Before we wrap up '81, let's rewind just a little and visit January 28, 1978.
Player were #1 with "Baby Come Back"...Also among the Top Ten were "Short People," "Stayin' Alive," "We Are the Champions," and "Come Sail Away"...Among the newbies, we'll first look at #27, Foreigner's "Long, Long Way from Home." It's an okay rocker that tells the old story of the small town boy who finds big city life not all that it's cracked up to be. Not a song I remember ever hearing much, and I can say that I didn't miss anything special...At #29 we find The Commodores, following up the disco-funk of "Brick House" by keeping the beat up on the thickly grooving "Too Hot ta Trot"... California's Con Funk Shun had a batch of R&B hits, but the biggest of their two pop hits was the eventual #23 "Ffun," found this week in the 30 slot. It's a fantastic funk delivery system. Not sure what the extra "f" was for, though...Bill Withers is at #32 with his last solo Top 40, the gentle funk ode to a love that makes everything better "Lovely Day"...The Little River Band added a touch of disco to their blandness as they wish an ex an ironic "Happy Anniversary" at #34...Leo Sayer, whom Casey dubbed "Everybody's favorite English pixie," picked up another minor hit with the midtempo disco "Easy to Love" at 36. The falsetto is strong on the choruses, but his voice grates on the verses...Alabama's Wet Willie had another of their handful of pop hits with this week's #38, the doo-wop tribute "Street Corner Serenade"...And it may be hard to believe, but Donna Summer was only on her third U.S. Top 40 hit by this time with the forgotten-yet-very-good "I Love You," found this week at #40...But this week, I shine a spotlight on...
24 - "Theme from Close Encounters of the Third Kind," John Williams
33 - "Theme from Close Encounters," Meco
In 1977, Steven Spielberg followed up his blockbuster Jaws with another smash, this time a story about aliens landing on and making contact with Earth. And, like Jaws, this film had an iconic theme, driven mainly by the the five-note tone that the movie's mother ship frequently emits. Naturally, it became a hit, and in two forms. First, a jazz-pop version by Williams himself was issued as a 45 and packaged with the soundtrack LP. Then, Meco Menardo, the Eurodisco impresario who had just scored a #1 with a version of another Williams' movie theme, the one to Star Wars, put out his own sped-up version, one which relied less on those famous five notes and put more emphasis on other music from the film. But this time, the originator outcharted the pretender, as Williams made it to #13 while Meco stalled at #25. Both are fascinating artifacts of that time when Spielberg and George Lucas were just beginning their bid to take over pop culture. They haven't quite done it yet, but they've certainly grabbed their fair share of territory.
Okay, now to clean up 1981.
20 - "Together," Tierra
19 - "Keep on Loving You," REO Speedwagon
18 - "The Winner Takes it All," ABBA
17 - "Woman," John Lennon
16 - "Miss Sun," Boz Scaggs
The second half begins with the biggest hit by Latin soul band Tierra, a nice ballad written by Philly soul maestros Kenny Gamble and Leon Huff. Nothing spectacular, but a pleasant listen.
After seven albums that built up a following but didn't produce a single radio hit, Champaign, Illinois' REO Speedwagon broke though in a big way with this song about loving someone no matter what, in spite of struggles and infidelities. It went straight to #1, and is still frequently used in movies and commercials. It's become one of the archetypal 80s power ballads, and while I don't think it's one of the best, it does have all the standard elements, and Kevin Cronin sings the hell out of it.
Next is ABBA with their last U.S. Top Ten, a theatrical mini-epic that compares the breakdown of a marriage to losing at some sort of spectator sport that involves cards and diceand judges. Yes, the metaphors are all over the place, but it's still a remarkably effective portrait of the heartbreak of a failed relationship, with Agnetha Faltskog just killing the lead vocal. My favorite ABBA song, hands down.
Then it's John Lennon with his first single to be released after his assassination. It's a tender, mature song that thanks his partner (Yoko, of course) for putting up with him and understanding and accepting his flaws. A fantastic love song.
Rounding out this section is Boz Scaggs with a return to the jazzy lite-funk on which he made his name. Apparently, he tried to hold the title woman "but the moon got in the way." Not sure what that means, but whatever, cool little song.
15 - "Time is Time," Andy Gibb
14 - "Same Old Lang Syne," Dan Fogelberg
13 - "Guilty," Barbra Streisand and Barry Gibb
12 - "Hey Nineteen," Steely Dan
11 - "Giving it Up for Your Love," Delbert McClinton
This group opens up with the pentultimate Top 40 hit for the Bee Gees little brother. Like his brothers, he was starting to shy away from anything resembling disco, and thus this song is midtempo pop-rock about waiting out a reluctant lover. A solid little number, better than many of his bigger hits.
Soft-rock superstar Dan Fogelberg had his second Top Ten with this reportedly autobiographical song about a singer who runs into an old girlfriend on Christmas Eve. The two then buy a six-pack of beer at a nearby liquor store and share it in her car while swapping life stories. She had married an architect she wasn't really in love with, while he was doing all right with his music but hated touring. The two then part ways, and the singer feels a twinge of regret at what might have been. This is easily Fogelberg's best song, and because of its holiday connections, it's probably the one that gets the most recurring airplay. And because it's the rare Christmas-themed song to actually become a chart hit in this time period, it gets this week's Uneasy Rider.
Another Gibb, Barry, is here duetting with Barbra Streisand on the title track to her Guilty album, which he co-produced. He even appears on the album cover with her. It's very good Gibb-pop in which the two declare that their love "can climb any mountain near or far. I would call this a guilty pleasure, but that would be an awful pun. But it's true.
Then it's Steely Dan with their third and final Top 10, a song that reminisces about college days and laments that the 19-year-old girls of 1981 don't recognize Aretha Franklin as the Queen of Soul. In other words, typical Steely Dan navel gazing. But there's nothing wrong with that.
This bunch closes with Lubbock, Texas blues-rocker Delbert McClinton's only Top 40 single,, a funky, horn-adorned song about a desperate need for a woman's affections. I vaguely remembered this one, but I'm very glad to have my memory refreshed. This is a forgotten gem of a single that is due to be rediscovered.
It's Top Ten in the morning in America.
10 - "I Made it Through the Rain," Barry Manilow
Barry scored his last pop Top Ten with this ballad about perservering through hard times. As I recall, people began associating it with the Iranian hostages upon their release. A year later, I think I remember my mother singing it after my father's union finally settled a long strike. Anyway, it's decent Barry.
9 - "It's My Turn," Diana Ross
Miss Ross collected her third straight Top Ten with this ballad about a woman who decides to finally live for herself instead of others. It was the title song to a romantic comedy of the same name that co-starred Michael Douglas. I didn't really see many Michael Douglas movies before he began what I like to call his "women are eeeeeeeeeeevil!" trilogy of Fatal Attraction, Basic Instinct and Disclosure, so I find the idea of him as the lead in a romantic comedy almost unsettling.
8 - "9 to 5," Dolly Parton
Another movie song, this one from the workplace comedy in which Parton, Lily Tomlin, and Jane Fonda played secretaries who gain revenge on their chauvinist boss. The song itself is jaunty, jazzy pop about the struggles of working people. Catchy as all get out, and the typewriter at the beginning was an inspired touch. It was Dolly's only pop #1, and deservedly so.
7 - "Love on the Rocks," Neil Diamond
The movies strike again, this time with Neil's second Jazz Singer hit of the week, an excellent, world-weary ballad about souring romance. And no, I don't ever want to see that movie. Apparently Lucie Arnaz played his love interest. Seriously?
6 - "Passion," Rod Stewart
Rod the Mod's first American hit of the decade was this sultry, slow-burning rocker about that primal physical thing that "even the President needs." I like this song, but I pity anyone who heard that President line had found themselves picturing Ronnie and Nancy...together. Shudder.
5 - "Every Woman in the World," Air Supply
The third American hit for these Aussie mildmen was this song in which they state that one woman fulfills all their needs. No, I'm not implying that those two guys shared one girlfriend, but I don't know that they didn't, either.
4 - "I Love a Rainy Night," Eddie Rabbitt
Probably one of the few country superstars to be born in Brooklyn, Eddie had his only #1 pop hit with this celebration of percipitation. Catchy tune, although I can't say I share his affinity for the rain. I wonder how he felt about snow...
3 - "Celebration," Kool and the Gang
On a chart full of joy an optimism, this, Kool and the Gang's only pop #1, is arguably the most upbeat of all. "There's a party goin' on right here," they sing to a backing track that was pure disco even though no one would have dared call it that at the time. The "malaise" of the Carter years was over, and Ronald Reagan had just rode in from Hollywood to save the day. Did it work out that way? Like a lot of things, it depends on who you talk to.
2 - "(Just Like) Starting Over," John Lennon
On its own, this song is a wistful, wonderful midtempo ballad in which a man asks his wife to run away with him and kind of hit the reset button on their relationship. And John is at his charming best, even breaking out an Elvis impression on the verses. But of course, it just can't be divorced from what happened just one month after its release, which gave the song's title a sad, bitter irony. I love this track, but I also wonder what other gems might have followed if not for that Monday night in December.
And number one that week was...
1 - "The Tide is High," Blondie
The third #1 hit for Debbie Harry and co. was this cover of a 1967 song by Jamaican "rocksteady" band The Paragons. It's breezy reggae in which Ms. Harry declares that she will eventually land the man she has her sights set on, because "I'm not the kind of girl who gives up just like that." And yes, I had this cassette, too.
This week's NotCaseys were "Somebody's Knockin'" by Terri Gibbs, "Rapture" by Blondie, "Turn Me Loose" by Loverboy, and "Kiss on My List" by Hall and Oates. Before he started the countdown, he played the previous week's Top Three (in descending order: "The Tide is High," "Love on the Rocks," and "(Just Like) Starting Over." He also played two #1s from January 1964, "There! I've Said it Again" by Bobby Vinton, and "I Want to Hold Your Hand" by The Beatles. And there were two Long Distance Dedications. A nervous Nova Scotian sent out Jim Croce's "I'll Have to Say I Love You in a Song," to the librarian he had a crush on, and a girl from Oklahoma dedicated The Commodores' "Three Times a Lady," to the mother she now regretted disobeying and mistreating in the past.
I will be back next week. Yes, it's the Super Bowl, but I'll work around it. Anything for you guys.
Sunday, January 29, 2012
Saturday, January 28, 2012
January 31, 1981 Part One
This week we go back a time when the United States was in the best mood it had been in in years. Reagan had just been sworn in, and the fact that the American hostages in Iran were released that very day was seen as a sign that better days were ahead. To paraphrase a singer who wouldnt even be born for another decade or so, it was a party in the U.S.A. And as we'll see, many of the songs on this week's chart reflect that.
40 - "Shine On," L.T.D.
39 - "Who's Making Love," The Blues Brothers
38 - "Suddenly," Olivia Newton-John and Cliff Richard
37 - "I Need Your Lovin'," Teena Marie
36 - "Treat Me Right," Pat Benatar
35 - "Lady," Kenny Rogers
34 - "Games People Play," The Alan Parsons Project
33 - "He Can't Love You," The Michael Stanley Band
32 - "Hello Again," Neil Diamond
31 - "Smoky Mountain Rain," Ronnie Milsap
We begin with R&B in its various forms. The Greensboro, North Carolina funk band whose initials stood for Love, Togetherness and Devotion had their final Top 40 hit, a ballad about wanting to go back in time and recapture lost love. Not long after this, singer Jeffrey Osborne would leave the group for a solo career. Honestly, I think his L.T.D stuff was better. The Blues Brothers, the group that began as Saturday Night Live characters played by Dan Aykroyd and John Belushi but then became a real recording and touring act, had their last pop hit with a cover of a 1968 Johnnie Taylor tune about cheating and being cheated on. These guys genuinely loved the stuff they covered, and I'm sure it would have been fun to see the original group live, but in the end, I think their real value lay in drawing attention to the artists they were influenced by. And Mary Christine Brockert, a California singer who would go on to be one of the relatively few white acts signed by Motown records, had her first pop Top 40 with this funky plea for physical affection. She had a great voice, and she was taken from us too soon at 54.
Then we go to MOR-land. ONJ had another Xanadu hit by teaming up with Cliff Richard on this okay ballad. Not one of the stronger tracks from that movie. Just an okay love song. And Neil Diamond had his second hit from the, um, questionable remake of The Jazz Singer with this ballad about needing to hear from an old friend. No, I've never seen the movie, but I've heard things. However, I did have the soundtrack as a kid. It wasn't a bad album.
