song of the day – “Don’t Ask Me Why” | EURYTHMICS | 1989.

This week on the blog I’ve featured songs that were overshadowed by their bigger, more popular counterparts.  I found another underrated gem from one of my all-time favorite acts for today’s “song of the day.” 

As Eurythmics, Scotland’s Annie Lennox and England’s David A. Stewart have had 24 Top 40 hits in their native U.K. between 1983 and 2005, and over here in the U.S., they’ve scored 10 Top 40 hits on the BILLBOARD Hot 100, led by “Sweet Dreams (Are Made Of This),” which spent a week at No. 1 in September 1983.  The last of those 10 Top 40 hits here in America debuted on the Hot 100 on this date (9.30) in 1989 – “Don’t Ask Me Why.”

From their eighth studio album, WE TOO ARE ONE (produced by David Stewart with Jimmy Iovine), “Don’t Ask Me Why” debuted on the Hot 100 on 9.30.1989 at No. 81.  It spent a lone week at No. 40 in early November 1989, and was gone from the chart after just nine weeks.  (It did fare better on BILLBOARD’s Modern Rock chart, reaching No. 12.)

Around the globe, “Don’t Ask Me Why” charted much better than here in America, reaching the Top 20 in Canada, Ireland, Italy and Japan, and the Top 30 in the U.K., Belgium and Switzerland.

WE TOO ARE ONE, an album that debuted at No. 1 and went double-platinum in the U.K.,  would be the last album the Eurythmics would release before splitting up, though not formally.  Annie (one of the greatest voices in music ever) and Dave (an amazing musician, songwriter and producer) released eight albums in as many years, not to mention their extensive touring around the world, and basically needed a break. 

That break lasted 10 years, and in October 1999, the Eurythmics released their comeback album, the brilliant PEACE, which was certified Gold in the U.S. (their first Gold record here since 1986), Canada and throughout Europe. 

They got together briefly again in 2005 and recorded the song “I’ve Got A Life” for their ULTIMATE COLLECTION, and in 2014 for THE NIGHT THAT CHANGED AMERICA: A GRAMMY SALUTE TO THE BEATLES, where, backed with a full orchestra, they performed “The Fool On The Hill,” much to the delight of Paul McCartney and Ringo Starr.  They got a standing ovation from everyone in attendance, and rightfully so.

Annie Lennox and David A. Stewart, January 2014, getting a deserved standing ovation.

As for the last hit in America for the Eurythmics, don’t ask me why “Don’t Ask Me Why” didn’t chart better than it did.  To this day, I’m not sure why this gorgeous song wasn’t well-received here.  Yeah, okay, “Don’t Ask Me Why” is about the end of a relationship and the song’s lyrics do have a bitter feel to them (“Don’t ask me why / I don’t love you anymore / I don’t think I ever did / And if you ever had / Any kind of love for me / You kept it all so well hid…”), but honestly, how many songs about the end of relationships have done well?  Maybe a post for another time.  None come to mind that are as lush as “Don’t Ask Me Why,” though.  Honestly, I think it’s one of the strongest songs Annie and Dave ever released. 

Don’t worry guys – I’ll never keep my love for this song ever hid…

https://www.youtube.com/watch?v=rqrw3_604_c

song of the day – “Black Coffee” | k.d. lang | 1988.

Today (9.29.2016) is National Coffee Day here in the United States, as well as 20 other countries around the globe, including Canada, England, Australia, Japan, New Zealand, Norway and South Africa.  While I don’t drink coffee, I know many friends and family who do love it, and who are celebrating the day today.  I will celebrate National Coffee Day in the best way I know how – by offering up a hot cup of “Black Coffee,” sung by the amazing k.d. lang.

kathryn dawn lang was born in Edmonton, Alberta, Canada in 1961, and by her college years, she had become infatuated with Patsy Cline – her life, her music, whatever she could find out about the Country music legend, who died from a car crash in early March 1963 at the far too young age of 30 (k.d. lang was just over a year old at the time).

In 1983, k.d. lang formed a Patsy Cline tribute band called The Reclines, and they released an album the following year, A TRULY WESTERN EXPERIENCE, which brought k.d. and her band some national attention in her Canadian homeland.  In 1985, she received a Juno Award (the Canadian equivalent of the Grammys) for Most Promising Female Vocalist.  They sure got that right.

