Do Broken Hearts Go," Whitney Houston
This bunch is led off by Taylor Dayne's returning hit. I have to say, I can't recall anything that she ever recorded that did anything for me.
Nine years after first hitting the charts with "So Good, So Right," American-born, Canadian-raised Brenda Russell had second and biggest hit with this sophisticated ballad about being seduced by a lover's nocturnal keyboard stills. I like it more than you'd think. And yes, that's Mr. "You're the Best Around," on backup vocals.
Next is The Deele, a Cincinnati R&B group whose membership included two future music industry heavy-hitters, Antonio "L.A." Reid and Kenneth "Babyface" Edmonds. On this, their biggest hit, Babyface waxes lyrically about the positives of love affairs in the different seasons, then declared that their are only two times when he thinks of his lover, "that's day and night." Smooth, boys. Smooth as a baby's...well, face, I guess.
Then it's New York hair-metallers White Lion, fronted by Dane Mike Tramp, with their first, and to my ears, best hit. Catchy, driving hard rock about wanting a lover to stay. There's just an appealing desperation to the way Tramp sings "There's a place inside my heart that tells me hold out...hold out...hold out!" And the chorus is just killer. Maybe my favorite song in the entire pop-metal genre.
This quintet is closed out by the late Whitney and the ballad that gave her a seventh straight #1 hit. There's really not much more to say.
Top Ten's coming, hide your heart, girl.
10 - "I Don't Want to Live Without You," Foreigner
The corporate-rock machine had their last Top 40 hit with this mushy, synth-heavy MOR ballad. Nowhere near as good as "Waiting for a Girl Like You" or "I Want to Know What Love Is." They definitely went out with a whimper,
9 - "Electric Blue," Icehouse
The second and last American hit for these Aussies was this pop-rocker about being paralyzed by love. Or something like that. Not bad, but "Crazy" was way, way better.
8 - "Naughty Girls (Need Love Too)," Samantha Fox
The biggest American hit for Britain's Princess of Page 3 was this hip-hop-flavored collaboration with Full Force about a promiscuous lady discovering that she wants a relationship afterall. Disposable, but not without charm. And her rapping...not good.
7 - "Angel," Aerosmith
The resurrected rockers return with their biggest hit to that point. Still earns most of its goodwill from me for not being "I Don't Want to Miss a Thing."
6 - "Always on My Mind," The Pet Shop Boys
The British synth duo originally performed this song on a TV special commemorating the tenth anniversary of Elvis Presley's death. It was so well-received that they decided to release it, and not only did it achieve the prestige of being the Christmas #1 in the U.K., it also was the band's fifth and final American Top Ten. The coolness of the synths make a nice contrast to the warmth of the lyrics. My favorite version.
5 - "Pink Cadillac," Natalie Cole
This Bruce Springsteen-penned song about a car as a thinly-veiled sexual metaphor first appeared in 1984 as the B-side to "Dancing in the Dark." Four years later, Ms. Cole gave it a lite-funk treatment, complete with car crash sound effects, and had one of her highest-charting hits ever. I'm not sure she quite got the innuendo, but she sang it okay. The arrangement just sucks.
4 - "One More Try," George Michael
The better half of Wham! had his third straight #1 form Faith with this lush ballad about a man who is reluctant to begin a new relationship due to past heartbreak. In the end, however, he decides to give love another chance. This is just solid, well-constructed pop. George's best moment.
3 - "Wishing Well," Terence Trent D'Arby
The American soulster who found success after moving to England returns with his #1 retro-soul sensation. He could have had many more hits than he did if he'd stayed the course, but he decided to take detours and experiment, and that often leads to commercial downturns. I admire him for following his bliss, but I can't say I wouldn't have liked a few more pop gems like this.
2 - "Shattered Dreams," Johnny Hates Jazz
This British trio got its name because one of the group's members really had a jazz-hating brother named Johnny. One of its other members was the son of 60s and 70s pop impresario Mickie Most. The band had their first and by far their biggest hit with this midtempo pop ballad about being betrayed by a lover. A fairly decent song. If you're going to be known as a one-hit wonder, you could do worse as one hits go.
And 24 years ago, the top song in the U.S.A. was...
1 - "Anything For You," Gloria Estefan and Miami Sound Machine
The Latin-pop ensemble, now headlined by their singer, scored their first charttopper with this ballad about being open to doing anything to make a leaving lover happy, even giving him up. Okay song, well-sung, but not my thing. But Gloria's voice deserved to be on top.
This week's NotCaseys were "Don't Worry, Be Happy" by Bobby McFerrin, "Look Away" by Chicago, "Bad Medicine" by Bon Jovi, and "Wild, Wild West" by The Escape Club. And thre were two LDDs. First, a man dedicated Survivor's "The Search is Over" to his true love, who he found right under his nose after years of looking for "the perfect girl." And in the second, a teenage Cambodian refugee dedicated Louis Armstrong's "What a Wonderful World" to his family, who helped him survive the bloody reign of the Khmer Rouge.
Done for another week. More to come, as those between-commercial pictures on Johnny Carson used to say.
20 - "My Girl," Suavé
19 - "Get Outta My Dreams, Get Into My Car," Billy Ocean
18 - "Dreaming," Orchestral Manoeuvres in the Dark
17 - "Together Forever," Rick Astley
16 - "Everything Your Heart Desires," Daryl Hall and John Oates
The second half begins with the only major hit for the man born Waymond Anderson, a New Jack Swing cover of the Temptations classic. Unfortunately, Anderson's story hasn't been a happy one since. He's currently serving a life sentence in prison for torching a crack house and killing an addict who was inside at the time, a crime he still insists he did not commit. Well, that sucks.
Billy Ocean is back from last time, asking a woman to move from his fantasies to his automobile. Still just okay.
Next are OMD with their last American hit, a bouncy bit of synth-pop about trying to win a woman back. All right, but they've done much better. And it seems kind of phoned in, which is perhaps not surprising for a new track tacked on to a greatest hits compilation.
Then it's Rick Astley with his second and last American #1. Very similar to "Never Gonna Give You Up" both musically and lyrically, but slightly more catchy. And I don't think it would make nearly as effective an internet meme.
This section closes with Daryl and John's last Top Ten hit. It's a song about someone who doesn't know how good they have it, so they keep searching for something better that probably doesn't exist. Their sound was up-to-date for '88, but still, they weren't quite fitting in. Two years later, they'd try co-writing with Jon Bon Jovi, and while I liked the resulting #11, "So Close," it was clear that their time as radio stalwarts was passing. But they had a hell of a run.
15 - "Prove Your Love," Taylor Dayne
14 - "Piano in the Dark," Brenda Russell featuring Joe Esposito
13 - "Two Occasions," The Deele
12 - "Wait," White Lion
11 - "Where Do Broken Hearts Go," Whitney Houston
This bunch is led off by Taylor Dayne's returning hit. I have to say, I can't recall anything that she ever recorded that did anything for me.
Nine years after first hitting the charts with "So Good, So Right," American-born, Canadian-raised Brenda Russell had second and biggest hit with this sophisticated ballad about being seduced by a lover's nocturnal keyboard stills. I like it more than you'd think. And yes, that's Mr. "You're the Best Around," on backup vocals.
Next is The Deele, a Cincinnati R&B group whose membership included two future music industry heavy-hitters, Antonio "L.A." Reid and Kenneth "Babyface" Edmonds. On this, their biggest hit, Babyface waxes lyrically about the positives of love affairs in the different seasons, then declared that their are only two times when he thinks of his lover, "that's day and night." Smooth, boys. Smooth as a baby's...well, face, I guess.
Then it's New York hair-metallers White Lion, fronted by Dane Mike Tramp, with their first, and to my ears, best hit. Catchy, driving hard rock about wanting a lover to stay. There's just an appealing desperation to the way Tramp sings "There's a place inside my heart that tells me hold out...hold out...hold out!" And the chorus is just killer. Maybe my favorite song in the entire pop-metal genre.
This quintet is closed out by the late Whitney and the ballad that gave her a seventh straight #1 hit. There's really not much more to say.
Top Ten's coming, hide your heart, girl.
10 - "I Don't Want to Live Without You," Foreigner
The corporate-rock machine had their last Top 40 hit with this mushy, synth-heavy MOR ballad. Nowhere near as good as "Waiting for a Girl Like You" or "I Want to Know What Love Is." They definitely went out with a whimper,
9 - "Electric Blue," Icehouse
The second and last American hit for these Aussies was this pop-rocker about being paralyzed by love. Or something like that. Not bad, but "Crazy" was way, way better.
8 - "Naughty Girls (Need Love Too)," Samantha Fox
The biggest American hit for Britain's Princess of Page 3 was this hip-hop-flavored collaboration with Full Force about a promiscuous lady discovering that she wants a relationship afterall. Disposable, but not without charm. And her rapping...not good.