Three rock songs are here. Pat Benatar followed up her Top 10 breakthrough "Hit Me with Your Best Shot," with this swaggering call for her would-be lover to make up his mind about what kind of relationship he wants. Her toughness is always appreciated. The Alan Parsons Project, who were a band and not, as Homer Simpson once believed, some sort of hovercraft, had their biggest hit to date with this synth-driven hit that seems to be about dissatisfaction with one's life. You would think that the line "games people play in the middle of the night" was about sex, but I don't think it is. The song is also from a concept album about gambling called The Turn of a Friendly Card, so bottom line, I don't really know what it's about. I do know that even though this is pretty good, I like the similiarly-titled Spinners hit from the 70s much better. And Michael Stanley is kind of a local legend in his native Cleveland, but his only dent on the national scene was this slice of pop-rock romantic case-presenting. It's very dated in its sound, but it's also quite catchy, the guitar solo is solid, and the saxophone adds color without being distracting the way it could be on many 80s hits. A minor lost treasure.
We finish with two country-pop stars. Kenny Rogers is back from last time with his Lionel Richie-penned #1 about a very special woman. Presumably, it was his then-wife Marianne, who was spouse #4. She's no longer his lady, but they had a 16-year run, which for now remains his personal record. And Ronnie Milsap had his second pop hit with a song about a guy coming back home from a failed venture in Los Angeles, only to find that the woman he left behind didn't wait for him. So he begins a search for her that reminds me of the one in the much-better Elvis hit "Kentucky Rain." Not a good sign when you spend half a song's duration thinking of a different song altogether.
30 - "Tell it Like it Is," Heart
29 - "Killin' Time," Fred Knoblock and Susan Anton
28 - "A Little in Love," Cliff Richard
27 - "Crying," Don McLean
26 - "De Do Do Do, De Da Da Da," The Police
25 - "Heartbreak Hotel," The Jacksons
24 - "Hungry Heart, " Bruce Springsteen
23 - "Seven Bridges Road," The Eagles
22 - "The Best of Times," Styx
21 - "I Ain't Gonna Stand for It," Stevie Wonder
This section contains a big chunk of rock. Heart had their highest-charting single to date with this cover of Aaron Neville's 1966 hit ballad. It doesn't quite measure up to the original (given Aaron's performance, nothing could), but it's a decent stab at soul, and certainly much better than their songs in the future that would outperform it. The Police cracked the U.S. Top Ten for the first time with this deceptively bouncy hit about the power of words both eloquent and nonsensical. I definitely liked it as a kid, but I'm glad that at the time I didn't understand the lyric "their logic ties you up and rapes you." An odd image, and one I'm quite surprised actually made it onto 1981 mainstream radio. Bruce Springsteen had his first Top Five with this big bar-rock rave-up about the endless search for romantic companionship. He originally wrote it for The Ramones, but his manager, who had seen his client give away hit songs to Patti Smith and the Pointer Sisters, advised Springsteen to keep it for himself. Good call. The Eagles had the last hit of their original run with this live cover of a country song by a guy named Steve Young.
It's a nice song, with gorgeous harmonies, but it was somewhat overshadowed by the fact that the band had already broken up so acrimoniously that the two main members, Don Henley and Glenn Frey, collaborated on mixing the Eagles Live album on opposite sides of the United States, sending tapes back and forth because they couldn't stand to be anwyehre near each other. Gotta love bad breakups. And Styx are here with a power ballad about leaning on one's romantic partner to get through tough periods in the world around them. It's probably my favorite serious ballad of theirs. (I might like "Come Sail Away" better, but that's strictly for cheese/camp reasons.)
Easy listening is also well-represented. Country singer Fred Knoblock had his second and last pop hit with this song about a one-night stand. His duet partner was actress and singer Susan Anton, who was best known for being tall and dating short actor Dudley Moore. And may I say, at least on this song, her voice sounds awful. It might be technically fine, but I just don't find it pleasant to listend to at all. Fingernails on a chalkboard. There are millions of better ways to kill time than to listen to Susan Anton sing. British superstar Cliff Richard shows up for a second time this week, this time on his own with a midtempo ballad about infatuation. Nothing much. Certainly no "Devil Woman." And Don "American Pie" McLean made a surprise return to the Top Ten with a decent but thoroughly unnecessary cover of a Roy Orbison classic. He adds nothing at all to it, unlike, say, k.d. lang when she duetted with Roy himself on it in 1987.
We close the first half with a couple of Motown's biggest 70s acts, keepin' on keepin' on into the new decade. The Jacksons weren't with their old label anymore, but they were on the charts with a song that, surprisingly, isn't an Elvis cover (in fact, to avoid confusion, the song was later retitled "This Place Hotel"). The inn in this version, however, isn't the loneliness rehab centre Mr. Presley sang of; rather, it's kind of a haunted house where love goes to die. And the music is suitably spooky, perhaps a precursor of "Thriller." Michael gives a solid perfomance, and in spite of the distracting title, it's a very good song. And Stevie Wonder is here with a song about suspecting his lover of cheating that is notable for the strange country twang in which he sings the verses. And in a weird way, it kind of works with lyrics about how Stevie believes someone has been "pickin' in my cherry tree" and "diggin' round in my cake." It's kind of an oddity, but a very cool one.
Tomorrow: a lot of optimistic music, but with some heartbreak mixed in, and one song whose positivity was tarnished by genuine tragedy.
40 - "Shine On," L.T.D.
39 - "Who's Making Love," The Blues Brothers
38 - "Suddenly," Olivia Newton-John and Cliff Richard
37 - "I Need Your Lovin'," Teena Marie
36 - "Treat Me Right," Pat Benatar
35 - "Lady," Kenny Rogers
34 - "Games People Play," The Alan Parsons Project
33 - "He Can't Love You," The Michael Stanley Band
32 - "Hello Again," Neil Diamond
31 - "Smoky Mountain Rain," Ronnie Milsap
We begin with R&B in its various forms. The Greensboro, North Carolina funk band whose initials stood for Love, Togetherness and Devotion had their final Top 40 hit, a ballad about wanting to go back in time and recapture lost love. Not long after this, singer Jeffrey Osborne would leave the group for a solo career. Honestly, I think his L.T.D stuff was better. The Blues Brothers, the group that began as Saturday Night Live characters played by Dan Aykroyd and John Belushi but then became a real recording and touring act, had their last pop hit with a cover of a 1968 Johnnie Taylor tune about cheating and being cheated on. These guys genuinely loved the stuff they covered, and I'm sure it would have been fun to see the original group live, but in the end, I think their real value lay in drawing attention to the artists they were influenced by. And Mary Christine Brockert, a California singer who would go on to be one of the relatively few white acts signed by Motown records, had her first pop Top 40 with this funky plea for physical affection. She had a great voice, and she was taken from us too soon at 54.
Then we go to MOR-land. ONJ had another Xanadu hit by teaming up with Cliff Richard on this okay ballad. Not one of the stronger tracks from that movie. Just an okay love song. And Neil Diamond had his second hit from the, um, questionable remake of The Jazz Singer with this ballad about needing to hear from an old friend. No, I've never seen the movie, but I've heard things. However, I did have the soundtrack as a kid. It wasn't a bad album.
Three rock songs are here. Pat Benatar followed up her Top 10 breakthrough "Hit Me with Your Best Shot," with this swaggering call for her would-be lover to make up his mind about what kind of relationship he wants. Her toughness is always appreciated. The Alan Parsons Project, who were a band and not, as Homer Simpson once believed, some sort of hovercraft, had their biggest hit to date with this synth-driven hit that seems to be about dissatisfaction with one's life. You would think that the line "games people play in the middle of the night" was about sex, but I don't think it is. The song is also from a concept album about gambling called The Turn of a Friendly Card, so bottom line, I don't really know what it's about. I do know that even though this is pretty good, I like the similiarly-titled Spinners hit from the 70s much better. And Michael Stanley is kind of a local legend in his native Cleveland, but his only dent on the national scene was this slice of pop-rock romantic case-presenting. It's very dated in its sound, but it's also quite catchy, the guitar solo is solid, and the saxophone adds color without being distracting the way it could be on many 80s hits. A minor lost treasure.
We finish with two country-pop stars. Kenny Rogers is back from last time with his Lionel Richie-penned #1 about a very special woman. Presumably, it was his then-wife Marianne, who was spouse #4. She's no longer his lady, but they had a 16-year run, which for now remains his personal record. And Ronnie Milsap had his second pop hit with a song about a guy coming back home from a failed venture in Los Angeles, only to find that the woman he left behind didn't wait for him. So he begins a search for her that reminds me of the one in the much-better Elvis hit "Kentucky Rain." Not a good sign when you spend half a song's duration thinking of a different song altogether.
30 - "Tell it Like it Is," Heart
29 - "Killin' Time," Fred Knoblock and Susan Anton
28 - "A Little in Love," Cliff Richard
27 - "Crying," Don McLean
26 - "De Do Do Do, De Da Da Da," The Police
25 - "Heartbreak Hotel," The Jacksons
24 - "Hungry Heart, " Bruce Springsteen
23 - "Seven Bridges Road," The Eagles
22 - "The Best of Times," Styx
21 - "I Ain't Gonna Stand for It," Stevie Wonder
This section contains a big chunk of rock. Heart had their highest-charting single to date with this cover of Aaron Neville's 1966 hit ballad. It doesn't quite measure up to the original (given Aaron's performance, nothing could), but it's a decent stab at soul, and certainly much better than their songs in the future that would outperform it. The Police cracked the U.S. Top Ten for the first time with this deceptively bouncy hit about the power of words both eloquent and nonsensical. I definitely liked it as a kid, but I'm glad that at the time I didn't understand the lyric "their logic ties you up and rapes you." An odd image, and one I'm quite surprised actually made it onto 1981 mainstream radio. Bruce Springsteen had his first Top Five with this big bar-rock rave-up about the endless search for romantic companionship. He originally wrote it for The Ramones, but his manager, who had seen his client give away hit songs to Patti Smith and the Pointer Sisters, advised Springsteen to keep it for himself. Good call. The Eagles had the last hit of their original run with this live cover of a country song by a guy named Steve Young.
It's a nice song, with gorgeous harmonies, but it was somewhat overshadowed by the fact that the band had already broken up so acrimoniously that the two main members, Don Henley and Glenn Frey, collaborated on mixing the Eagles Live album on opposite sides of the United States, sending tapes back and forth because they couldn't stand to be anwyehre near each other. Gotta love bad breakups. And Styx are here with a power ballad about leaning on one's romantic partner to get through tough periods in the world around them. It's probably my favorite serious ballad of theirs. (I might like "Come Sail Away" better, but that's strictly for cheese/camp reasons.)
Easy listening is also well-represented. Country singer Fred Knoblock had his second and last pop hit with this song about a one-night stand. His duet partner was actress and singer Susan Anton, who was best known for being tall and dating short actor Dudley Moore. And may I say, at least on this song, her voice sounds awful. It might be technically fine, but I just don't find it pleasant to listend to at all. Fingernails on a chalkboard. There are millions of better ways to kill time than to listen to Susan Anton sing. British superstar Cliff Richard shows up for a second time this week, this time on his own with a midtempo ballad about infatuation. Nothing much. Certainly no "Devil Woman." And Don "American Pie" McLean made a surprise return to the Top Ten with a decent but thoroughly unnecessary cover of a Roy Orbison classic. He adds nothing at all to it, unlike, say, k.d. lang when she duetted with Roy himself on it in 1987.
We close the first half with a couple of Motown's biggest 70s acts, keepin' on keepin' on into the new decade. The Jacksons weren't with their old label anymore, but they were on the charts with a song that, surprisingly, isn't an Elvis cover (in fact, to avoid confusion, the song was later retitled "This Place Hotel"). The inn in this version, however, isn't the loneliness rehab centre Mr. Presley sang of; rather, it's kind of a haunted house where love goes to die. And the music is suitably spooky, perhaps a precursor of "Thriller." Michael gives a solid perfomance, and in spite of the distracting title, it's a very good song. And Stevie Wonder is here with a song about suspecting his lover of cheating that is notable for the strange country twang in which he sings the verses. And in a weird way, it kind of works with lyrics about how Stevie believes someone has been "pickin' in my cherry tree" and "diggin' round in my cake." It's kind of an oddity, but a very cool one.
Tomorrow: a lot of optimistic music, but with some heartbreak mixed in, and one song whose positivity was tarnished by genuine tragedy.
Sunday, January 22, 2012
January 25, 1986 Part Two
Before we wrap up 1986, let's have a brief look at January 24, 1976.