7 - "Angel," Aerosmith
The resurrected rockers return with their biggest hit to that point. Still earns most of its goodwill from me for not being "I Don't Want to Miss a Thing."
6 - "Always on My Mind," The Pet Shop Boys
The British synth duo originally performed this song on a TV special commemorating the tenth anniversary of Elvis Presley's death. It was so well-received that they decided to release it, and not only did it achieve the prestige of being the Christmas #1 in the U.K., it also was the band's fifth and final American Top Ten. The coolness of the synths make a nice contrast to the warmth of the lyrics. My favorite version.
5 - "Pink Cadillac," Natalie Cole
This Bruce Springsteen-penned song about a car as a thinly-veiled sexual metaphor first appeared in 1984 as the B-side to "Dancing in the Dark." Four years later, Ms. Cole gave it a lite-funk treatment, complete with car crash sound effects, and had one of her highest-charting hits ever. I'm not sure she quite got the innuendo, but she sang it okay. The arrangement just sucks.
4 - "One More Try," George Michael
The better half of Wham! had his third straight #1 form Faith with this lush ballad about a man who is reluctant to begin a new relationship due to past heartbreak. In the end, however, he decides to give love another chance. This is just solid, well-constructed pop. George's best moment.
3 - "Wishing Well," Terence Trent D'Arby
The American soulster who found success after moving to England returns with his #1 retro-soul sensation. He could have had many more hits than he did if he'd stayed the course, but he decided to take detours and experiment, and that often leads to commercial downturns. I admire him for following his bliss, but I can't say I wouldn't have liked a few more pop gems like this.
2 - "Shattered Dreams," Johnny Hates Jazz
This British trio got its name because one of the group's members really had a jazz-hating brother named Johnny. One of its other members was the son of 60s and 70s pop impresario Mickie Most. The band had their first and by far their biggest hit with this midtempo pop ballad about being betrayed by a lover. A fairly decent song. If you're going to be known as a one-hit wonder, you could do worse as one hits go.
And 24 years ago, the top song in the U.S.A. was...
1 - "Anything For You," Gloria Estefan and Miami Sound Machine
The Latin-pop ensemble, now headlined by their singer, scored their first charttopper with this ballad about being open to doing anything to make a leaving lover happy, even giving him up. Okay song, well-sung, but not my thing. But Gloria's voice deserved to be on top.
This week's NotCaseys were "Don't Worry, Be Happy" by Bobby McFerrin, "Look Away" by Chicago, "Bad Medicine" by Bon Jovi, and "Wild, Wild West" by The Escape Club. And thre were two LDDs. First, a man dedicated Survivor's "The Search is Over" to his true love, who he found right under his nose after years of looking for "the perfect girl." And in the second, a teenage Cambodian refugee dedicated Louis Armstrong's "What a Wonderful World" to his family, who helped him survive the bloody reign of the Khmer Rouge.
Done for another week. More to come, as those between-commercial pictures on Johnny Carson used to say.
Friday, May 11, 2012
May 14, 1988 Part One
This week we travel back to 1988. The day after this countdown originally aired, the Soviet Union began withdrawing from Afghanistan after eight years. And while that happened, this is what America was listening to:
40 - "Dirty Diana," Michael Jackson
39 - "Da Butt," E.U.
38 - "Nite and Day," Al B. Sure!
37 - "Nighttime," Pretty Poison
36 - "I Wish I Had a Girl," Henry Lee Summer
35 - "Kiss Me Deadly," Lita Ford
34 - "Say it Again," Jermaine Stewart
33 - "Alphabet St.," Prince
32 - "The Valley Road," Bruce Hornsby and the Range
31 - "I'm Still Searching," Glass Tiger
We'll begin with two of the decade's giants. Michael Jackson is here with what would be the fifth #1 single from Bad, a hard rock tale of an aggressive groupie. Kind of a prequel to "Billie Jean," and arguably an even more convincing turn at heavy rock than "Beat It." And no, the Diana in the title apparently isn't either Miss Ross or a certain, British royal. And Prince picked up his last non-Batman-associated hit of this decade with a spare-yet-grooving jam about seduction and driving and voyeurism. And the alphabet, I suppose. But whatever, it's short, sweet, and makes me smile.
There's a big chunk of soul and dance in this section. Washington, D.C.'s Experience Unlimited, purveyors of a funk offshoot known as "go-go," had their only Top 40 hit with this attempt to start a rump-centric dance craze. Not an important song at all, but certainly fun. Ain't nothing wrong. Singer Albert Jason Brown changed his name to a pun, added an exclamation point, and found himself on the road to a successful R&B career. His first single, and only pop Top 40, was this smooth loverman ballad in which he declares that "making love in the rain is fine." Okay, I guess that's good to know. Pretty Poison followed up their Top Ten smash "Catch Me (I'm Falling)," with an even more insipid dance number. I am pleased to report that they were never heard from again after this. And Jermaine Stewart, who'd scored a Top Ten two years earlier with "We Don't Have to Take Our Clothes Off," had his second and final American hit with this breezy, reggae-inflected number about being in love. It's better than I would have thought.
Two solo rock singers are in the middle of this bunch. On the first of his two Top 40 hits, Henry Lee Summer trades in a less thoughtful version of the rootsy rock that fellow Indianan John Mellencamp made his name on. This is just a by-the-numbers tune about longing for a girl who walks in a certain attractive manner that causes him to announce that he'd like to "take her home and walk her all night long." Yeah, Henry, "walk her." I know your true intentions, and so does this "Leroy" you're talking to. And Lita Ford cemented herself as the second-most successful ex-Runaway with this catchy pop-metal earworm with lyrics about parties that end with fights and wihout sex, problems at home and work, and having trouble making ends meet. But "it ain't no big thing," because Lita likes dancing with you. That's good. Seriously, I like this song so much that it might sneak onto my Top 100 of the decade, should I ever compile such a list.
This group is closed out by bands. Bruce Hornsby and company notched their third and final Top Ten single with a song that tells the tale of a rich girl getting involved with a poor boy, then being forced by her family to break up with him and being sent "to her sister's" for a while (this being code for her having gotten pregnant and going somewhere discreet to have the child and give it up for adoption). Kind of heavy drama for pop, but the Range made it go down smooth while retaining the seriousness of the story. And Glass Tiger hit the American charts for the last time with what I consider their best single by far, a catchy pop-rocker about the eternal quest for happiness. They'd have a few more hits back home in Canada after this, but I can assure the rest of the world that they didn't miss anything.
30 - "I Still Believe," Brenda K. Starr
29 - "Foolish Beat," Debbie Gibson
28 - "One Good Reason," Paul Carrack
27 - "We All Sleep Alone," Cher
26 - "Girlfriend," Pebbles
25 - "Make it Real," The Jets
24 - "Devil Inside," INXS
23 - "Strange but True," Times Two
22 - "Pamela," Toto
21 - "Circle in the Sand," Belinda Carlisle
A whopping five female solo singers in this bunch. Brenda Kaplan altered her name by borrowing from a comic strip character, and her career spawned two pop hits, the biggest of which being this ballad about being convinced that she and a former lover will eventually reunite. Not bad, but Mariah Carey would have a bigger hit with it eleven years later. Debbie Gibson topped the charts for the first time with this ballad about the devestating aftermath of a breakup. She sounded so beyond her tender years on this one that she clearly separated herself from "rival" Tiffany in the artistic department. Cher continued her power ballad-fuelled comeback with this song about how everyone at some point in their lives has to deal with loneliness. Jon Bon Jovi and bandmate Richie Sambora co-wrote this with pro songsmith Desmond Child. I have to say, everyone involved is capable of better. Pebbles returns from last time with her danceable bit of relationship advice. And Belinda Carlisle scored her final Top Ten hit with this evocative ballad about finding a deep, meaningful love. "I begin, baby, where you end." Sounds like a good thing to me.
We finish the first half with the rest, which consists of one solo man and four groups. Paul Carrack followed up his biggest solo hit, "Don't Shed a Tear," with this uptempo pop song about a relationship that works in ways that he can't quite understand. There's no good reason to remember this one. Minnesota's Jets had what would be their last major hit with this ballad about wanting another chance to make a relationship work. It might be the best thing the Wolfgramms ever did, but that isn't saying much. INXS return from last time with their slinky ode to the demon within us all. And yes, I do sometimes wonder how the other half die. California duo Times Two had their only hit with this meh pop song about admitting you have a crush on someone. This song isn't at all strange, and it doesn't ring very true. Double fail, as the kids say. And Toto had their last Top 40 hit with this typical pop-rocker about a woman. About as uninspired as the title of the album it came from, The Seventh One. They were coasting on their name.
Tomorrow: dreams, desires, and cars. Plus a guy who can't stand Miles Davis and Dizzy Gillespie.
40 - "Dirty Diana," Michael Jackson
39 - "Da Butt," E.U.
38 - "Nite and Day," Al B. Sure!
37 - "Nighttime," Pretty Poison
36 - "I Wish I Had a Girl," Henry Lee Summer
35 - "Kiss Me Deadly," Lita Ford
34 - "Say it Again," Jermaine Stewart
33 - "Alphabet St.," Prince
32 - "The Valley Road," Bruce Hornsby and the Range
31 - "I'm Still Searching," Glass Tiger
We'll begin with two of the decade's giants. Michael Jackson is here with what would be the fifth #1 single from Bad, a hard rock tale of an aggressive groupie. Kind of a prequel to "Billie Jean," and arguably an even more convincing turn at heavy rock than "Beat It." And no, the Diana in the title apparently isn't either Miss Ross or a certain, British royal. And Prince picked up his last non-Batman-associated hit of this decade with a spare-yet-grooving jam about seduction and driving and voyeurism. And the alphabet, I suppose. But whatever, it's short, sweet, and makes me smile.
There's a big chunk of soul and dance in this section. Washington, D.C.'s Experience Unlimited, purveyors of a funk offshoot known as "go-go," had their only Top 40 hit with this attempt to start a rump-centric dance craze. Not an important song at all, but certainly fun. Ain't nothing wrong. Singer Albert Jason Brown changed his name to a pun, added an exclamation point, and found himself on the road to a successful R&B career. His first single, and only pop Top 40, was this smooth loverman ballad in which he declares that "making love in the rain is fine." Okay, I guess that's good to know. Pretty Poison followed up their Top Ten smash "Catch Me (I'm Falling)," with an even more insipid dance number. I am pleased to report that they were never heard from again after this. And Jermaine Stewart, who'd scored a Top Ten two years earlier with "We Don't Have to Take Our Clothes Off," had his second and final American hit with this breezy, reggae-inflected number about being in love. It's better than I would have thought.
Two solo rock singers are in the middle of this bunch. On the first of his two Top 40 hits, Henry Lee Summer trades in a less thoughtful version of the rootsy rock that fellow Indianan John Mellencamp made his name on. This is just a by-the-numbers tune about longing for a girl who walks in a certain attractive manner that causes him to announce that he'd like to "take her home and walk her all night long." Yeah, Henry, "walk her." I know your true intentions, and so does this "Leroy" you're talking to. And Lita Ford cemented herself as the second-most successful ex-Runaway with this catchy pop-metal earworm with lyrics about parties that end with fights and wihout sex, problems at home and work, and having trouble making ends meet. But "it ain't no big thing," because Lita likes dancing with you. That's good. Seriously, I like this song so much that it might sneak onto my Top 100 of the decade, should I ever compile such a list.
This group is closed out by bands. Bruce Hornsby and company notched their third and final Top Ten single with a song that tells the tale of a rich girl getting involved with a poor boy, then being forced by her family to break up with him and being sent "to her sister's" for a while (this being code for her having gotten pregnant and going somewhere discreet to have the child and give it up for adoption). Kind of heavy drama for pop, but the Range made it go down smooth while retaining the seriousness of the story. And Glass Tiger hit the American charts for the last time with what I consider their best single by far, a catchy pop-rocker about the eternal quest for happiness. They'd have a few more hits back home in Canada after this, but I can assure the rest of the world that they didn't miss anything.
30 - "I Still Believe," Brenda K. Starr
29 - "Foolish Beat," Debbie Gibson
28 - "One Good Reason," Paul Carrack
27 - "We All Sleep Alone," Cher
26 - "Girlfriend," Pebbles
25 - "Make it Real," The Jets
24 - "Devil Inside," INXS
23 - "Strange but True," Times Two
22 - "Pamela," Toto
21 - "Circle in the Sand," Belinda Carlisle
A whopping five female solo singers in this bunch. Brenda Kaplan altered her name by borrowing from a comic strip character, and her career spawned two pop hits, the biggest of which being this ballad about being convinced that she and a former lover will eventually reunite. Not bad, but Mariah Carey would have a bigger hit with it eleven years later. Debbie Gibson topped the charts for the first time with this ballad about the devestating aftermath of a breakup. She sounded so beyond her tender years on this one that she clearly separated herself from "rival" Tiffany in the artistic department. Cher continued her power ballad-fuelled comeback with this song about how everyone at some point in their lives has to deal with loneliness. Jon Bon Jovi and bandmate Richie Sambora co-wrote this with pro songsmith Desmond Child. I have to say, everyone involved is capable of better. Pebbles returns from last time with her danceable bit of relationship advice. And Belinda Carlisle scored her final Top Ten hit with this evocative ballad about finding a deep, meaningful love. "I begin, baby, where you end." Sounds like a good thing to me.
We finish the first half with the rest, which consists of one solo man and four groups. Paul Carrack followed up his biggest solo hit, "Don't Shed a Tear," with this uptempo pop song about a relationship that works in ways that he can't quite understand. There's no good reason to remember this one. Minnesota's Jets had what would be their last major hit with this ballad about wanting another chance to make a relationship work. It might be the best thing the Wolfgramms ever did, but that isn't saying much. INXS return from last time with their slinky ode to the demon within us all. And yes, I do sometimes wonder how the other half die. California duo Times Two had their only hit with this meh pop song about admitting you have a crush on someone. This song isn't at all strange, and it doesn't ring very true. Double fail, as the kids say. And Toto had their last Top 40 hit with this typical pop-rocker about a woman. About as uninspired as the title of the album it came from, The Seventh One. They were coasting on their name.
Tomorrow: dreams, desires, and cars. Plus a guy who can't stand Miles Davis and Dizzy Gillespie.
Monday, May 7, 2012
May 4, 1985 Part Two
Before we finish off 1985, let's quickly flash back to May 6, 1972
Roberta Flack was on top with "The First Time Ever I Saw Your Face." The Top Ten also included "Day Dreaming," "I'll Take You There," "Doctor My Eyes," and surprise, a couple newbies, the first being Al Green's "Look What You've Done for Me" at #9. More soul greatness from the good Reverend...And then at #10 we have Ringo Starr and his boisterous "Back Off Boogaloo." Not sure what it means, but it talks about "wallpaper shoes" which is an interesting concept. I like it...Badfinger are at #14 with their last major hit, "Baby Blue." They always brought the power pop cool, and this is no exception...L.A rock band Jo Jo Gunne had their only major hit with the blues rocker "Run Run Run," this week's #27. Not much in the lyric department, but still, quite enjoyable...(Harry) Nilsson is at #30 with "Jump Into the Fire." It kind of sounds like something Grand Funk would have done at the time. Not what I expected at all. And yet, it works...At #33, Gladys Knight and the Pips put a soulful spin on Kris Kristofferson's "Help Me Make it Through the Night." I like it almost as much as their version of "The Way We Were"...And with the appearance of the CanCon rock standard "Could've Been a Lady" at #35, I've now covered all of April Wine's American hits. That's nice...But this week, my spotlight seeks out, and finds...
38 - "Mister Can't You See," Buffy Sainte-Marie
A Saskatchewan-born Cree Indian, Sainte-Marie is a well-known folksinger, activist, and songwriter, whose best-known compositions include "Universal Soldier" and "Until It's Time for You to Go," She also co-wrote the #1 "Up Where We Belong" from the movie An Officer and a Gentleman. And my childhood memories include her appearances on Sesame Street. But the only time she appeared on the U.S Top 40 was with a song she didn't write, this Mickey Newbury/Townes Van Zandt number about the power of nature and how it may one day rebel against humanity if we're not careful. The arrangement is upbeat pop, but Sainte-Marie's voice conveys the message, which rings truer every day. I'm glad I was introduced to this.
Okay, now back to '85.
20 - "Suddenly," Billy Ocean
19 - "New Attitude," Patti LaBelle
18 - "Some Things are Better Left Unsaid," Daryl Hall and John Oates
17 - "One More Night," Phil Collins
16 - "Axel F.," Harold Faltermeyer
The second half opens with Billy Ocean's third Top 5 hit, An uncomplicated love ballad, delivered smoothly. Not much more to it, and there doesn't need to be.
Patti LaBelle her biggest solo pop hit with this strutting pop-soul number about taking a new approach to life that first appeared on the Beverly Hills Cop soundtrack. Then it was used as the theme song for Dr. Laura Schlessinger's radio show, and I grew to hate the song by association. But I'm giving it a second chance, and now I can tolerate it. Tolerance, however, isn't something Dr. Schlessinger is known for.
Next are Hall and Oates with one of their lesser 80s hits, an okay song about how silence is sometimes golden. This didn't get any higher than its position this week, and that seems about right.
Then Phil Collins returns from last time with this plea for a little more time. I'm not sure if I'd have given it to him had I been on the other end of this entreaty.