Diana Ross was on top with the theme from Mahogany. The Top Ten included "Love Rollercoaster," "Love to Love You Baby," and "Convoy." And below...I did not remember that Helen Reddy recorded "Somewhere in the Night," three years before Barry Manilow did, but there she is at 24. And with all due respect to Barry, I gotta go with my girl Helen on this one...Olivia Newton-John is looking for "a lovelight to keep her body warm" on the country-pop "Let it Shine" at 30...Linda Ronstadt is here with, surprise, a cover, this time of Smokey Robinson and the Miracles' "Tracks of My Tears" at 37. Not one of her better ones, at least to me...For once, Barry White just wants to dance, nothing more, on "Let the Music Play" at 38...And the Spinners are at 40 with "Love or Leave," a song that tells us "there is no crutch for love that's lame." Very true. But this week, the spotlight falls on...
27 - "Paloma Blanca," The George Baker Selection
This Dutch group first cracked the American charts in 1970 with the funky "Little Green Bag," which has since been immortalized by Quentin Tarantino in Reservoir Dogs. Their only other dent on the U.S. pop landscape came six years later with this song that can best be described as "disco-polka." It's about imagining oneself with the freedom of a bird ("paloma blanca" being spanish for "white dove"). It's probably the most Lawrence Welk-ish song to hit the charts during the 70s (yes, even ahead of "My Melody of Love"). But it's still catchy, in its cheesy way.
Okay, now let's clean up '86
20 - "Sidewalk Talk," Jellybean
19 - "Goodbye," Night Ranger
18 - "It's Only Love," Bryan Adams and Tina Turner
17 - "How Will I Know," Whitney Houston
16 - "Conga," Miami Sound Machine
The second half begins with producer John Benitez's first hit as an artist, a dance-pop number that takes the old "the walls have ears" saying and transfers it to a lower surface. The song was written by Madonna, whom he had previously produced, and she also sings the chorus on the track, while Catt Buchanan handles the rapid-fire, rap-sung verses. Who? Exactly. Anyway, this is all right.
Night Ranger are back from last time, reaffirming their inability to exit situations well. Ho hum.
Next is Bryan Adams getting his ass handed to him vocally by Tina Turner. Bryan can sing a bit, in his way, but he just can't hang with Tina.
Then it's Whitney Houston with her third hit, her first upbeat single. She wonders if her relationship is the real thing. I'm not sure if it was, but by this time, it was perfectly clear that Whitney was the genuine article.
This section closes with Gloria Estefan and Co. once again inviting us all to shake our bodies and feel the rhythm. And I usually take them up on it.
15 - "Tonight She Comes," The Cars
14 - "Small Town," John Cougar Mellencamp
13 - "Go Home," Stevie Wonder
12 - "Alive and Kicking," Simple Minds
11 - "When the Going Gets Tough, The Tough Get Going," Billy Ocean
This bunch is led off by The Cars, back for a third time with a then-new track from a Greatest Hits record. That happens quite a bit, and honestly, I don't like it. Kind of presumptuous, as far as I'm concerned. But at least this one charted well, and therefore justified its presence.
Next is Mr. Mellencamp, back again with his ode to mid-size communities. It's good, but I could stand not hearing it for a while.
Then it's Steveland Morris, returning with his last Top Ten hit. I'm glad he had this to cleanse the palate of "I Just Called to Say I Love You" and "Part Time Lover."
Simple Minds show up again with the biggest of the hits they actually wrote. I must say, while I do like "Don't You (Forget About Me)" for what it is, I'm glad the band actually had a hit more representative of their own sound.
This group is rounded out by Billy Ocean, here this time with an uptempo love song from the film The Jewel of the Nile, the sequel to Romancing the Stone. This is why Michael Douglas, Kathleen Turner, and Danny DeVito got to lip-synch in the video. That didn't make it a good idea, though.
Ten songs to rule them all:
10 - "Spies Like Us," Paul McCartney
This soundtrack trifle would be the last Macca single to crack the American Top Ten. That kind of sucks. I wish something like his 1989 Elvis Costello co-write "My Brave Face" could have climbed high enough to take away that distinction.
9 - "Party All the Time," Eddie Murphy
Oh Eddie, there was no need for this. You should have just told Rick James "I'm not a real singer, you should just record this yourself." But I suppose it was the 80s, and people didn't always have the best judgement, for reasons I won't go into.
8 - "I Miss You," Klymaxx
This song does nothing for me, and the spelling of the band's name makes me think of porn stars. Not good.
7 - "Walk of Life," Dire Straits
Johnny's still busking in the subway. And I'm still listening.
6 - "My Hometown," Bruce Springsteen
The Boss tied Michael Jackson't record of seven Top Ten hits from one album with this stark ballad about a man who's seen the place he saw as idyllic as a child spiral downward due to racial tensions and harsh economic realities. Near the end, he and his wife discuss leaving, but it's clear he's torn about it, because he still wants to pass on the sense of home to his own son that his father did to him. Well-drawn and bittersweet, like much of Springsteen's best.
5 - "I'm Your Man," Wham!
Yes, George Michael could pull off swaggering sexuality in his day. And Andrew Ridgely...stood beside him.
4 - "Talk to Me," Stevie Nicks
Stevie wants to be your confidant. She seems trustworthy enough. But would she write a song about what you told her later? I think she would. But speaking for myself, I'd probably be more flattered than mad.
3 - "Burning Heart," Survivor
Really, who else would you want to have soundtracking the biggest-ever fictional USA vs. USSR sporting event in history? Big dumb rock and the Cold War: separately they're depressing, but together, magic!
2 - "Say You, Say Me," Lionel Richie
Another song from a Cold War-themed film. But this one involved men dancing together, not punching each other. Maybe White Nights would have been bigger if they'd gotten Survivor to do a song. I bet Mikhail Baryshnikov and Gregory Hines could have busted some cool moves to "Burning Heart."
And at the pinnacle of pop this week 26 years ago, we find...
1 - "That's What Friends are For," Dionne and Friends
Ms. Warwick teamed up with Stevie, Gladys, and Sir Elton for a waiting-room-friendly warm fuzzy-fest for a good cause. Don't care for the song, but it hardly matters. All hearts were in the right place.
The NotCaseys this week were "Sanctify Yourself" by Simple Minds, "Manic Monday" by The Bangles, "These Dreams" by Heart, and "Let's Go All the Way" by Sly Fox. And there were two Long Distance Dedications. In the first, a man named Tom dedicated Kenny Loggins' "Forever" to a woman named Robin, whose love helped keep him on the straight and narrow. And the second one was truly moving: A teenage runaway who'd turned to prostitution to survive dedicated Journey's "Don't Stop Believing" to encourage other girls who were having problems at home not to follow her path.
See you all next week: same Glove-time, same Glove-channel.
Diana Ross was on top with the theme from Mahogany. The Top Ten included "Love Rollercoaster," "Love to Love You Baby," and "Convoy." And below...I did not remember that Helen Reddy recorded "Somewhere in the Night," three years before Barry Manilow did, but there she is at 24. And with all due respect to Barry, I gotta go with my girl Helen on this one...Olivia Newton-John is looking for "a lovelight to keep her body warm" on the country-pop "Let it Shine" at 30...Linda Ronstadt is here with, surprise, a cover, this time of Smokey Robinson and the Miracles' "Tracks of My Tears" at 37. Not one of her better ones, at least to me...For once, Barry White just wants to dance, nothing more, on "Let the Music Play" at 38...And the Spinners are at 40 with "Love or Leave," a song that tells us "there is no crutch for love that's lame." Very true. But this week, the spotlight falls on...
27 - "Paloma Blanca," The George Baker Selection
This Dutch group first cracked the American charts in 1970 with the funky "Little Green Bag," which has since been immortalized by Quentin Tarantino in Reservoir Dogs. Their only other dent on the U.S. pop landscape came six years later with this song that can best be described as "disco-polka." It's about imagining oneself with the freedom of a bird ("paloma blanca" being spanish for "white dove"). It's probably the most Lawrence Welk-ish song to hit the charts during the 70s (yes, even ahead of "My Melody of Love"). But it's still catchy, in its cheesy way.
Okay, now let's clean up '86
20 - "Sidewalk Talk," Jellybean
19 - "Goodbye," Night Ranger
18 - "It's Only Love," Bryan Adams and Tina Turner
17 - "How Will I Know," Whitney Houston
16 - "Conga," Miami Sound Machine
The second half begins with producer John Benitez's first hit as an artist, a dance-pop number that takes the old "the walls have ears" saying and transfers it to a lower surface. The song was written by Madonna, whom he had previously produced, and she also sings the chorus on the track, while Catt Buchanan handles the rapid-fire, rap-sung verses. Who? Exactly. Anyway, this is all right.
Night Ranger are back from last time, reaffirming their inability to exit situations well. Ho hum.
Next is Bryan Adams getting his ass handed to him vocally by Tina Turner. Bryan can sing a bit, in his way, but he just can't hang with Tina.
Then it's Whitney Houston with her third hit, her first upbeat single. She wonders if her relationship is the real thing. I'm not sure if it was, but by this time, it was perfectly clear that Whitney was the genuine article.
This section closes with Gloria Estefan and Co. once again inviting us all to shake our bodies and feel the rhythm. And I usually take them up on it.
15 - "Tonight She Comes," The Cars
14 - "Small Town," John Cougar Mellencamp
13 - "Go Home," Stevie Wonder
12 - "Alive and Kicking," Simple Minds
11 - "When the Going Gets Tough, The Tough Get Going," Billy Ocean
This bunch is led off by The Cars, back for a third time with a then-new track from a Greatest Hits record. That happens quite a bit, and honestly, I don't like it. Kind of presumptuous, as far as I'm concerned. But at least this one charted well, and therefore justified its presence.
Next is Mr. Mellencamp, back again with his ode to mid-size communities. It's good, but I could stand not hearing it for a while.
Then it's Steveland Morris, returning with his last Top Ten hit. I'm glad he had this to cleanse the palate of "I Just Called to Say I Love You" and "Part Time Lover."
Simple Minds show up again with the biggest of the hits they actually wrote. I must say, while I do like "Don't You (Forget About Me)" for what it is, I'm glad the band actually had a hit more representative of their own sound.
This group is rounded out by Billy Ocean, here this time with an uptempo love song from the film The Jewel of the Nile, the sequel to Romancing the Stone. This is why Michael Douglas, Kathleen Turner, and Danny DeVito got to lip-synch in the video. That didn't make it a good idea, though.
Ten songs to rule them all:
10 - "Spies Like Us," Paul McCartney
This soundtrack trifle would be the last Macca single to crack the American Top Ten. That kind of sucks. I wish something like his 1989 Elvis Costello co-write "My Brave Face" could have climbed high enough to take away that distinction.
9 - "Party All the Time," Eddie Murphy
Oh Eddie, there was no need for this. You should have just told Rick James "I'm not a real singer, you should just record this yourself." But I suppose it was the 80s, and people didn't always have the best judgement, for reasons I won't go into.
8 - "I Miss You," Klymaxx
This song does nothing for me, and the spelling of the band's name makes me think of porn stars. Not good.
7 - "Walk of Life," Dire Straits
Johnny's still busking in the subway. And I'm still listening.
6 - "My Hometown," Bruce Springsteen
The Boss tied Michael Jackson't record of seven Top Ten hits from one album with this stark ballad about a man who's seen the place he saw as idyllic as a child spiral downward due to racial tensions and harsh economic realities. Near the end, he and his wife discuss leaving, but it's clear he's torn about it, because he still wants to pass on the sense of home to his own son that his father did to him. Well-drawn and bittersweet, like much of Springsteen's best.
5 - "I'm Your Man," Wham!
Yes, George Michael could pull off swaggering sexuality in his day. And Andrew Ridgely...stood beside him.
4 - "Talk to Me," Stevie Nicks
Stevie wants to be your confidant. She seems trustworthy enough. But would she write a song about what you told her later? I think she would. But speaking for myself, I'd probably be more flattered than mad.
3 - "Burning Heart," Survivor
Really, who else would you want to have soundtracking the biggest-ever fictional USA vs. USSR sporting event in history? Big dumb rock and the Cold War: separately they're depressing, but together, magic!
2 - "Say You, Say Me," Lionel Richie
Another song from a Cold War-themed film. But this one involved men dancing together, not punching each other. Maybe White Nights would have been bigger if they'd gotten Survivor to do a song. I bet Mikhail Baryshnikov and Gregory Hines could have busted some cool moves to "Burning Heart."
And at the pinnacle of pop this week 26 years ago, we find...