This section closes with the only pop hit for German keyboardist Harold Faltermeyer, his instrumental theme to Beverly Hills Cop (named for Eddie Murphy's character, Axel Foley). It's burbly synthesizer noodling, good for doing The Robot to. Later, it would be responsible for helping popularize the advertising character Crazy Frog. But I can forgive that. My nieces liked that annoying thing.
15 - "Don't Come Around Here No More," Tom Petty and the Heartbreakers
14 - "Everybody Wants to Rule the World," Tears for Fears
13 - "I'm on Fire," Bruce Springsteen
12 - "That was Yesterday," Foreigner
11 - "Everything She Wants," Wham!
This group is led off by Tom Petty and co. This song was co-written and co-produced by Eurythmics' Dave Stewart, which explains why it was the most keyboard-heavy Heartbreakers' track to that point. It was apparently inspired by something Stevie Nicks said to Joe Walsh in the early morning hours after a party at Nicks' house. Cool. And everyone remembers the Alice in Wonderland- themed video. Petty made a very good Mad Hatter.
Next are Britain's Tears for Fears with their first American hit, a #1 about the desire for control. The song's stuttery beat and shimmery guitar made it stand out from the pack to my ears. High-quality pop songcraft.
Then it's The Boss, back from last time with his sultry plea for relief for his "bad desire." Possibly one of the most deeply sexual songs to ever make it to pop radio.
After topping the charts with "I Want to Know What Love Is," Foreigner followed up with a midtempo pop-rock tune about regretting the loss of a lover. A big comedown in terms of quality. Lou gives it his all, but this is mediocrity, plain and simple
This quintet is rounded out by Wham!'s third American hit, an uptempo pop number about doing more giving than taking in a relationship, and slowly realizing that it isn't worth it. The group's teen-idol image probably blinded me to it at the time, but it holds up as a very good pop song. George Michael's talent was starting to become clearer and clearer.
And now, passing by our reviewing stand, is a float containing the proud members of the Top Ten.
10 - "Smooth Operator," Sade
Helen Folosade Adu and her band made their first impression on the American public with this jazzy ode to a slick, love 'em-and-leave 'em playboy. "His eyes are like angels," she sings, but "his heart is cold." An enduring pop classic.
9 - "All She Wants to Do is Dance," Don Henley
The ex-Eagle picked up another Top Ten with this rocker about being in a corrupt, war-torn, drug-infested part of the world, and trying to make sense of it all while dealing with a girlfriend who only cares about having fun. Stealthily delivered social commentary, thought-provking but not preachy. Good job, Don.
8 - "Nightshift," The Commodores
A nice tribute to Marvin and Jackie. But yes, it would have been better with Lionel.
7 - "Some Like It Hot," The Power Station
The first hit from Robert Palmer, two of Duran Duran's Taylors, and Chic's drummer, was this beat-heavy hunk of lusty rock. It's lost a little sting over the years, but still, pretty damn good.
6 - "Obsession," Animotion
"Who do you want me to be to make you sleep with me?" I wonder if that's actually and effective pickup line. Perhaps I'll have to try it sometime.
5 - "One Night in Bangkok," Murray Head
Head, a British singer and actor, had hit the charts a decade-and-a-half earlier with the title song from the original Jesus Christ Superstar LP. His second hit was once again a song from an album version of a yet-to-be-produced stage musical, this one being Chess, featuring lyrics from Superstar's Tim Rice and music by ABBA's Benny Adersson and Bjorn Ulvaeus. The musical is about the intersection of chess and Cold War intrigue, and was partially inspired by the famous Bobby Fischer-Boris Spassky match of 1972. In this song, Head plays a player-turned-observer explaining that he much prefers watching the action on the board to the Buddhist culture and decadent nightlife of the Thai city where a championship match is taking place. Very strange subject matter for a pop song, but it was catchy, and so it scaled the charts. And like a knight capturing a pawn, it captures this week's Uneasy Rider.
4 - "Don't You (Forget About Me)," Simple Minds
After Billy Idol, Bryan Ferry, and The Fixx's lead singer Cy Curnin all declined the opportunity to record this theme song from John Hughes' mismatched-teens-in-detention dramedy The Breakfast Club, Scottish New Wavers Simple Minds stepped in. The result was this enduring #1 smash that broke the band in America. Maybe not as good as some of the band's other stuff, but still, perfect radio pop.
3 - "Rhythm of the Night," DeBarge
The Motown family band had their biggest hit with this island flavored dance-pop trifle. Sounds a little thin nowadays, but the exuberance can't be denied. Their best moment.
2 - "Crazy for You," Madonna
Ms. Ciccone's second #1 was this tender ballad from the forgotten Matthew Modine movie Vision Quest. This isn't one of her better slow songs. Her best is probably "Take a Bow," with "This Used to be My Playground" second.
And topping the hit parade 27 years ago was...
1 - "We are the World," USA for Africa
Inspired by the Bob Geldof-masterminded, British all-star Band Aid single "Do They Know It's Christmas," which raised millions for the famine-ravaged people of Ethiopia, a group of American performers decided to "check their egos at the door" and recorded this Michael Jackson-Lionel Richie anthem on January 22, 1985, just after that evening's American Music Awards. Not surprisingly, it was a major hit, probably more for its intentions than the song itself. But I must say, I quite enjoy the second half of the song. Bob Dylan's vocal contribution is oddly mesmerizing, Ray Charles' gospel fervor is well-suited to the occasion, and the interplay between Bruce Springsteen and Stevie Wonder is one of those combinations that shouldn't work, yet does. But as a Canadian, I think I still prefer our relief record, "Tears Are Not Enough." It's got Neil Young and Geddy Lee!
The NotCaseys this week were "Would I Lie to You" by Eurythmics, "Angel" by Madonna, "Voices Carry" by 'Til Tuesday, and "The Search is Over" by Survivor. As an extra, Casey played "Theme from New York, New York," by Frank Sinatra as a tribute to his long and successful career. And there were two LDDs. In the first, a woman who'd survived tough times in her live requested Barry Manilow's "I Made it Through the Rain." And later, a soldier stationed in Germany sent out Chicago's "You're the Inspiration" to his girlfriend back in the States.
And there you have it. If you want it again, see me in six days or so.
Roberta Flack was on top with "The First Time Ever I Saw Your Face." The Top Ten also included "Day Dreaming," "I'll Take You There," "Doctor My Eyes," and surprise, a couple newbies, the first being Al Green's "Look What You've Done for Me" at #9. More soul greatness from the good Reverend...And then at #10 we have Ringo Starr and his boisterous "Back Off Boogaloo." Not sure what it means, but it talks about "wallpaper shoes" which is an interesting concept. I like it...Badfinger are at #14 with their last major hit, "Baby Blue." They always brought the power pop cool, and this is no exception...L.A rock band Jo Jo Gunne had their only major hit with the blues rocker "Run Run Run," this week's #27. Not much in the lyric department, but still, quite enjoyable...(Harry) Nilsson is at #30 with "Jump Into the Fire." It kind of sounds like something Grand Funk would have done at the time. Not what I expected at all. And yet, it works...At #33, Gladys Knight and the Pips put a soulful spin on Kris Kristofferson's "Help Me Make it Through the Night." I like it almost as much as their version of "The Way We Were"...And with the appearance of the CanCon rock standard "Could've Been a Lady" at #35, I've now covered all of April Wine's American hits. That's nice...But this week, my spotlight seeks out, and finds...
38 - "Mister Can't You See," Buffy Sainte-Marie
A Saskatchewan-born Cree Indian, Sainte-Marie is a well-known folksinger, activist, and songwriter, whose best-known compositions include "Universal Soldier" and "Until It's Time for You to Go," She also co-wrote the #1 "Up Where We Belong" from the movie An Officer and a Gentleman. And my childhood memories include her appearances on Sesame Street. But the only time she appeared on the U.S Top 40 was with a song she didn't write, this Mickey Newbury/Townes Van Zandt number about the power of nature and how it may one day rebel against humanity if we're not careful. The arrangement is upbeat pop, but Sainte-Marie's voice conveys the message, which rings truer every day. I'm glad I was introduced to this.
Okay, now back to '85.
20 - "Suddenly," Billy Ocean
19 - "New Attitude," Patti LaBelle
18 - "Some Things are Better Left Unsaid," Daryl Hall and John Oates
17 - "One More Night," Phil Collins
16 - "Axel F.," Harold Faltermeyer
The second half opens with Billy Ocean's third Top 5 hit, An uncomplicated love ballad, delivered smoothly. Not much more to it, and there doesn't need to be.
Patti LaBelle her biggest solo pop hit with this strutting pop-soul number about taking a new approach to life that first appeared on the Beverly Hills Cop soundtrack. Then it was used as the theme song for Dr. Laura Schlessinger's radio show, and I grew to hate the song by association. But I'm giving it a second chance, and now I can tolerate it. Tolerance, however, isn't something Dr. Schlessinger is known for.
Next are Hall and Oates with one of their lesser 80s hits, an okay song about how silence is sometimes golden. This didn't get any higher than its position this week, and that seems about right.
Then Phil Collins returns from last time with this plea for a little more time. I'm not sure if I'd have given it to him had I been on the other end of this entreaty.
This section closes with the only pop hit for German keyboardist Harold Faltermeyer, his instrumental theme to Beverly Hills Cop (named for Eddie Murphy's character, Axel Foley). It's burbly synthesizer noodling, good for doing The Robot to. Later, it would be responsible for helping popularize the advertising character Crazy Frog. But I can forgive that. My nieces liked that annoying thing.
15 - "Don't Come Around Here No More," Tom Petty and the Heartbreakers
14 - "Everybody Wants to Rule the World," Tears for Fears
13 - "I'm on Fire," Bruce Springsteen
12 - "That was Yesterday," Foreigner
11 - "Everything She Wants," Wham!
This group is led off by Tom Petty and co. This song was co-written and co-produced by Eurythmics' Dave Stewart, which explains why it was the most keyboard-heavy Heartbreakers' track to that point. It was apparently inspired by something Stevie Nicks said to Joe Walsh in the early morning hours after a party at Nicks' house. Cool. And everyone remembers the Alice in Wonderland- themed video. Petty made a very good Mad Hatter.
Next are Britain's Tears for Fears with their first American hit, a #1 about the desire for control. The song's stuttery beat and shimmery guitar made it stand out from the pack to my ears. High-quality pop songcraft.
Then it's The Boss, back from last time with his sultry plea for relief for his "bad desire." Possibly one of the most deeply sexual songs to ever make it to pop radio.
After topping the charts with "I Want to Know What Love Is," Foreigner followed up with a midtempo pop-rock tune about regretting the loss of a lover. A big comedown in terms of quality. Lou gives it his all, but this is mediocrity, plain and simple
This quintet is rounded out by Wham!'s third American hit, an uptempo pop number about doing more giving than taking in a relationship, and slowly realizing that it isn't worth it. The group's teen-idol image probably blinded me to it at the time, but it holds up as a very good pop song. George Michael's talent was starting to become clearer and clearer.
And now, passing by our reviewing stand, is a float containing the proud members of the Top Ten.
10 - "Smooth Operator," Sade
Helen Folosade Adu and her band made their first impression on the American public with this jazzy ode to a slick, love 'em-and-leave 'em playboy. "His eyes are like angels," she sings, but "his heart is cold." An enduring pop classic.
9 - "All She Wants to Do is Dance," Don Henley
The ex-Eagle picked up another Top Ten with this rocker about being in a corrupt, war-torn, drug-infested part of the world, and trying to make sense of it all while dealing with a girlfriend who only cares about having fun. Stealthily delivered social commentary, thought-provking but not preachy. Good job, Don.
8 - "Nightshift," The Commodores
A nice tribute to Marvin and Jackie. But yes, it would have been better with Lionel.
7 - "Some Like It Hot," The Power Station
The first hit from Robert Palmer, two of Duran Duran's Taylors, and Chic's drummer, was this beat-heavy hunk of lusty rock. It's lost a little sting over the years, but still, pretty damn good.
6 - "Obsession," Animotion
"Who do you want me to be to make you sleep with me?" I wonder if that's actually and effective pickup line. Perhaps I'll have to try it sometime.
5 - "One Night in Bangkok," Murray Head
Head, a British singer and actor, had hit the charts a decade-and-a-half earlier with the title song from the original Jesus Christ Superstar LP. His second hit was once again a song from an album version of a yet-to-be-produced stage musical, this one being Chess, featuring lyrics from Superstar's Tim Rice and music by ABBA's Benny Adersson and Bjorn Ulvaeus. The musical is about the intersection of chess and Cold War intrigue, and was partially inspired by the famous Bobby Fischer-Boris Spassky match of 1972. In this song, Head plays a player-turned-observer explaining that he much prefers watching the action on the board to the Buddhist culture and decadent nightlife of the Thai city where a championship match is taking place. Very strange subject matter for a pop song, but it was catchy, and so it scaled the charts. And like a knight capturing a pawn, it captures this week's Uneasy Rider.
4 - "Don't You (Forget About Me)," Simple Minds
After Billy Idol, Bryan Ferry, and The Fixx's lead singer Cy Curnin all declined the opportunity to record this theme song from John Hughes' mismatched-teens-in-detention dramedy The Breakfast Club, Scottish New Wavers Simple Minds stepped in. The result was this enduring #1 smash that broke the band in America. Maybe not as good as some of the band's other stuff, but still, perfect radio pop.
3 - "Rhythm of the Night," DeBarge
The Motown family band had their biggest hit with this island flavored dance-pop trifle. Sounds a little thin nowadays, but the exuberance can't be denied. Their best moment.
2 - "Crazy for You," Madonna
Ms. Ciccone's second #1 was this tender ballad from the forgotten Matthew Modine movie Vision Quest. This isn't one of her better slow songs. Her best is probably "Take a Bow," with "This Used to be My Playground" second.
And topping the hit parade 27 years ago was...
1 - "We are the World," USA for Africa
Inspired by the Bob Geldof-masterminded, British all-star Band Aid single "Do They Know It's Christmas," which raised millions for the famine-ravaged people of Ethiopia, a group of American performers decided to "check their egos at the door" and recorded this Michael Jackson-Lionel Richie anthem on January 22, 1985, just after that evening's American Music Awards. Not surprisingly, it was a major hit, probably more for its intentions than the song itself. But I must say, I quite enjoy the second half of the song. Bob Dylan's vocal contribution is oddly mesmerizing, Ray Charles' gospel fervor is well-suited to the occasion, and the interplay between Bruce Springsteen and Stevie Wonder is one of those combinations that shouldn't work, yet does. But as a Canadian, I think I still prefer our relief record, "Tears Are Not Enough." It's got Neil Young and Geddy Lee!
The NotCaseys this week were "Would I Lie to You" by Eurythmics, "Angel" by Madonna, "Voices Carry" by 'Til Tuesday, and "The Search is Over" by Survivor. As an extra, Casey played "Theme from New York, New York," by Frank Sinatra as a tribute to his long and successful career. And there were two LDDs. In the first, a woman who'd survived tough times in her live requested Barry Manilow's "I Made it Through the Rain." And later, a soldier stationed in Germany sent out Chicago's "You're the Inspiration" to his girlfriend back in the States.
And there you have it. If you want it again, see me in six days or so.
Sunday, May 6, 2012
May 4, 1985 Part One
First of all, RIP Adam "MCA" Yauch. A major loss for music.
This week, we go back...to the future! Actually, that movie wouldn't come out for another two months. The big news this week back in old '85 was Ronald Reagan's controversial decision to attend a memorial service in Germany at a cemetery where former Nazi SS officers were buried. And while that was happening, these were the biggest hits in the U.S.A.:
40 - "The Neverending Story," Limahl
39 - "Invisible," Alison Moyet
38 - "Smuggler's Blues," Glenn Frey
37 - "Material Girl," Madonna
36 - "Lost in Love," New Edition
35 - "Say You're Wrong," Julian Lennon
34 - "'Til My Baby Comes Home," Luther Vandross
33 - "Heaven," Bryan Adams
32 - "Celebrate Youth," Rick Springfield
31 - "Walking On Sunshine," Katrina and the Waves
We'll start with British solo singers. Christopher Hamill, the ex-Kajagoogoo singer who created his stage moniker by rearranging the letters in his surname, had his only American solo hit with this Giorgio Moroder- crafted title tune from a German children's film. Sunny electropop with lyrics about fantasy and rainbows. Doesn't do much for me. And no, I've never seen the movie. Alison Moyet, who's lasting legacy is probably her work with the dance duo Yazoo, had her big U.S. solo moment with this soul number, penned by none other than legendary Motown tunesmith Lamont Dozier, about hanging on to a go-nowhere relationship because "it's too hard to start over again." A great song, and Moyet has more than enough in the pipes department to do it justice. A very underrated pop jewel. And Julian Lennon hit the 40 for a third time with a bouncy pop song about being unsure of where one stands with a love interest. He sounds happier here than on his other hits. Probably his best single.
Then we have the Americans. Glenn Frey got all gritty with this rock tale about the illegal drug trade, detailing the violence, the deception, the "lure of easy money," and the fact that the "war on drugs" is pretty much unwinnable. That wasn't a popular notion in the Nancy Reagan era, but as each year passes, it seems more and more true. This is probably the most tolerable Glenn Frey has ever been to these ears. Madonna is back from last time with her ode to marrying for money. Still fun. Much more fun than what I've heard from her new record. And Luther Vandross had another of his earliest pop hits with midtempo funk about not giving into temptation when his woman is away. He knows she can't stay away from that Luther magic. The man knew he had it goin' on.