1 - "That's What Friends are For," Dionne and Friends
Ms. Warwick teamed up with Stevie, Gladys, and Sir Elton for a waiting-room-friendly warm fuzzy-fest for a good cause. Don't care for the song, but it hardly matters. All hearts were in the right place.
The NotCaseys this week were "Sanctify Yourself" by Simple Minds, "Manic Monday" by The Bangles, "These Dreams" by Heart, and "Let's Go All the Way" by Sly Fox. And there were two Long Distance Dedications. In the first, a man named Tom dedicated Kenny Loggins' "Forever" to a woman named Robin, whose love helped keep him on the straight and narrow. And the second one was truly moving: A teenage runaway who'd turned to prostitution to survive dedicated Journey's "Don't Stop Believing" to encourage other girls who were having problems at home not to follow her path.
See you all next week: same Glove-time, same Glove-channel.
Saturday, January 21, 2012
January 25, 1986 Part One
This week, we go back to what the United Nations declared the International Year of Peace. On the day before this show was originally broadcast, the Voyager 2 space probe approached Uranus. Make your own jokes.
40 - "King for a Day," The Thompson Twins
39 - "He'll Never Love You (Like I Do)," Freddie Jackson
38 - "Secret Lovers," Atlantic Starr
37 - "Digital Display," Ready for the World
36 - "Broken Wings," Mr. Mister
35 - "Everybody Dance," Ta Mara and the Seen
34 - "Tarzan Boy," Baltimora
33 - "Sex as a Weapon," Pat Benatar
32 - "The Sun Always Shines on TV," A-ha
31 - "Everything in My Heart," Corey Hart
We begin with pop bands. England's Thompson Twins had their final American Top Ten with this bubbly-yet-dull declaration that "love is all we need to get us through." That's a nice sentiment and all, but with 24 hours of regal power, I'd like to think I'd accoplish more than these three to. Mr. Mister are back with their breakthroug hit about overcoming adversity and "learn(ing) to fly again." I like the song, but not as much as I hate that Train song that namechecks them. That's awful. Baltimora, four Italians and a Northern Irishman, had their biggest hit with this Europop nugget about a nature boy inviting a prospective lover to join him in the jungle. It's pretty catchy, and using the famous Tarzan cry as a hook was a minor act of genius. And Norway's A-ha had their second and final American hit with this dramatic synth-pop rollercoaster that asks someone to "give all your love to me." What that has to do with the sun shining on television, I'm not sure, but that's just an example of what I love about Scandanavian pop bands who write English lyrics. A lot of them don't make sense, but then again, they kind of do. I don't know how to explain it. But from ABBA to Ace of Base to A-ha to Roxette, it's a quality that I find strangely charming.
Good chunk of R&B/soul/dance in here. Freddie Jackson had the third of his four pop Top 40s with this unremarkable lite-funker. Not sticky at all. New York group Atlantic Starr are here with their contribution to the adultery-soul genre that peaked in the 70s with classics like "Me and Mrs. Jones" and "If Loving You is Wrong, I Don't Want to Be Right." By comparison, their offering is limp and lacks lustful urgency. But maybe the fact that it had been a while since one of these charted was enough, because it got to #3. Ready for the World followed up their horndog-funk classic "Oh Sheila" with this stange little number in which they imagine that a woman's measurements are being projected in neon lights. Or something. It's a bizarre combination of references to numbers, technology, and sex. It doesn't really make sense, but I still think it's almost as good as "Oh Sheila." And Ta Mara and the Seen return with their okay boogie call. I think I remember it from when it was out, but I could have been very happy not being reminded of it.
We'll finish this section with two solo artists. Pat Benatar is back from last time, still pleading for her man not to manipulate her with the promise of carnal pleasure. Be strong, Patricia. And Corey Hart is here with the meh power ballad that was the third American hit from Boy in the Box his only platinum album in the States. It went diamond in Canada, meaning it sold ten times platinum up here. I have no explanation or defense for that.
30 - "Silent Running," Mike + The Mechanics
29 - "Sara," Starship
28 - "Separate Lives," Phil Collins and Marilyn Martin
27 - "Face the Face," Pete Townshend
26 - "A Love Bizarre," Sheila E.
25 - "Life in a Northern Town," The Dream Academy
24 - "You're a Friend of Mine," Clarence Clemons and Jackson Browne
23 - "Living in America," James Brown
22 - "The Sweetest Taboo," Sade
21 - "Kyrie," Mr. Mister
Again, bands have a strong presence. In 1985, Genesis guitarist Mike Rutherford formed a side project with, among others, singers Paul Carrack and Paul Young. On the band's first single, Carrack plays the role of a man who has fled Earth and is travelling in space, trying to get a message to his family back on his home planet, which is being ravaged by some sort of dystopian war. He tells them who they can and cannot trust, where the gun is hidden in the house, and tells his wife to "teach the children quietly," so they can someday rise up against the tyranny that has taken over. Science fiction and the pop charts rarely mix ("In the Year 2525" is the only other example that comes to mind), but this managed to climb all the way to #6. And now it adds another accomplishment: Uneasy Rider winner. Starship followed up the cheese-rock of "We Built This City" with this horrible, horrible ballad that might be even worse than the most terrible of Jefferson Starship's 70s mushlumps. Sadly, it became their second straight #1. But for me, any time is a good time to say goodbye to this song. English folk-rock trio The Dream Academy had their first and biggest hit with this gentle tale of a man who comes to a small town "like Sinatra in a younger day," tells the gathered townsfolk about the winter of 1963, especially "John F. Kennedy and the Beatles." then takes the train out of town. Not much of a story, but as a song, it works as an ethereal evocation of time and place. And Mr. Mister show up a second time with their "Broken Wings" follow-up, a song that repurposes the ancient Greek Christian prayer "Kyrie, eleison" (Lord, have mercy) as the chorus hook to a song about the journey that is life. It's all deep-sounding, but it just doesn't quite connect the way "Broken Wings," does with me. But it must have with other people, because it became their second straight Number One."
Two duets in this group. Phil Collins and Marilyn Martin return yet again with this ballad that gets less impressive every time I hear it. And Clarence Clemons and Jackson Browne are still friends. I miss Clarence. I hope he's gotten his wings by now.
The two male solo artists in this bunch had both been making hits for over 20 years at this time. Who guitarist Pete Townshend had his second and last American solo pop hit with this stomping rocker. I'm not really sure what the lyrics mean. Most of them involve variations of "We've gotta _______ the _______s." And then in the middle of the awesome horns-and-harmonica instrumental break, he shouts, "New York, Chicago!...London and Glasgow!" Whatever. It's fantastic. And James Brown returned to the pop charts after a 12-year absence with this funky throwback that celebrates the U.S.A., from its highways to its factories, its radio stations to its diners. And of course, there's a shoutout to several cities, but even if that's a bit predictable, it works as a callback to his classic "Night Train." It's a pretty damn fine postscript to his pop-chart legacy. It didn't work out so well for Apollo Creed in Rocky IV, though.
The second half closes with two solo women, sort of. Although Sheila E. and Prince share lead vocals on it, "A Love Bizarre" is credited only to the former. Not surprisingly, it's about sex, although it's less raunchy than their earlier collaboration, the "Let's Go Crazy" B-side "Erotic City." But still, pretty damn hot. And Nigerian-born Brit Sade Adu (if you don't know how to pronounce her first name by now, I'm going to make you look it up. Sorry.) had her second Top 5 smash in America with a song about a lover who makes her feel like "every day is Christmas, and every night New Year's Eve." Her voice is just so seductive and timeless. Maybe that's why she can still sell a ton of records on the rare occasion that she puts a CD out: Her last three studio albums came out in 1992, 2000, and 2010. All of them reached the U.S. Top 5 and went platinum.
Tomorrow: the concrete speaks, an Ocean roars, and a dying community is mourned.
40 - "King for a Day," The Thompson Twins
39 - "He'll Never Love You (Like I Do)," Freddie Jackson
38 - "Secret Lovers," Atlantic Starr
37 - "Digital Display," Ready for the World
36 - "Broken Wings," Mr. Mister
35 - "Everybody Dance," Ta Mara and the Seen
34 - "Tarzan Boy," Baltimora
33 - "Sex as a Weapon," Pat Benatar
32 - "The Sun Always Shines on TV," A-ha
31 - "Everything in My Heart," Corey Hart
We begin with pop bands. England's Thompson Twins had their final American Top Ten with this bubbly-yet-dull declaration that "love is all we need to get us through." That's a nice sentiment and all, but with 24 hours of regal power, I'd like to think I'd accoplish more than these three to. Mr. Mister are back with their breakthroug hit about overcoming adversity and "learn(ing) to fly again." I like the song, but not as much as I hate that Train song that namechecks them. That's awful. Baltimora, four Italians and a Northern Irishman, had their biggest hit with this Europop nugget about a nature boy inviting a prospective lover to join him in the jungle. It's pretty catchy, and using the famous Tarzan cry as a hook was a minor act of genius. And Norway's A-ha had their second and final American hit with this dramatic synth-pop rollercoaster that asks someone to "give all your love to me." What that has to do with the sun shining on television, I'm not sure, but that's just an example of what I love about Scandanavian pop bands who write English lyrics. A lot of them don't make sense, but then again, they kind of do. I don't know how to explain it. But from ABBA to Ace of Base to A-ha to Roxette, it's a quality that I find strangely charming.
Good chunk of R&B/soul/dance in here. Freddie Jackson had the third of his four pop Top 40s with this unremarkable lite-funker. Not sticky at all. New York group Atlantic Starr are here with their contribution to the adultery-soul genre that peaked in the 70s with classics like "Me and Mrs. Jones" and "If Loving You is Wrong, I Don't Want to Be Right." By comparison, their offering is limp and lacks lustful urgency. But maybe the fact that it had been a while since one of these charted was enough, because it got to #3. Ready for the World followed up their horndog-funk classic "Oh Sheila" with this stange little number in which they imagine that a woman's measurements are being projected in neon lights. Or something. It's a bizarre combination of references to numbers, technology, and sex. It doesn't really make sense, but I still think it's almost as good as "Oh Sheila." And Ta Mara and the Seen return with their okay boogie call. I think I remember it from when it was out, but I could have been very happy not being reminded of it.
We'll finish this section with two solo artists. Pat Benatar is back from last time, still pleading for her man not to manipulate her with the promise of carnal pleasure. Be strong, Patricia. And Corey Hart is here with the meh power ballad that was the third American hit from Boy in the Box his only platinum album in the States. It went diamond in Canada, meaning it sold ten times platinum up here. I have no explanation or defense for that.
30 - "Silent Running," Mike + The Mechanics
29 - "Sara," Starship
28 - "Separate Lives," Phil Collins and Marilyn Martin
27 - "Face the Face," Pete Townshend
26 - "A Love Bizarre," Sheila E.
25 - "Life in a Northern Town," The Dream Academy
24 - "You're a Friend of Mine," Clarence Clemons and Jackson Browne
23 - "Living in America," James Brown
22 - "The Sweetest Taboo," Sade
21 - "Kyrie," Mr. Mister
Again, bands have a strong presence. In 1985, Genesis guitarist Mike Rutherford formed a side project with, among others, singers Paul Carrack and Paul Young. On the band's first single, Carrack plays the role of a man who has fled Earth and is travelling in space, trying to get a message to his family back on his home planet, which is being ravaged by some sort of dystopian war. He tells them who they can and cannot trust, where the gun is hidden in the house, and tells his wife to "teach the children quietly," so they can someday rise up against the tyranny that has taken over. Science fiction and the pop charts rarely mix ("In the Year 2525" is the only other example that comes to mind), but this managed to climb all the way to #6. And now it adds another accomplishment: Uneasy Rider winner. Starship followed up the cheese-rock of "We Built This City" with this horrible, horrible ballad that might be even worse than the most terrible of Jefferson Starship's 70s mushlumps. Sadly, it became their second straight #1. But for me, any time is a good time to say goodbye to this song. English folk-rock trio The Dream Academy had their first and biggest hit with this gentle tale of a man who comes to a small town "like Sinatra in a younger day," tells the gathered townsfolk about the winter of 1963, especially "John F. Kennedy and the Beatles." then takes the train out of town. Not much of a story, but as a song, it works as an ethereal evocation of time and place. And Mr. Mister show up a second time with their "Broken Wings" follow-up, a song that repurposes the ancient Greek Christian prayer "Kyrie, eleison" (Lord, have mercy) as the chorus hook to a song about the journey that is life. It's all deep-sounding, but it just doesn't quite connect the way "Broken Wings," does with me. But it must have with other people, because it became their second straight Number One."