Two groups pop up in this section. New Edition picked up their third pop hit with a charming but unremarkable R&B ballad. And Ralph Tresvant's voice grates on me more than usual on this. And American Katrina Leskanich and the band of Englishmen she fronted had their biggest hit by far with this, for lack of a better term, sunny pop-rock burst of unfettered idealism. It's very well-done, but I have to be in the right mood to hear it, or else it's fingernails on a chalkboart. But right now I'm pretty happy, so I have to say, don't it feel good? Say it, say it, say it again.
We close this section with two solo men born outside of the U.S. and Britain. Canadian Bryan Adams scored his first American #1 with this sappy ballad that originally appeared a year-and-a-half earlier in a movie called A Night in Heaven, which starred Christopher Atkins as a college student by day/male stripper by night. I assume the movie is more interesting than this song. It'd almost have to be. But clearly, it worked for Mr. Adams, and its success is probably what convinced him that doing terrible ballads for film soundtracks was the way to go after his rock songs started tanking. And Rick Springfield was nearing the end of his major 80s run when he put out this dance rocker about how the children are our future or something. He was never that great, but at least a lot of his stuff had a fun charm. This doesn't.
30 - "One Lonely Night," REO Speedwagon
29 - "Vox Humana," Kenny Loggins
28 - "Forever Man," Eric Clapton
27 - "Just A Gigolo/I Ain't Got Nobody," David Lee Roth
26 - "In My House," The Mary Jane Girls
25 - "Fresh," Kool and the Gang
24 - "Things Can Only Get Better," Howard Jones
23 - "Missing You," Diana Ross
22 - "Along Comes a Woman," Chicago
21 - "Rock and Roll Girls," John Fogerty
We begin this bunch with four groups. REO Speedwagon followed up the huge success of the terrible "Can't Fight This Feeling" with another ballad, this one that tells a man that he's not going to stay away from the lover he fought with for long, for just a single evening without her "is all it takes to A completely break you." Much more interesting and spirited than their previous single. I kind of like it. The Mary Jane Girls, a female vocal quartet masterminded by funk star Rick James, had their only pop hit with this promise of frequent sexual availability. Yes, Rick knew how to write sophisticated, intelligent material for women. Kool and the Gang are here, as they usually are; this time with a song about an exciting new lady who`s attracted their attention. This is definitely on the low end of my 80s K&tG spectrum. And Chicago had their last hit with Peter Cetera with this slick uptempo number about how the love of a good female changes things. For the better, of course.
Then we go to the American solo singers. Kenny Loggins is here with an uptempo pop tune that has somethng to do with the power of talking to each other, or something. It doesn't matter, though. I like it because it reminds me of "I'm Alright." David Lee Roth followed up his Beach Boys cover by reaching even farther back to do a faithful version of a 1956 hit medley by jazz bandleader Louis Prima that combines a song about a man who makes his living, er, loving ladies, with another song about loneliness. The two mesh very well, and Roth's natural showmanship is a great fit with this older style. Diana Ross had what would be her last Top Ten single with this tribute ballad to the late Marvin Gaye. The song itself isn't really my cup of tea, but there's no doubting the sincerity of how much she loved and missed her friend. Perhaps her best vocal performance of the decade. And John Fogerty had his second and last Top 40 hit from his #1 comeback LP Centrefield with this charming little pop song about love. A solid song, but it's certainly been eclipsed over the years by the albums baseball-centric title track, which only reached #44 upon its original release.
The first half closes with two British solo men. Eric Clapton had his last Top 40 hit of the 80s with this airy pop-rocker about pledging undying love. A little too reliant on keyboards for a man known for his guitar playing, but okay nonetheless. And synthpopper Howard Jones cracked the U.S. Top Ten for the first time with this song about pushing through the tough times with the knowledge that a bright future is ahead. I liked his two hits before this, and most of the ones he had after it, better.
Tomorrow: a song now associated with someone I despise, two diggerent approaches to the world, and a big hit about...a board game?
This week, we go back...to the future! Actually, that movie wouldn't come out for another two months. The big news this week back in old '85 was Ronald Reagan's controversial decision to attend a memorial service in Germany at a cemetery where former Nazi SS officers were buried. And while that was happening, these were the biggest hits in the U.S.A.:
40 - "The Neverending Story," Limahl
39 - "Invisible," Alison Moyet
38 - "Smuggler's Blues," Glenn Frey
37 - "Material Girl," Madonna
36 - "Lost in Love," New Edition
35 - "Say You're Wrong," Julian Lennon
34 - "'Til My Baby Comes Home," Luther Vandross
33 - "Heaven," Bryan Adams
32 - "Celebrate Youth," Rick Springfield
31 - "Walking On Sunshine," Katrina and the Waves
We'll start with British solo singers. Christopher Hamill, the ex-Kajagoogoo singer who created his stage moniker by rearranging the letters in his surname, had his only American solo hit with this Giorgio Moroder- crafted title tune from a German children's film. Sunny electropop with lyrics about fantasy and rainbows. Doesn't do much for me. And no, I've never seen the movie. Alison Moyet, who's lasting legacy is probably her work with the dance duo Yazoo, had her big U.S. solo moment with this soul number, penned by none other than legendary Motown tunesmith Lamont Dozier, about hanging on to a go-nowhere relationship because "it's too hard to start over again." A great song, and Moyet has more than enough in the pipes department to do it justice. A very underrated pop jewel. And Julian Lennon hit the 40 for a third time with a bouncy pop song about being unsure of where one stands with a love interest. He sounds happier here than on his other hits. Probably his best single.
Then we have the Americans. Glenn Frey got all gritty with this rock tale about the illegal drug trade, detailing the violence, the deception, the "lure of easy money," and the fact that the "war on drugs" is pretty much unwinnable. That wasn't a popular notion in the Nancy Reagan era, but as each year passes, it seems more and more true. This is probably the most tolerable Glenn Frey has ever been to these ears. Madonna is back from last time with her ode to marrying for money. Still fun. Much more fun than what I've heard from her new record. And Luther Vandross had another of his earliest pop hits with midtempo funk about not giving into temptation when his woman is away. He knows she can't stay away from that Luther magic. The man knew he had it goin' on.
Two groups pop up in this section. New Edition picked up their third pop hit with a charming but unremarkable R&B ballad. And Ralph Tresvant's voice grates on me more than usual on this. And American Katrina Leskanich and the band of Englishmen she fronted had their biggest hit by far with this, for lack of a better term, sunny pop-rock burst of unfettered idealism. It's very well-done, but I have to be in the right mood to hear it, or else it's fingernails on a chalkboart. But right now I'm pretty happy, so I have to say, don't it feel good? Say it, say it, say it again.
We close this section with two solo men born outside of the U.S. and Britain. Canadian Bryan Adams scored his first American #1 with this sappy ballad that originally appeared a year-and-a-half earlier in a movie called A Night in Heaven, which starred Christopher Atkins as a college student by day/male stripper by night. I assume the movie is more interesting than this song. It'd almost have to be. But clearly, it worked for Mr. Adams, and its success is probably what convinced him that doing terrible ballads for film soundtracks was the way to go after his rock songs started tanking. And Rick Springfield was nearing the end of his major 80s run when he put out this dance rocker about how the children are our future or something. He was never that great, but at least a lot of his stuff had a fun charm. This doesn't.
30 - "One Lonely Night," REO Speedwagon
29 - "Vox Humana," Kenny Loggins
28 - "Forever Man," Eric Clapton
27 - "Just A Gigolo/I Ain't Got Nobody," David Lee Roth
26 - "In My House," The Mary Jane Girls
25 - "Fresh," Kool and the Gang
24 - "Things Can Only Get Better," Howard Jones
23 - "Missing You," Diana Ross
22 - "Along Comes a Woman," Chicago
21 - "Rock and Roll Girls," John Fogerty
We begin this bunch with four groups. REO Speedwagon followed up the huge success of the terrible "Can't Fight This Feeling" with another ballad, this one that tells a man that he's not going to stay away from the lover he fought with for long, for just a single evening without her "is all it takes to A completely break you." Much more interesting and spirited than their previous single. I kind of like it. The Mary Jane Girls, a female vocal quartet masterminded by funk star Rick James, had their only pop hit with this promise of frequent sexual availability. Yes, Rick knew how to write sophisticated, intelligent material for women. Kool and the Gang are here, as they usually are; this time with a song about an exciting new lady who`s attracted their attention. This is definitely on the low end of my 80s K&tG spectrum. And Chicago had their last hit with Peter Cetera with this slick uptempo number about how the love of a good female changes things. For the better, of course.
Then we go to the American solo singers. Kenny Loggins is here with an uptempo pop tune that has somethng to do with the power of talking to each other, or something. It doesn't matter, though. I like it because it reminds me of "I'm Alright." David Lee Roth followed up his Beach Boys cover by reaching even farther back to do a faithful version of a 1956 hit medley by jazz bandleader Louis Prima that combines a song about a man who makes his living, er, loving ladies, with another song about loneliness. The two mesh very well, and Roth's natural showmanship is a great fit with this older style. Diana Ross had what would be her last Top Ten single with this tribute ballad to the late Marvin Gaye. The song itself isn't really my cup of tea, but there's no doubting the sincerity of how much she loved and missed her friend. Perhaps her best vocal performance of the decade. And John Fogerty had his second and last Top 40 hit from his #1 comeback LP Centrefield with this charming little pop song about love. A solid song, but it's certainly been eclipsed over the years by the albums baseball-centric title track, which only reached #44 upon its original release.
The first half closes with two British solo men. Eric Clapton had his last Top 40 hit of the 80s with this airy pop-rocker about pledging undying love. A little too reliant on keyboards for a man known for his guitar playing, but okay nonetheless. And synthpopper Howard Jones cracked the U.S. Top Ten for the first time with this song about pushing through the tough times with the knowledge that a bright future is ahead. I liked his two hits before this, and most of the ones he had after it, better.
Tomorrow: a song now associated with someone I despise, two diggerent approaches to the world, and a big hit about...a board game?
Tuesday, May 1, 2012
April 26, 1980 Part Two
A day late, but I made it.
Before we finish off 1980, let's nudge the clock back a year to April 28, 1979. For the first time, some stations in the Premier Radio syndicate were able to play all four hours of a 1979 show, so I'm going to cover stuff from tthei entire 40.
Blondie was on top with "Heart of Glass." The Top Ten also included "Knock on Wood," "I Will Survive," "Stumblin' In," and "In the Navy."..The first newbie I'll cover is #18 jaz,z guitarist George Benson's cover of LTD's hit "Love Ballad." I think I actually like this version better...Ex-Fleetwood Mac man Bob Welch is at #19 with his last hit, the serviceable disco-rocker, "Precious Love"...Philly soul duo (Leroy) Bell and (Casey) James had their only pop hit with the song at #22 this week, the smoothly grooving ode to weekends "Livin' it Up (Friday Night)"... The Allman Brothers Band scored their second Top 40 hit with the rollicking, lusty rave-up "Crazy Love," this week's #30....At 31, The Pointer Sisters are here with their gospel-flavored follow-up to "Fire," "Happiness." A forgotten gem...Canadian rockers April Wine are at #34 with their second American hit, the okay gambling-as-sex-metaphor number, "Roller"...And former Byrds Roger McGuinn, Gene Clark and Chris Hillman got together to form a group named after the three men's surnames, and the one hit they produced was the jaunty "Don't You Write Her Off," this week's #39...But this week, I've decided to shine the spotlight on two songs, the first being...
17 - "Blow Away," George Harrison
The Quiet Beatle's last American hit of the 70s was this sweet, gentle folk-pop tune about getting past the hard times in life. I single this song out because it played a role in getting me out of a long, dark period. Just hearing George sing "All I've got to be is, be happy" helped flip a switch within me that it was time to stop putting myself through pointless misery and get back to living. Yeah, music can be a powerful thing.
And my other spotlight shines on...
32 - "Roxanne," The Police
The first hit by the reggae-inspired New Wavers was this now-familiar number about a man trying to convince a prostitute to give up that life, imploring her not to "put on the red light." Sting was inspired to write this while observing the ladies of the evening who congregated in the seedy Paris hotel where the band was staying at the time. It wouldn't get any higher on the charts than this, but arguably, it's now their second most famous song. And deservedly so.
And now, back to '80
20 - "Think About Me," Fleetwood Mac
19 - "I Pledge My Love," Peaches and Herb
18 - "Hurt So Bad," Linda Ronstadt
17 - "Biggest Part of Me," Ambrosia
16 - "Off the Wall," Michael Jackson
The second half opens with Fleetwood Mac's third and final Tusk hit. It's your basic Mac pop-rock, with lyrics about a relationship sung by Christine McVie and Lindsey Buckingham. I didn't remember it, and my introduction to it was quite underwhelming.
Next is the last hit for Peaches and Herb, and the third of which that featured Peaches #3, Linda Greene. It's an unremarkable love ballad. This doesn't feel nearly as good as "Reunited."
Then it's Linda Ronstadt with what would be her last solo Top Ten, a sultry rock ballad about the pain of watching an old lover move on. Definitely one of her more impassioned performances, and it's definitely in my Top 3 among her hits.
The bland boys of California, Ambrosia, had their next-to-last hit with possibly the worst of the boring-ass love songs that made theTir name. If I could "make a wish," it'd be that these guys had never existed.
This section closes with the title track to Michael J.'s first blockbuster LP. Again, it pales a bit next to many of his other hits, but in that company, there's no shame in that.
15 - "Pilot of the Airwaves," Charlie Dore
14 - "Too Hot," Kool and the Gang
13 - "Don't Fall in Love With a Dreamer," Kenny Rogers and Kim Carnes
12 - "Hold On to My Love," Jimmy Ruffin
11 - "Working My Way Back to You/Forgive Me Girl," The Spinners
This bunch is led off by the only hit for British songstress Charlie Dore. It's a cool little midtempo pop ballad about a woman infatuated with a late-night radio DJ. Both the song and Dore's vocals remind me a great deal of Joni Mitchell, and that's a very good thing.
Kool and the Gang return from last time with their hit about a fairytale romance gone wrong. Still just okay to me.
Next are Kenny Rogers and Kim Carnes with their hit duet about the dangers of getting too serious with someone who isn't interested in commitment. I think that's it. Anyway, decent song, but still, Kim really didn't click for me until "Bette Davis Eyes."
Then it's Jimmy Ruffin, a former Motown artist best known for his 1966 Top Ten "What Becomes of the Brokenhearted." He had been hitless for over a decade when Bee Gee Robin Gibb wrote and produced an album for him which produced this solid soul song that put him back on the charts. And I will take this opportunity to wish Mr. Gibb the best as he battles cancer.
Rounding out this group are The Spinners with their returning medley. Again, this is a rarity: a Spinners song that I don't really care for. But I can forgive them.
Top ten, top ten, jiggity jog.
10 - "Sexy Eyes," Dr. Hook
The absolute worst of this band's horrible disco period. That these guys were the same ones who did those fabulous versions of Shel Silverstein songs boggles my mind. Shit.
9 - "You May be Right," Billy Joel
The piano man had his hardest rock hit to date with this stomping number about answering a lover's criticism of his erratic behavior by arguing that this behavior is exactly what she loves about him. Good fun, and solidly in my Top 5 of his.
8 - "I Can't Tell You Why," The Eagles
The mellow-rock superstars had their last Top Ten single with this slick ballad about not knowing how to leave someone. By the end of the year, these guys would figure that out. Still, gotta say I like this. Timothy B. Schmit took full adavantage of his chance to take the mic with a very good performance.
7 - "Fire Lake," Bob Seger
Speaking of Timothy B., he and fellow Eagles Don Henley and Glenn Frey provide backup vocals for the Styx of Detroit's countryish number about going out and living it up, damn the consequences. Very good, as Seger goes.
6 - "Lost in Love," Air Supply
The Aussie duo began their two-year run as an MOR juggernaut with this ballad about wanting to be a better person for the one you love. Honestly, it's probably my favorite non-"Making Love Out of Nothing at All" hit of theirs.
5 - "Special Lady," Ray, Goodman and Brown
Simple, smooth, solid. Great stuff.
4 - "With You I'm Born Again," Billy Preston and Syreeta Wright
The onetime Fifth Beatle had his last pop hit with this passionate duet with Wright, who had to that point been best known for her songwriting collaborations with Stevie Wonder. One of the decade's sexiest songs.
3 - "Another Brick in the Wall Part II," Pink Floyd
The Floyd at their commercial peak. The children's choir was a masterstroke.
2 - "Ride Like the Wind," Christopher Cross
The future ballad king had his first hit with this uptempo pop song about a man on the run from the law trying to "make it to the border of Mexico," Even with Michael McDonald's vocal cameos, I have to say, this was by far Cross' best work.
And topping the pop heap 32 years ago was...
1 - "Call Me," Blondie
This song began life as an instrumental track that Giorgio Moroder wanted Stevie Nicks to sing on to serve as the main theme to American Gigolo. When Nicks was unavailable, Moroder turned to Blondie's Deborah Harry, who added lyrics and a melody and then recorded it with her band with Moroder producing. The result is this icily seductive New Wave come-on that would top the American charts for six weeks. This cemented Harry as the turn of the decade's preeminent musical sex bomb.