Two duets in this group. Phil Collins and Marilyn Martin return yet again with this ballad that gets less impressive every time I hear it. And Clarence Clemons and Jackson Browne are still friends. I miss Clarence. I hope he's gotten his wings by now.
The two male solo artists in this bunch had both been making hits for over 20 years at this time. Who guitarist Pete Townshend had his second and last American solo pop hit with this stomping rocker. I'm not really sure what the lyrics mean. Most of them involve variations of "We've gotta _______ the _______s." And then in the middle of the awesome horns-and-harmonica instrumental break, he shouts, "New York, Chicago!...London and Glasgow!" Whatever. It's fantastic. And James Brown returned to the pop charts after a 12-year absence with this funky throwback that celebrates the U.S.A., from its highways to its factories, its radio stations to its diners. And of course, there's a shoutout to several cities, but even if that's a bit predictable, it works as a callback to his classic "Night Train." It's a pretty damn fine postscript to his pop-chart legacy. It didn't work out so well for Apollo Creed in Rocky IV, though.
The second half closes with two solo women, sort of. Although Sheila E. and Prince share lead vocals on it, "A Love Bizarre" is credited only to the former. Not surprisingly, it's about sex, although it's less raunchy than their earlier collaboration, the "Let's Go Crazy" B-side "Erotic City." But still, pretty damn hot. And Nigerian-born Brit Sade Adu (if you don't know how to pronounce her first name by now, I'm going to make you look it up. Sorry.) had her second Top 5 smash in America with a song about a lover who makes her feel like "every day is Christmas, and every night New Year's Eve." Her voice is just so seductive and timeless. Maybe that's why she can still sell a ton of records on the rare occasion that she puts a CD out: Her last three studio albums came out in 1992, 2000, and 2010. All of them reached the U.S. Top 5 and went platinum.
Tomorrow: the concrete speaks, an Ocean roars, and a dying community is mourned.
Monday, January 16, 2012
January 14, 1984 Part Two
First of all, I need to make a correction. "Pink Houses" was the second single released by "John Cougar Mellencamp." Thanks to Jimmy for pointing that out. I get the release order of that song and "Crumblin' Down" confused sometimes.
And before we wrap up 1984, let's have a little look at the chart from this week in 1974.
Steve Miller's "The Joker" was on top that week. The Top Ten included favorites such as "Smokin' in the Boys' Room," "Living for the City," and "Let Me Be There," plus a song we haven't yet encountered at #10, "Helen Wheels" by Paul McCartney and Wings. It's a throwaway rocker about Paul and Linda's Land Rover. Catchy, but trifling...Donny Osmond is at #15 with a double-sided single of covers, Elvis' "Are You Lonesome Tonight," and the side Casey played "When I Fall in Love," a standard that had been done by Doris Day, Nat King Cole, and The Lettermen, among others. Donny's voice had changed by this time. Nothing more to say...War's "Me and Baby Brother" is at #16. Funky reminiscences of family togetherness. Awwwww...More sweet soul form Al Green at #21. "Livin' for You" is probably middling for him, but 99% of other singers would kill to release something that good...Grand Funk are at 23 with "Walk Like a Man," which isn't a cover of the Four Seasons' hit. All I can say to that is, too bad...And with "Sister Mary Elephant" at 25, we've now encountered all three of Cheech and Chong's hit comedy singles, so "SHADDUP!" Thank you...Country legend Merle Haggard had his biggest pop hit with the heartbreaking "If We Make it Through December," a weepie about hard times during the holidays that we find this week at #32...Paul Simon didn't get any higher than 35 with "American Tune," but his song about the stuggles and triumphs of the American experience has become one of his more enduring numbers...Isaac Hayes' "Joy, Part 1," this week's 36, finds the man behind the theme from Shaft in the sex-soul genre that Barry White would perfect. But Isaac's effort is certainly worthy and effective...And the Temptations had a message for the uptight people of the world at #38, "Let Your Hair Down." I would, but I don't really have enough hair to make it worth my while...And this week, I shine my special spotlight on...
34 - "Painted Ladies," Ian Thomas
Like yours truly, Ian was born in Hamilton. He was a staple on Canadian radio for most of my childhood, and a couple of his songs would become U.S. hits for other artists: "Hold On" (Santana) and "The Runner" (Manfred Mann's Earth Band). But his only Stateside hit as an artist was this bouncy popper about a country boy whose venture into the big city doesn't go that well. For all his bluster to the family back home about "painted ladies and a bottle of wine," he is also forced to admit that "they took my money like I knew they would," and that he wants to come home. The keyboard (I think) riff that powers this song is infectious, and honestly, I think it deserved to be a bigger hit. But he did have one more brief moment in the U.S. spotlight, as he was a musical guest on an episode of SCTV How'd he swing that? By being the brother of Dave "Doug McKenzie" Thomas, of course.
Okay, now let's wrap up 1984.
20 - "I Still Can't Get Over Loving You," Ray Parker, Jr.
19 - "Major Tom (Coming Home)," Peter Schilling
18 - "Read 'em and Weep," Barry Manilow
17 - "That's All," Genesis
16 - "The Curly Shuffle," Jump 'N the Saddle
The second half opens with Ray Parker, Jr.'s final pre-"Ghostbusters" hit, a slow-burning midtmepo synth ballad about Ray's inability to accept not being with his old lover, to the point where he starts stalking her and even starts to sound threatening. This song was clearly inspired by "Every Breath You Take," and just to make sure that's obvious, Ray includes the line, "Every breath you take, I'll be watching you." The Police didn't sue him, though. Ray wouldn't be so lucky later.
German Peter Schilling had his only American hit with a New Wave retelling of a story strikingly similar to that of David Bowie's "Space Oddity:" An astronaut named Major Tom goes into space, then there's some sort of accident and Ground Control loses contact with him, and he seems doomed. But while the man in "Space Oddity" seems resigned to his fate, Schilling's Major Tom ends the song seemingly determined that even though everyone on Earth presumes him dead, he will somehow make it back home. Not a necessary song by any means, but decent. And I hate to admit it, but this was the "Major Tom" song I heard first.
Next is a landmark moment: the final Top 40 hit for Barry Manilow. And what better way for him to go out than to cover a tune by someone who was just as much of a master of epic pop balladry, Jim Steinman. It's a typically bombastic song, originally recorded by Meat Loaf, that conveys heartbreak using metaphors about actors in a play and guns with blank bullets. Not one of Steinman's better songs, and while Barry does the best he can, not having Jimmy there to produce and oversee things definitely dulls the impact. Still, a nice way to end the Manilow run.
Then it's Genesis with their first Top Ten hit in America, a simple pop song about hanging on to love through the rough patches. This song, one could argue, was the template for the many chart smashes on both Phil Collins' No Jacket Required and Genesis' Invisible Touch. However, the Genesis single that immediately followed this one was the frankly embarrassing "Illegal Alien," which featured Phil Collins singing in a Mexican accent. It missed the Top 40, but the video got a lot of play, so there were plenty of witnesses to that particular humiliation.
Rounding out this section are Chicago's Jump 'N the Saddle, a group whose music fell into the country/jazz hybrid sound "Western Swing." Not exactly the most commercial style in 1984, yet the group did manage a pop hit with this song about the legendary film comedy trio The Three Stooges, and in particular Curly Howard, whose many signature catchphrases and reaction sounds are imitated throughout the song. Novelty songs rarely lead to long runs in the national spotlight, and this was no exception. But the song endures, and it takes home this week's Uneasy Rider. What, you think it should have gone to "Major Tom?" Oh, a wise guy, eh?
15 - "Love is a Battlefield," Pat Benatar
14 - "Uptown Girl," Billy Joel
13 - "Joanna," Kool and the Gang
12 - "Undercover of the Night," The Rolling Stones
11 - "All Night Long (All Night)," Lionel Richie
This group is led off by Pat Benatar, returning from our last visit to this time frame with her hit about being young, strong, and never wrong. We've all been there. And most of us are glad we got past it.
Billy Joel returns, positioning himself as a "backstreet guy" trying to win the heart of a rich girl living in a "white bread world." I didn't believe him, but I guess Christie Brinkley did, so good for him.
Next are Kool and the Gang with a love song. For some reason, Kool and the Gang ballads bore the crap out of me. That's all I have to say.
Then it's the Stones with what might be their last really good single, a rhythmic rocker that seems to be about corruption and depravity in an unspecified Latin American country, with lyrics about politcal dissidents being kidnapped and tortured, militias roaming the streets, and prostitutes "done up in lace, done up in rubber." Good n' gritty.
Finishing this bunch is Lionel Richie's #1 party jam. This is probably his best solo single. Just good fun.
Into the valley of death rode the Top Ten...
10 - "Running with the Night," Lionel Richie
The Richieman's follow-up to "All Night Long" was this mild synth-funker about a couple's adventures in nightlife. Not one of his more memorable ones, but all right.
9 - "Karma Chameleon," Culture Club
The one and only American #1 for George and the boys was this almost bluesy pop classic about saying what you mean and standing up for what you believe in, because not doing so can lead to spiritual payback. Catchy as all hell, and the Mississippi Riverboat-set video is one of the decade's iconic clips. This really was their peak.
8 - "I Guess That's Why They Call It the Blues," Elton John
Sir Elton returned to the American Top Ten after three-and-a-half years with this cool midtempo number about missing someone. Stevie Wonder contributed a harmonica solo, which is always welcome. One of his best 80s moments.
7 - "Break My Stride," Matthew Wilder
The biggest hit for the man born Matthew Weiner was this reggaeish synth-pop earworm about staying the course and focusing on a goal. And about dreams involving doing laundry in China. The two go hand in hand, don't they?
6 - "Talking in Your Sleep," The Romantics
These Detroit New Wavers had their biggest chart hit by far with this dreamy dance-rocker about eavesdropping on a lovers nocturnal monologues. But in spite of its success, it's probably been overshadowed in most people's thoughts by 1980's "What I Like About You," which didn't even make the Top 40. That's how it goes sometimes.
5 - "Twist of Fate," Olivia Newton-John
Pulsing synth-rock from Two of a Kind, the movie that reunited ONJ with Grease co-star John Travolta. In it, the two play bank robbers who double-cross each other and then fall in love, not knowing that they have to change their criminal ways or God will send another Great Flood to Earth. Yes, you read that right. The song's okay, but that movie sounds like crazy cheese. I should see it sometime.
4 - "Union of the Snake," Duran Duran
Double D's fourth American hit. The lyrics are inscrutable, but Simon Le Bon once said in an interview that it was about Tantric sex. That sounds about right, so I'll go with that.
3 - "Say It Isn't So," Daryl Hall and John Oates
More Hall and Oates. This time, they're here with some typical lite-funk about hoping a relationshp isn't over. Not one of their more distinct hits.
2 - "Owner of a Lonely Heart," Yes
The progressive rock giants of the 70s went in a more poppy direction on the 90125 LP, and they were immediately rewarded with their first and only American #1 single. It's jagged-yet-accessible pop rock about moving on and getting out in the world in spite of the risks. A sellout, perhaps, but a pretty damn good one.
And topping the charts in the second week of the year George Orwell said we'd all be ruled by Big Brother was...
1 - "Say Say Say," Paul McCartney and Michael Jackson
The Mac and Jack Connection spent the last of their six weeks on top with this tune about the ups and downs of love. At least they seem animated here, unlike on the coma-inducing "The Girl is Mine."
The NotCaseys were Duran Duran's "New Moon on Monday," Huey Lewis and the News' "I Want a New Drug," Nena's "99 Red Balloons," and Van Halen's "Jump." And there were two Long Distance Dedications. An American woman in Germany dedicated the Eagles' "Best of My Love," to her oft-absent soldier husband, and a man sent out Journey's "Still They Ride," to the best friend who seemed kind of down about the two having to go their separate ways to live the rest of their lives.
And we're out.
And before we wrap up 1984, let's have a little look at the chart from this week in 1974.