This week's NotCaseys were The B-52s' "Rock Lobster," Paul McCartney and Wings' "Coming Up," Pat Benatar's "We Live for Love," and The Manhattans' "Shining Star." Casey opened the show with the previous week's top three (same as this weeks, except "Another Brick in the Wall" and "Ride Like the Wind" switched positions, later played three #1s from late 1978 ("You Don't Bring Me Flowers," "Le Freak," and "Too Much Heaven"), and also played Danny and the Juniors' "At the Hop" to answer a question about the highest-debuting single by a brand new act. And there were two LDDs. In the first, a woman dedicated Led Zeppelin's "Stairway to Heaven" to the ex-boyvriend who helped her get off drugs. And later, another woman dedicated Paul Simon's "Mother and Child Reunion," to the daughter she gave up for adoption fourteen years earlier who she'd like to see again some day.
More of this for y'all's enjoyment coming very soon.
Before we finish off 1980, let's nudge the clock back a year to April 28, 1979. For the first time, some stations in the Premier Radio syndicate were able to play all four hours of a 1979 show, so I'm going to cover stuff from tthei entire 40.
Blondie was on top with "Heart of Glass." The Top Ten also included "Knock on Wood," "I Will Survive," "Stumblin' In," and "In the Navy."..The first newbie I'll cover is #18 jaz,z guitarist George Benson's cover of LTD's hit "Love Ballad." I think I actually like this version better...Ex-Fleetwood Mac man Bob Welch is at #19 with his last hit, the serviceable disco-rocker, "Precious Love"...Philly soul duo (Leroy) Bell and (Casey) James had their only pop hit with the song at #22 this week, the smoothly grooving ode to weekends "Livin' it Up (Friday Night)"... The Allman Brothers Band scored their second Top 40 hit with the rollicking, lusty rave-up "Crazy Love," this week's #30....At 31, The Pointer Sisters are here with their gospel-flavored follow-up to "Fire," "Happiness." A forgotten gem...Canadian rockers April Wine are at #34 with their second American hit, the okay gambling-as-sex-metaphor number, "Roller"...And former Byrds Roger McGuinn, Gene Clark and Chris Hillman got together to form a group named after the three men's surnames, and the one hit they produced was the jaunty "Don't You Write Her Off," this week's #39...But this week, I've decided to shine the spotlight on two songs, the first being...
17 - "Blow Away," George Harrison
The Quiet Beatle's last American hit of the 70s was this sweet, gentle folk-pop tune about getting past the hard times in life. I single this song out because it played a role in getting me out of a long, dark period. Just hearing George sing "All I've got to be is, be happy" helped flip a switch within me that it was time to stop putting myself through pointless misery and get back to living. Yeah, music can be a powerful thing.
And my other spotlight shines on...
32 - "Roxanne," The Police
The first hit by the reggae-inspired New Wavers was this now-familiar number about a man trying to convince a prostitute to give up that life, imploring her not to "put on the red light." Sting was inspired to write this while observing the ladies of the evening who congregated in the seedy Paris hotel where the band was staying at the time. It wouldn't get any higher on the charts than this, but arguably, it's now their second most famous song. And deservedly so.
And now, back to '80
20 - "Think About Me," Fleetwood Mac
19 - "I Pledge My Love," Peaches and Herb
18 - "Hurt So Bad," Linda Ronstadt
17 - "Biggest Part of Me," Ambrosia
16 - "Off the Wall," Michael Jackson
The second half opens with Fleetwood Mac's third and final Tusk hit. It's your basic Mac pop-rock, with lyrics about a relationship sung by Christine McVie and Lindsey Buckingham. I didn't remember it, and my introduction to it was quite underwhelming.
Next is the last hit for Peaches and Herb, and the third of which that featured Peaches #3, Linda Greene. It's an unremarkable love ballad. This doesn't feel nearly as good as "Reunited."
Then it's Linda Ronstadt with what would be her last solo Top Ten, a sultry rock ballad about the pain of watching an old lover move on. Definitely one of her more impassioned performances, and it's definitely in my Top 3 among her hits.
The bland boys of California, Ambrosia, had their next-to-last hit with possibly the worst of the boring-ass love songs that made theTir name. If I could "make a wish," it'd be that these guys had never existed.
This section closes with the title track to Michael J.'s first blockbuster LP. Again, it pales a bit next to many of his other hits, but in that company, there's no shame in that.
15 - "Pilot of the Airwaves," Charlie Dore
14 - "Too Hot," Kool and the Gang
13 - "Don't Fall in Love With a Dreamer," Kenny Rogers and Kim Carnes
12 - "Hold On to My Love," Jimmy Ruffin
11 - "Working My Way Back to You/Forgive Me Girl," The Spinners
This bunch is led off by the only hit for British songstress Charlie Dore. It's a cool little midtempo pop ballad about a woman infatuated with a late-night radio DJ. Both the song and Dore's vocals remind me a great deal of Joni Mitchell, and that's a very good thing.
Kool and the Gang return from last time with their hit about a fairytale romance gone wrong. Still just okay to me.
Next are Kenny Rogers and Kim Carnes with their hit duet about the dangers of getting too serious with someone who isn't interested in commitment. I think that's it. Anyway, decent song, but still, Kim really didn't click for me until "Bette Davis Eyes."
Then it's Jimmy Ruffin, a former Motown artist best known for his 1966 Top Ten "What Becomes of the Brokenhearted." He had been hitless for over a decade when Bee Gee Robin Gibb wrote and produced an album for him which produced this solid soul song that put him back on the charts. And I will take this opportunity to wish Mr. Gibb the best as he battles cancer.
Rounding out this group are The Spinners with their returning medley. Again, this is a rarity: a Spinners song that I don't really care for. But I can forgive them.
Top ten, top ten, jiggity jog.
10 - "Sexy Eyes," Dr. Hook
The absolute worst of this band's horrible disco period. That these guys were the same ones who did those fabulous versions of Shel Silverstein songs boggles my mind. Shit.
9 - "You May be Right," Billy Joel
The piano man had his hardest rock hit to date with this stomping number about answering a lover's criticism of his erratic behavior by arguing that this behavior is exactly what she loves about him. Good fun, and solidly in my Top 5 of his.
8 - "I Can't Tell You Why," The Eagles
The mellow-rock superstars had their last Top Ten single with this slick ballad about not knowing how to leave someone. By the end of the year, these guys would figure that out. Still, gotta say I like this. Timothy B. Schmit took full adavantage of his chance to take the mic with a very good performance.
7 - "Fire Lake," Bob Seger
Speaking of Timothy B., he and fellow Eagles Don Henley and Glenn Frey provide backup vocals for the Styx of Detroit's countryish number about going out and living it up, damn the consequences. Very good, as Seger goes.
6 - "Lost in Love," Air Supply
The Aussie duo began their two-year run as an MOR juggernaut with this ballad about wanting to be a better person for the one you love. Honestly, it's probably my favorite non-"Making Love Out of Nothing at All" hit of theirs.
5 - "Special Lady," Ray, Goodman and Brown
Simple, smooth, solid. Great stuff.
4 - "With You I'm Born Again," Billy Preston and Syreeta Wright
The onetime Fifth Beatle had his last pop hit with this passionate duet with Wright, who had to that point been best known for her songwriting collaborations with Stevie Wonder. One of the decade's sexiest songs.
3 - "Another Brick in the Wall Part II," Pink Floyd
The Floyd at their commercial peak. The children's choir was a masterstroke.
2 - "Ride Like the Wind," Christopher Cross
The future ballad king had his first hit with this uptempo pop song about a man on the run from the law trying to "make it to the border of Mexico," Even with Michael McDonald's vocal cameos, I have to say, this was by far Cross' best work.
And topping the pop heap 32 years ago was...
1 - "Call Me," Blondie
This song began life as an instrumental track that Giorgio Moroder wanted Stevie Nicks to sing on to serve as the main theme to American Gigolo. When Nicks was unavailable, Moroder turned to Blondie's Deborah Harry, who added lyrics and a melody and then recorded it with her band with Moroder producing. The result is this icily seductive New Wave come-on that would top the American charts for six weeks. This cemented Harry as the turn of the decade's preeminent musical sex bomb.
This week's NotCaseys were The B-52s' "Rock Lobster," Paul McCartney and Wings' "Coming Up," Pat Benatar's "We Live for Love," and The Manhattans' "Shining Star." Casey opened the show with the previous week's top three (same as this weeks, except "Another Brick in the Wall" and "Ride Like the Wind" switched positions, later played three #1s from late 1978 ("You Don't Bring Me Flowers," "Le Freak," and "Too Much Heaven"), and also played Danny and the Juniors' "At the Hop" to answer a question about the highest-debuting single by a brand new act. And there were two LDDs. In the first, a woman dedicated Led Zeppelin's "Stairway to Heaven" to the ex-boyvriend who helped her get off drugs. And later, another woman dedicated Paul Simon's "Mother and Child Reunion," to the daughter she gave up for adoption fourteen years earlier who she'd like to see again some day.
More of this for y'all's enjoyment coming very soon.
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