Steve Miller's "The Joker" was on top that week. The Top Ten included favorites such as "Smokin' in the Boys' Room," "Living for the City," and "Let Me Be There," plus a song we haven't yet encountered at #10, "Helen Wheels" by Paul McCartney and Wings. It's a throwaway rocker about Paul and Linda's Land Rover. Catchy, but trifling...Donny Osmond is at #15 with a double-sided single of covers, Elvis' "Are You Lonesome Tonight," and the side Casey played "When I Fall in Love," a standard that had been done by Doris Day, Nat King Cole, and The Lettermen, among others. Donny's voice had changed by this time. Nothing more to say...War's "Me and Baby Brother" is at #16. Funky reminiscences of family togetherness. Awwwww...More sweet soul form Al Green at #21. "Livin' for You" is probably middling for him, but 99% of other singers would kill to release something that good...Grand Funk are at 23 with "Walk Like a Man," which isn't a cover of the Four Seasons' hit. All I can say to that is, too bad...And with "Sister Mary Elephant" at 25, we've now encountered all three of Cheech and Chong's hit comedy singles, so "SHADDUP!" Thank you...Country legend Merle Haggard had his biggest pop hit with the heartbreaking "If We Make it Through December," a weepie about hard times during the holidays that we find this week at #32...Paul Simon didn't get any higher than 35 with "American Tune," but his song about the stuggles and triumphs of the American experience has become one of his more enduring numbers...Isaac Hayes' "Joy, Part 1," this week's 36, finds the man behind the theme from Shaft in the sex-soul genre that Barry White would perfect. But Isaac's effort is certainly worthy and effective...And the Temptations had a message for the uptight people of the world at #38, "Let Your Hair Down." I would, but I don't really have enough hair to make it worth my while...And this week, I shine my special spotlight on...
34 - "Painted Ladies," Ian Thomas
Like yours truly, Ian was born in Hamilton. He was a staple on Canadian radio for most of my childhood, and a couple of his songs would become U.S. hits for other artists: "Hold On" (Santana) and "The Runner" (Manfred Mann's Earth Band). But his only Stateside hit as an artist was this bouncy popper about a country boy whose venture into the big city doesn't go that well. For all his bluster to the family back home about "painted ladies and a bottle of wine," he is also forced to admit that "they took my money like I knew they would," and that he wants to come home. The keyboard (I think) riff that powers this song is infectious, and honestly, I think it deserved to be a bigger hit. But he did have one more brief moment in the U.S. spotlight, as he was a musical guest on an episode of SCTV How'd he swing that? By being the brother of Dave "Doug McKenzie" Thomas, of course.
Okay, now let's wrap up 1984.
20 - "I Still Can't Get Over Loving You," Ray Parker, Jr.
19 - "Major Tom (Coming Home)," Peter Schilling
18 - "Read 'em and Weep," Barry Manilow
17 - "That's All," Genesis
16 - "The Curly Shuffle," Jump 'N the Saddle
The second half opens with Ray Parker, Jr.'s final pre-"Ghostbusters" hit, a slow-burning midtmepo synth ballad about Ray's inability to accept not being with his old lover, to the point where he starts stalking her and even starts to sound threatening. This song was clearly inspired by "Every Breath You Take," and just to make sure that's obvious, Ray includes the line, "Every breath you take, I'll be watching you." The Police didn't sue him, though. Ray wouldn't be so lucky later.
German Peter Schilling had his only American hit with a New Wave retelling of a story strikingly similar to that of David Bowie's "Space Oddity:" An astronaut named Major Tom goes into space, then there's some sort of accident and Ground Control loses contact with him, and he seems doomed. But while the man in "Space Oddity" seems resigned to his fate, Schilling's Major Tom ends the song seemingly determined that even though everyone on Earth presumes him dead, he will somehow make it back home. Not a necessary song by any means, but decent. And I hate to admit it, but this was the "Major Tom" song I heard first.
Next is a landmark moment: the final Top 40 hit for Barry Manilow. And what better way for him to go out than to cover a tune by someone who was just as much of a master of epic pop balladry, Jim Steinman. It's a typically bombastic song, originally recorded by Meat Loaf, that conveys heartbreak using metaphors about actors in a play and guns with blank bullets. Not one of Steinman's better songs, and while Barry does the best he can, not having Jimmy there to produce and oversee things definitely dulls the impact. Still, a nice way to end the Manilow run.
Then it's Genesis with their first Top Ten hit in America, a simple pop song about hanging on to love through the rough patches. This song, one could argue, was the template for the many chart smashes on both Phil Collins' No Jacket Required and Genesis' Invisible Touch. However, the Genesis single that immediately followed this one was the frankly embarrassing "Illegal Alien," which featured Phil Collins singing in a Mexican accent. It missed the Top 40, but the video got a lot of play, so there were plenty of witnesses to that particular humiliation.
Rounding out this section are Chicago's Jump 'N the Saddle, a group whose music fell into the country/jazz hybrid sound "Western Swing." Not exactly the most commercial style in 1984, yet the group did manage a pop hit with this song about the legendary film comedy trio The Three Stooges, and in particular Curly Howard, whose many signature catchphrases and reaction sounds are imitated throughout the song. Novelty songs rarely lead to long runs in the national spotlight, and this was no exception. But the song endures, and it takes home this week's Uneasy Rider. What, you think it should have gone to "Major Tom?" Oh, a wise guy, eh?
15 - "Love is a Battlefield," Pat Benatar
14 - "Uptown Girl," Billy Joel
13 - "Joanna," Kool and the Gang
12 - "Undercover of the Night," The Rolling Stones
11 - "All Night Long (All Night)," Lionel Richie
This group is led off by Pat Benatar, returning from our last visit to this time frame with her hit about being young, strong, and never wrong. We've all been there. And most of us are glad we got past it.
Billy Joel returns, positioning himself as a "backstreet guy" trying to win the heart of a rich girl living in a "white bread world." I didn't believe him, but I guess Christie Brinkley did, so good for him.
Next are Kool and the Gang with a love song. For some reason, Kool and the Gang ballads bore the crap out of me. That's all I have to say.
Then it's the Stones with what might be their last really good single, a rhythmic rocker that seems to be about corruption and depravity in an unspecified Latin American country, with lyrics about politcal dissidents being kidnapped and tortured, militias roaming the streets, and prostitutes "done up in lace, done up in rubber." Good n' gritty.
Finishing this bunch is Lionel Richie's #1 party jam. This is probably his best solo single. Just good fun.
Into the valley of death rode the Top Ten...
10 - "Running with the Night," Lionel Richie
The Richieman's follow-up to "All Night Long" was this mild synth-funker about a couple's adventures in nightlife. Not one of his more memorable ones, but all right.
9 - "Karma Chameleon," Culture Club
The one and only American #1 for George and the boys was this almost bluesy pop classic about saying what you mean and standing up for what you believe in, because not doing so can lead to spiritual payback. Catchy as all hell, and the Mississippi Riverboat-set video is one of the decade's iconic clips. This really was their peak.
8 - "I Guess That's Why They Call It the Blues," Elton John
Sir Elton returned to the American Top Ten after three-and-a-half years with this cool midtempo number about missing someone. Stevie Wonder contributed a harmonica solo, which is always welcome. One of his best 80s moments.
7 - "Break My Stride," Matthew Wilder
The biggest hit for the man born Matthew Weiner was this reggaeish synth-pop earworm about staying the course and focusing on a goal. And about dreams involving doing laundry in China. The two go hand in hand, don't they?
6 - "Talking in Your Sleep," The Romantics
These Detroit New Wavers had their biggest chart hit by far with this dreamy dance-rocker about eavesdropping on a lovers nocturnal monologues. But in spite of its success, it's probably been overshadowed in most people's thoughts by 1980's "What I Like About You," which didn't even make the Top 40. That's how it goes sometimes.
5 - "Twist of Fate," Olivia Newton-John
Pulsing synth-rock from Two of a Kind, the movie that reunited ONJ with Grease co-star John Travolta. In it, the two play bank robbers who double-cross each other and then fall in love, not knowing that they have to change their criminal ways or God will send another Great Flood to Earth. Yes, you read that right. The song's okay, but that movie sounds like crazy cheese. I should see it sometime.
4 - "Union of the Snake," Duran Duran
Double D's fourth American hit. The lyrics are inscrutable, but Simon Le Bon once said in an interview that it was about Tantric sex. That sounds about right, so I'll go with that.
3 - "Say It Isn't So," Daryl Hall and John Oates
More Hall and Oates. This time, they're here with some typical lite-funk about hoping a relationshp isn't over. Not one of their more distinct hits.
2 - "Owner of a Lonely Heart," Yes
The progressive rock giants of the 70s went in a more poppy direction on the 90125 LP, and they were immediately rewarded with their first and only American #1 single. It's jagged-yet-accessible pop rock about moving on and getting out in the world in spite of the risks. A sellout, perhaps, but a pretty damn good one.
And topping the charts in the second week of the year George Orwell said we'd all be ruled by Big Brother was...
1 - "Say Say Say," Paul McCartney and Michael Jackson
The Mac and Jack Connection spent the last of their six weeks on top with this tune about the ups and downs of love. At least they seem animated here, unlike on the coma-inducing "The Girl is Mine."
The NotCaseys were Duran Duran's "New Moon on Monday," Huey Lewis and the News' "I Want a New Drug," Nena's "99 Red Balloons," and Van Halen's "Jump." And there were two Long Distance Dedications. An American woman in Germany dedicated the Eagles' "Best of My Love," to her oft-absent soldier husband, and a man sent out Journey's "Still They Ride," to the best friend who seemed kind of down about the two having to go their separate ways to live the rest of their lives.
And we're out.
Friday, January 13, 2012
January 14, 1984 Part One
Somewhat fittingly, we follow up the best of 1983 with a chart from early 1984. And for the record, there are only two songs that the two lists have in common.
40 - "Send Me an Angel," Real Life
39 - "In the Mood," Robert Plant
38 - "Remember the Nights," The Motels
37 - "Synchronicity II," The Police
36 - "Baby I Lied," Deborah Allen
35 - "Yah Mo B There," James Ingram with Michael McDonald
34 - "Middle of the Road," The Pretenders
33 - "Cum on Feel the Noize," Quiet Riot
32 - "The Sign of Fire," The Fixx
31 - "So Bad," Paul McCartney
We begin with bands from outside the United States. Melbourne, Australia New Wavers Real Life had their biggest hit about asking for heavenly assistance in order to be "lucky in love." The synths and the female backing wails are kind of cool, and I think it was in this video where I first saw those octagon-shaped digital drums that so many bands were using for about a three-year period. And of course, they returned to the charts six years later with a remix of this same song. I like the original better. England's The Police are here with the co-title track to their biggest album. It's a dark rocker about a man's suburban nightmare of a life, and how it's slowly moving him towards his breaking point. Probably the most ambitious and interesting of their hits. The mostly British (except for Akron, Ohio-born Chrissie Hynde) Pretenders are present with this crunching jam about seeing the changes in the world and oneself, and how there's only so much one can do to change things and live a life. I think that's it. Great song, regardless. And England's The Fixx had their third American hit with a song about fire and trying to talk to someone on the phone. Or something. I can't figure it out, and the song isn't nearly good enough to make me want to.
Two ex-singers of huge bands are in this section. Robert Plant had his second solo Top 40 with this song about craving something. But it's music that he's in the mood for, not what you were thinking of, you dirty people. Phil Collins drummed on it. Okay song, nothing great. And Sir Paul followed up "Say Say Say" with this awful ballad about really loving someone. His falsetto on this is nearly unlistenable. The whole thing is just so...what's the word I'm looking for?
Then there are the American bands. The Motels are here with their third of four Top 40 hits. It's about looking back on past romances, not unlike previous hit "Suddenly Last Summer." Nowhere near as good, though. Just radio filler. And Quiet Riot are back again covering Slade. I have no more to say about that than I did the first two times.
The other two songs in this group are a country hit and a pop duet. Memphis singer Deborah Allen had her only pop hit with a song in which she tells the man she left that she wasn't being truthful when she said she could live without him. It's more of a power ballad than a traditional country song, but that has seemed to work in that radio format to varying degrees over the past few decades. It's all right. And James Ingram teamed up with ex-Doobie Bro Michael McDonald on this bouncy tune that seems to endorse praying, what with its opening mention of "Heavenly Father," and the fact that the "Yah" who will "mo b there" if you "reach out and call His name." is probably short for "Yahweh" or "Jehovah." I don't know why these two felt the need to straddle the line between inspirational and nonsensical, but they did. I mo think this song is "meh."
30 - "Stay With Me Tonight," Jeffrey Osborne
29 - "Gold," Spandau Ballet
28 - "An Innocent Man," Billy Joel
27 - "Church of the Poison Mind," Culture Club
26 - "Let the Music Play," Shannon
25 - "Holiday," Madonna
24 - "Time Will Reveal," DeBarge
23 - "If I'd Been the One," .38 Special
22 - "Pink Houses," John Cougar Mellencamp
21 - "Think of Laura," Christopher Cross
We'll begin this bunch by looking at a couple of R&B hits. Jeffrey Osborne made another of his several small dents on the pop chart with this plea for his date to sleep over. Actually, it might be the best of the bunch. He does a good job conveying sexual urgency. This doesn't blend in to the background like much of his other stuff. And the six DeBarge siblings who together formed one of Motown's biggest 80s groups had their third pop hit with this pretty ballad about how the passage of the hours and days will make clear how powerful the love between a couple is. It's not bad. I'd rather hear it than "Rhythm of the Night."
There are three other bands in this section. England's Spandau Ballet had their second of only three major U.S. hits with this poppy number about supporting and believing in the person you're in love with. I think. Regardless, I like the simile "Love is like a high prison wall." Cutlure Club continued the run of hits that began in '83 with this rollicking Motownesque bumper that is apparently about certain religions' negative attitudes toward homosexuality. Can't think of any offhand, but I guess there are one or two. Looking back, it's amazing how much gay subject matter Boy George managed to get on the radio back then. And it's not like he camouflaged them with his wardrobe. He's probably braver than he gets credit for. And Florida's .38 Special are here with a "put yourself in my shoes" rocker, directed to a departed lover. Catchy chorus, okay song. But my favorite of theirs will always be "Caught Up in You."
There are also three more male solo singers. Billy Joel is here with the title track to the genre-hopping album that produced the Motown riff "Tell Her About It," the Four Seasons-biting "Uptown Girl," and the doo-wop tribute "The Longest Time." This one, a ballad about being a shoulder for someone who's been hurt in the past to cry on, is apparently an attempt at the style of Ben E. King and The Drifters. I guess I hear that a little. A decent song nonetheless. For the first time, John Cougar added his real last name to his stage name on a single, and that single happened to be this midtempo rocker about the dreams that people have, and how they get through life regardless of whether or not they achieve those dreams. I don't think it's his best song, but it may be his definitive one. And Chris Cross had his last Top 40 hit with this song that was originally written about a college girl who was killed by a stray bullet, but became a hit after General Hospital began playing it upon the return from the presumed dead of Laura Spencer. Man, I've had to look up General Hospital a lot while doing this, between the songs that have been used on the show, the song written about the show, and Rick Springfield. And I haven't even run across that Jack Wagner song yet.
I'll close the first have with a couple of dance-floor classics. Shannon Brenda Greene only made the pop charts once, but that one was this fantastically enduring slab of electro-funk about finding love, losing love, and finding it again, all in the course of dancing to one song. I'm pretty certain that this one would fill any dance floor in the world in an instant. And Madonna Louise Ciccone made her first impression on the American pop landscape with this exuberant burst of disco fun about the need for "one day to get together, to release the pressure." Great stuff, but I doubt that many people could have scene a massive, nearly-three-decade-old career coming based on this bit of fluff. I do hope she does it at the Super Bowl, though.
Tomorrow: a song based on another song, a lizard that reaps what he sows, and a song to poke eyes and throw pies by.
40 - "Send Me an Angel," Real Life
39 - "In the Mood," Robert Plant
38 - "Remember the Nights," The Motels
37 - "Synchronicity II," The Police
36 - "Baby I Lied," Deborah Allen
35 - "Yah Mo B There," James Ingram with Michael McDonald
34 - "Middle of the Road," The Pretenders
33 - "Cum on Feel the Noize," Quiet Riot
32 - "The Sign of Fire," The Fixx
31 - "So Bad," Paul McCartney
We begin with bands from outside the United States. Melbourne, Australia New Wavers Real Life had their biggest hit about asking for heavenly assistance in order to be "lucky in love." The synths and the female backing wails are kind of cool, and I think it was in this video where I first saw those octagon-shaped digital drums that so many bands were using for about a three-year period. And of course, they returned to the charts six years later with a remix of this same song. I like the original better. England's The Police are here with the co-title track to their biggest album. It's a dark rocker about a man's suburban nightmare of a life, and how it's slowly moving him towards his breaking point. Probably the most ambitious and interesting of their hits. The mostly British (except for Akron, Ohio-born Chrissie Hynde) Pretenders are present with this crunching jam about seeing the changes in the world and oneself, and how there's only so much one can do to change things and live a life. I think that's it. Great song, regardless. And England's The Fixx had their third American hit with a song about fire and trying to talk to someone on the phone. Or something. I can't figure it out, and the song isn't nearly good enough to make me want to.
Two ex-singers of huge bands are in this section. Robert Plant had his second solo Top 40 with this song about craving something. But it's music that he's in the mood for, not what you were thinking of, you dirty people. Phil Collins drummed on it. Okay song, nothing great. And Sir Paul followed up "Say Say Say" with this awful ballad about really loving someone. His falsetto on this is nearly unlistenable. The whole thing is just so...what's the word I'm looking for?
Then there are the American bands. The Motels are here with their third of four Top 40 hits. It's about looking back on past romances, not unlike previous hit "Suddenly Last Summer." Nowhere near as good, though. Just radio filler. And Quiet Riot are back again covering Slade. I have no more to say about that than I did the first two times.
The other two songs in this group are a country hit and a pop duet. Memphis singer Deborah Allen had her only pop hit with a song in which she tells the man she left that she wasn't being truthful when she said she could live without him. It's more of a power ballad than a traditional country song, but that has seemed to work in that radio format to varying degrees over the past few decades. It's all right. And James Ingram teamed up with ex-Doobie Bro Michael McDonald on this bouncy tune that seems to endorse praying, what with its opening mention of "Heavenly Father," and the fact that the "Yah" who will "mo b there" if you "reach out and call His name." is probably short for "Yahweh" or "Jehovah." I don't know why these two felt the need to straddle the line between inspirational and nonsensical, but they did. I mo think this song is "meh."
30 - "Stay With Me Tonight," Jeffrey Osborne
29 - "Gold," Spandau Ballet
28 - "An Innocent Man," Billy Joel
27 - "Church of the Poison Mind," Culture Club
26 - "Let the Music Play," Shannon
25 - "Holiday," Madonna
24 - "Time Will Reveal," DeBarge
23 - "If I'd Been the One," .38 Special
22 - "Pink Houses," John Cougar Mellencamp
21 - "Think of Laura," Christopher Cross
We'll begin this bunch by looking at a couple of R&B hits. Jeffrey Osborne made another of his several small dents on the pop chart with this plea for his date to sleep over. Actually, it might be the best of the bunch. He does a good job conveying sexual urgency. This doesn't blend in to the background like much of his other stuff. And the six DeBarge siblings who together formed one of Motown's biggest 80s groups had their third pop hit with this pretty ballad about how the passage of the hours and days will make clear how powerful the love between a couple is. It's not bad. I'd rather hear it than "Rhythm of the Night."
There are three other bands in this section. England's Spandau Ballet had their second of only three major U.S. hits with this poppy number about supporting and believing in the person you're in love with. I think. Regardless, I like the simile "Love is like a high prison wall." Cutlure Club continued the run of hits that began in '83 with this rollicking Motownesque bumper that is apparently about certain religions' negative attitudes toward homosexuality. Can't think of any offhand, but I guess there are one or two. Looking back, it's amazing how much gay subject matter Boy George managed to get on the radio back then. And it's not like he camouflaged them with his wardrobe. He's probably braver than he gets credit for. And Florida's .38 Special are here with a "put yourself in my shoes" rocker, directed to a departed lover. Catchy chorus, okay song. But my favorite of theirs will always be "Caught Up in You."
There are also three more male solo singers. Billy Joel is here with the title track to the genre-hopping album that produced the Motown riff "Tell Her About It," the Four Seasons-biting "Uptown Girl," and the doo-wop tribute "The Longest Time." This one, a ballad about being a shoulder for someone who's been hurt in the past to cry on, is apparently an attempt at the style of Ben E. King and The Drifters. I guess I hear that a little. A decent song nonetheless. For the first time, John Cougar added his real last name to his stage name on a single, and that single happened to be this midtempo rocker about the dreams that people have, and how they get through life regardless of whether or not they achieve those dreams. I don't think it's his best song, but it may be his definitive one. And Chris Cross had his last Top 40 hit with this song that was originally written about a college girl who was killed by a stray bullet, but became a hit after General Hospital began playing it upon the return from the presumed dead of Laura Spencer. Man, I've had to look up General Hospital a lot while doing this, between the songs that have been used on the show, the song written about the show, and Rick Springfield. And I haven't even run across that Jack Wagner song yet.
I'll close the first have with a couple of dance-floor classics. Shannon Brenda Greene only made the pop charts once, but that one was this fantastically enduring slab of electro-funk about finding love, losing love, and finding it again, all in the course of dancing to one song. I'm pretty certain that this one would fill any dance floor in the world in an instant. And Madonna Louise Ciccone made her first impression on the American pop landscape with this exuberant burst of disco fun about the need for "one day to get together, to release the pressure." Great stuff, but I doubt that many people could have scene a massive, nearly-three-decade-old career coming based on this bit of fluff. I do hope she does it at the Super Bowl, though.
Tomorrow: a song based on another song, a lizard that reaps what he sows, and a song to poke eyes and throw pies by.
Sunday, January 8, 2012
The Top 100 of 1983: 50-1 Part Two.
Before we kick off the fourth quarter of this bowl game, let's have a quick look back at what was big in 1977. A very quick look. Marilyn McCoo and Billy Davis Jr. were on top with "You Don't Have to be a Star (To be in My Show)." Below it, a ton of stuff we've been over. There are only three songs I haven't touched on, all very minor hits. One's a hard rock ode to sex by Foghat, "Drivin' Wheel" at #36 Another is a soul ballad by Hall and Oates, "Do What You Want, Be What You Are," that didn't get any higher than this week's #39 ranking. Maybe it was the mention of Earth Shoes. Ant the other one was...
37 - "Keep Me Cryin'," Al Green
The soul legend's final Top 40 pop hit of the decade was this spirited soul number about how life just isn't making him happy. It's danceable, but it doesn't sop to disco. I'm glad Al went out like this, and I'm just as happy that he found joy again, even if it meant turning his back on secular music for a while.
Okay, time to finish off the biggest of '83.
25 - "Never Gonna Let You Go," Sergio Mendes
Bland pop ballad from the Brazilian who I know I saw several times on the Mike Douglas Show durning the 70s. Remember Mike Douglas? Anyway, this song is nothing.
24 - "The Girl is Mine," Michael Jackson and Paul McCartney
Macca and Jacko have the most polite fight over a woman ever recorded. Again, this was the world's first taste of Thriller. Don't that blow your mind?
23 - "Electric Avenue," Eddy Grant
One of the greatest funk songs to come out of Britain, as far as I'm concerned. It makes me want to rock...and then take it higher!
22 - "She Works Hard for the Money," Donna Summer
Probably the Disco Queen's final lasting hit single, so I'd better treat it right. And I will. A very good dance-pop portrayal of a woman doing what she must to make ends meet. All right.
21 - "Hungry Like the Wolf," Duran Duran
The American breakthrough for these Birmingham, England heartthrobs. An unstoppable pop rocker about animalistic sexual pursuit partly inspired by "Little Red Riding Hood." And the evocative jungle video, filmed in Sri Lanka, did a lot to sell both song and band. I'm pretty sure it was the first 45 (remember those?) I ever bought, and it remains my solid favorite of theirs to this day.
20 - "Sexual Healing," Marvin Gaye
Marvin's all-too-short return to the heights of pop. Filmmakers should start using this in the spots where they usually just rely on "Let's Get it On." Mix things up a little.
19 - "Making Love Out of Nothing at All," Air Supply
The Aussie sap duo's one shining moment, aided in no small part by opera-pop maestro Jim Steinman, whose "Go Big or Go Home" ethos usually lifts his clients to some of their greatest moments. He even did it for Celine freaking Dion, so you know he can do it for anybody.
18 - "You and I," Eddie Rabbitt and Crystal Gayle
Eddie had long hair for a male country singer, but it was practically a buzzcut compared to Crystal's legendary floor-length mane. The hair contrast is much more interesting than this meh love song.
17 - "Let's Dance," David Bowie
Bowie's second and last U.S. charttopper was this radio-ready funk-rocker from the album of the same name. A bit of a sellout, perhaps, but so smooth and catchy that it's hard to be too down on him. But as far as that LP goes, I do like "Modern Love" better.
16 - "Do You Really Want to Hurt Me," Culture Club
The biggest hit for the group named Billboard's "Top New Act of 1983" was this great soul ballad in which Boy George introduced himself as a genuine star. Love is never easy in Culture Club ballads, and there are almost always tears. But still, you just can't turn a song like this off.
15 - "Mickey," Toni Basil
At 39, Toni dusted off her 20-year old Las Vegas High cheerleading outfit, tweaked a song called "Kitty" from a 1979 album by the British band Racey, and turned it into one of the decade's most alternatately catch/annoying hits. And the "Mickey" that inspired the name change was none other that Mr. Dolens of The Monkees
14 - "Maniac," Michael Sembello
The second biggest Flashdance hit, which documented the movie's plot about a "Steeltown girl on a Saturday Night, looking for the fight of her life." Don't forget your leg warmers!
13 - "Sweet Dreams (Are Made of This)," Eurythmics
Icy cold deliciousness from Annie and Dave. Marilyn Manson tried to make this song even more disturbing with growling and dissonant guitars. Nice try, Brian, but the original is still much more haunting.
12 - "Shame on the Moon," Bob Seger and the Silver Bullet Band
The Styx of Detroit went to #2 with this song written by country vet Rodney Crowell. It's a cool little acoustic ballad about the hopes, fears and doubts of a man in love. I'm not much on Bob, but I have to admit, this is damn good.
11 - "Baby Come to Me," Patti Austin and James Ingram
This nice ballad was a flop upon its original release, but was revived when General Hospital used it to accompany the burgeoning romance between Luke and Holly. Where was Laura, you ask? Presumed dead. But you know how that goes in soaps. One thing I've been reminded of while doing this was that at one time, soap operas had a surprising amount of influence on the pop charts. Now, they're slowly but surely dying off. It's just a matter of whether GH or The Young and the Restless will be the last one left to turn out the lights.
And now, the ten tunes that mattered most to the most in 1983...
10 - "Islands in the Stream," Kenny Rogers and Dolly Parton
The Bee Gees again asserted their behind-the-scenes hitmaking prowess by presiding over this summmit meeting of the king and queen of country-pop that went all the way to the top of both charts. Not very country, but a craftsmanlike pop hit. Oh, and no jokes about Dolly face-up in the bathtub, please.
9 - "Gloria," Laura Branigan
The late Laura B.'s first and biggest, a tour de force of danceable drama about a party girl past her prime. This is her legacy, and a fine one at that.
8 - "Beat It," Michael Jackson
One of Thriller's crown jewels, an Eddie Van Halen-aided rocker about proving one's machismo that was promoted by a video in which Michael breaks up a knife fight between rival gangs armed only with a red zipper jacket and some sweet-ass dance moves. No way that should have worked, but hey, he's MJ.
7 - "All Night Long (All Night)," Lionel Richie
L-Rich's biggest hit of the year, and the first single from the album that launched him into the stratosphere, Can't Slow Down. Raise the roof, have some fun, and let the music play on play on play on.
6 - "Maneater," Daryl Hall and John Oates
Big hair, good song, can't lose. And no, I wasn't a regular viewer of Friday Night Lights. That phrase is all I know of it. Anyway, gotta love this slinky slut alert.
5 - "Total Eclipse of the Heart," Bonnie Tyler
More Steinman, this time proving that Bonnie's Welsh rasp was just as effective surrounded by bombastic rock balladry as it was by folk-pop. Just sit back and let it wash over you, Bright Eyes.
4 - "Down Under," Men at Work
To many outsiders, this should be Australia's national anthem. To many Aussies, it should be "Waltzing Matilda." In actuality, it's "Advance Australia Fair." And I must admit, that's probably as it should be.
3 - "Billie Jean," Michael Jackson
"The Girl is Mine," may have been first, but this is the song that not only launched Thriller into history, but also changed pop music as a whole. The video, with the tiger and the sidewalk that lights up as Michael dances on it, opened MTV up to black artists. His performance on the Motown 25 TV special introduced the world to the moonwalk. And the song, a thunderbolt of a dance track about what the kids these days call "baby mama drama," is just a master class in production, instrumentiation, melody and lyric. Yes, I've said before that I like "Don't Stop 'Til You Get Enough." And I do. But come on, or "chamone," as it were. This is genius. Nothing less.
2 - "Flashdance...What a Feeling," Irene Cara
Cara first hit #4 with the theme from Fame, then had a huge #1 with another movie theme. Later in '83, she would contribute "The Dream (Hold on to Your Dream)" to the soundtrack of the Mr. T comedy D.C. Cab. Sadly, that song would not complete a hat trick of cinematic smashes. But she did go Top Ten the next year with a song about break dancing, so that's nice.
And the song that was declared the biggest hit of all in 1983 was...
1 - "Every Breath You Take," The Police
Sting's stalker classic spent eight weeks at #1, dominating radios across the country throughout that summer. That was the same summer my father put an expansion on our house. Don't know why you needed to know that, but there it is. Anyway, good, iconic song, but probably not the best thing The Police ever did. I'm partial to "Walking on the Moon" myself.
The NotCaseys were "Say Say Say" by Paul McCartney and Michael Jackon, "Heart and Soul" by Huey Lewis and the News, "1999" by Prince, and "Rio" by Duran Duran.
Back next week with our first regular list of 2012.
37 - "Keep Me Cryin'," Al Green
The soul legend's final Top 40 pop hit of the decade was this spirited soul number about how life just isn't making him happy. It's danceable, but it doesn't sop to disco. I'm glad Al went out like this, and I'm just as happy that he found joy again, even if it meant turning his back on secular music for a while.
Okay, time to finish off the biggest of '83.
25 - "Never Gonna Let You Go," Sergio Mendes
Bland pop ballad from the Brazilian who I know I saw several times on the Mike Douglas Show durning the 70s. Remember Mike Douglas? Anyway, this song is nothing.
24 - "The Girl is Mine," Michael Jackson and Paul McCartney
Macca and Jacko have the most polite fight over a woman ever recorded. Again, this was the world's first taste of Thriller. Don't that blow your mind?
23 - "Electric Avenue," Eddy Grant
One of the greatest funk songs to come out of Britain, as far as I'm concerned. It makes me want to rock...and then take it higher!
22 - "She Works Hard for the Money," Donna Summer
Probably the Disco Queen's final lasting hit single, so I'd better treat it right. And I will. A very good dance-pop portrayal of a woman doing what she must to make ends meet. All right.
21 - "Hungry Like the Wolf," Duran Duran
The American breakthrough for these Birmingham, England heartthrobs. An unstoppable pop rocker about animalistic sexual pursuit partly inspired by "Little Red Riding Hood." And the evocative jungle video, filmed in Sri Lanka, did a lot to sell both song and band. I'm pretty sure it was the first 45 (remember those?) I ever bought, and it remains my solid favorite of theirs to this day.
20 - "Sexual Healing," Marvin Gaye
Marvin's all-too-short return to the heights of pop. Filmmakers should start using this in the spots where they usually just rely on "Let's Get it On." Mix things up a little.
19 - "Making Love Out of Nothing at All," Air Supply
The Aussie sap duo's one shining moment, aided in no small part by opera-pop maestro Jim Steinman, whose "Go Big or Go Home" ethos usually lifts his clients to some of their greatest moments. He even did it for Celine freaking Dion, so you know he can do it for anybody.
18 - "You and I," Eddie Rabbitt and Crystal Gayle
Eddie had long hair for a male country singer, but it was practically a buzzcut compared to Crystal's legendary floor-length mane. The hair contrast is much more interesting than this meh love song.
17 - "Let's Dance," David Bowie
Bowie's second and last U.S. charttopper was this radio-ready funk-rocker from the album of the same name. A bit of a sellout, perhaps, but so smooth and catchy that it's hard to be too down on him. But as far as that LP goes, I do like "Modern Love" better.
16 - "Do You Really Want to Hurt Me," Culture Club
The biggest hit for the group named Billboard's "Top New Act of 1983" was this great soul ballad in which Boy George introduced himself as a genuine star. Love is never easy in Culture Club ballads, and there are almost always tears. But still, you just can't turn a song like this off.
15 - "Mickey," Toni Basil
At 39, Toni dusted off her 20-year old Las Vegas High cheerleading outfit, tweaked a song called "Kitty" from a 1979 album by the British band Racey, and turned it into one of the decade's most alternatately catch/annoying hits. And the "Mickey" that inspired the name change was none other that Mr. Dolens of The Monkees
14 - "Maniac," Michael Sembello
The second biggest Flashdance hit, which documented the movie's plot about a "Steeltown girl on a Saturday Night, looking for the fight of her life." Don't forget your leg warmers!
13 - "Sweet Dreams (Are Made of This)," Eurythmics
Icy cold deliciousness from Annie and Dave. Marilyn Manson tried to make this song even more disturbing with growling and dissonant guitars. Nice try, Brian, but the original is still much more haunting.
12 - "Shame on the Moon," Bob Seger and the Silver Bullet Band
The Styx of Detroit went to #2 with this song written by country vet Rodney Crowell. It's a cool little acoustic ballad about the hopes, fears and doubts of a man in love. I'm not much on Bob, but I have to admit, this is damn good.
11 - "Baby Come to Me," Patti Austin and James Ingram
This nice ballad was a flop upon its original release, but was revived when General Hospital used it to accompany the burgeoning romance between Luke and Holly. Where was Laura, you ask? Presumed dead. But you know how that goes in soaps. One thing I've been reminded of while doing this was that at one time, soap operas had a surprising amount of influence on the pop charts. Now, they're slowly but surely dying off. It's just a matter of whether GH or The Young and the Restless will be the last one left to turn out the lights.
And now, the ten tunes that mattered most to the most in 1983...
10 - "Islands in the Stream," Kenny Rogers and Dolly Parton
The Bee Gees again asserted their behind-the-scenes hitmaking prowess by presiding over this summmit meeting of the king and queen of country-pop that went all the way to the top of both charts. Not very country, but a craftsmanlike pop hit. Oh, and no jokes about Dolly face-up in the bathtub, please.
9 - "Gloria," Laura Branigan
The late Laura B.'s first and biggest, a tour de force of danceable drama about a party girl past her prime. This is her legacy, and a fine one at that.
8 - "Beat It," Michael Jackson
One of Thriller's crown jewels, an Eddie Van Halen-aided rocker about proving one's machismo that was promoted by a video in which Michael breaks up a knife fight between rival gangs armed only with a red zipper jacket and some sweet-ass dance moves. No way that should have worked, but hey, he's MJ.
7 - "All Night Long (All Night)," Lionel Richie
L-Rich's biggest hit of the year, and the first single from the album that launched him into the stratosphere, Can't Slow Down. Raise the roof, have some fun, and let the music play on play on play on.
6 - "Maneater," Daryl Hall and John Oates
Big hair, good song, can't lose. And no, I wasn't a regular viewer of Friday Night Lights. That phrase is all I know of it. Anyway, gotta love this slinky slut alert.
5 - "Total Eclipse of the Heart," Bonnie Tyler
More Steinman, this time proving that Bonnie's Welsh rasp was just as effective surrounded by bombastic rock balladry as it was by folk-pop. Just sit back and let it wash over you, Bright Eyes.
4 - "Down Under," Men at Work
To many outsiders, this should be Australia's national anthem. To many Aussies, it should be "Waltzing Matilda." In actuality, it's "Advance Australia Fair." And I must admit, that's probably as it should be.
3 - "Billie Jean," Michael Jackson
"The Girl is Mine," may have been first, but this is the song that not only launched Thriller into history, but also changed pop music as a whole. The video, with the tiger and the sidewalk that lights up as Michael dances on it, opened MTV up to black artists. His performance on the Motown 25 TV special introduced the world to the moonwalk. And the song, a thunderbolt of a dance track about what the kids these days call "baby mama drama," is just a master class in production, instrumentiation, melody and lyric. Yes, I've said before that I like "Don't Stop 'Til You Get Enough." And I do. But come on, or "chamone," as it were. This is genius. Nothing less.
2 - "Flashdance...What a Feeling," Irene Cara
Cara first hit #4 with the theme from Fame, then had a huge #1 with another movie theme. Later in '83, she would contribute "The Dream (Hold on to Your Dream)" to the soundtrack of the Mr. T comedy D.C. Cab. Sadly, that song would not complete a hat trick of cinematic smashes. But she did go Top Ten the next year with a song about break dancing, so that's nice.
And the song that was declared the biggest hit of all in 1983 was...
1 - "Every Breath You Take," The Police
Sting's stalker classic spent eight weeks at #1, dominating radios across the country throughout that summer. That was the same summer my father put an expansion on our house. Don't know why you needed to know that, but there it is. Anyway, good, iconic song, but probably not the best thing The Police ever did. I'm partial to "Walking on the Moon" myself.
The NotCaseys were "Say Say Say" by Paul McCartney and Michael Jackon, "Heart and Soul" by Huey Lewis and the News, "1999" by Prince, and "Rio" by Duran Duran.
Back next week with our first regular list of 2012.
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