The next album for k.d. and The Reclines, 1987’s ANGEL WITH A LARIAT, was her first album for Sire Records, and they got some serious producing help from the brilliant Dave Edmunds.  The album reached No. 40 on the Canadian Country album chart, and No. 53 on BILLBOARD’s Country album chart.  It was also certified Gold in Canada.

k.d. would go on to record another album in 1989 with The Reclines (the Grammy award-winning ABSOLUTE TORCH AND TWANG), but not before releasing her 1988 debut solo album, SHADOWLAND.  The album was a tribute of sorts to record producer Owen Bradley, who was partly responsible for Country music’s Nashville sound in the 1950s and 1960s. 

k.d. lang and legendary producer Owen Bradley.

Own Bradley worked with Country artists like Loretta Lynn, Ernest Tubb, Burl Ives and Brenda Lee, and was at the helm for many of Patsy Cline’s most famous recordings.  I believe it was because of this reason that k.d. lang wanted to seek out Owen Bradley and have him produce SHADOWLAND.

On SHADOWLAND, k.d. takes on songs written by Chris Isaak, Roger Miller, Bob Wills and more, and on the album’s closer, the “Honky Tonk Angels’ Medley,” she gets some help from legendary Country music angels Kitty Wells, Loretta Lynn and Brenda Lee. 

From the SHADOWLAND recording sessions.

“Black Coffee” was co-written in 1948 by Sonny Burke (music) and Paul Francis Webster (lyrics).  It was first recorded by Sarah Vaughan, one of the best Jazz voices ever, in 1949.  Peggy Lee released her version in 1953, and Ella Fitzgerald covered it in 1960.  Over the years, it’s been covered dozens of times, including versions by Ray Charles, Petula Clark, The Pointer Sisters, Marianne Faithfull (in 2008) and Sinéad O’Connor (in 1992).

About 15 seconds into k.d. lang’s version of “Black Coffee,” she immediately showcases her strong, lush and unforgettable vocals.  (“I’m feeling mighty lonesome / Haven’t slept a wink / I walk the floor and watch the door / And in between I drink / Black Coffee / Love’s a hand me down brew / I’ll never know a Sunday / In this weekday room…”)

SHADOWLAND was well-received in both Canada and the U.S., reaching No. 9 on the Canadian album chart, No. 23 on Canada’s Country album chart, No. 9 on BILLBOARD’s Country album chart, and No. 73 on the BILLBOARD album chart.  The album was certified Silver in the U.K., Gold in the U.S., and Platinum in Canada.

Whether or not you are a fan of k.d. lang and her music, you can’t deny she has one of THE BEST voices in music for any genre, and for all time.  Don’t believe me?  Find a copy of this album online, at the library, in the record store, listen to it and by the end of the “Honky Tonk Angels’ Medley,” you’ll be raising your mug of black coffee to the late, great Owen Bradley and to the sensational k.d. lang.  Cheers to you all, and then some… 

https://www.youtube.com/watch?v=Wl3s21p19Ss

song of the day – “Ink And Paper” | MODERN ENGLISH | 1986.

In my last post, I talked about one of the (real) American one-hit wonders of the 80s – the Guildford, England band, The Vapors, and how it’s sad they are only known for their one big, great hit, and that they were really much more than the one-hit wonder name they became known for.

Situated about 100 miles Northeast of Guildford is Colchester, England, the hometown of Modern English, another memorable New Wave band with a number of albums and singles but primarily known for their one big, great hit, “I Melt With You.”

Modern English was formed in 1979 and signed to one of my all-time favorite record labels, 4AD, the following year.  Influenced by Joy Division (as many bands were in the early 80s), Modern English released their first album in 1981, MESH & LACE.  It was well-received, and one of the band’s singles that year, “Smiles And Laughter” (which appeared on the CD version of MESH & LACE), reached No. 16 on the U.K. Indie singles chart.

The following year, their second album, 1982’s AFTER THE SNOW, was the first of three albums released on my all-time favorite record label, Sire Records, here in the United States.  That album reached No. 78 on BILLBOARD’s album chart and gave the band their biggest hit, “I Melt With You.” 

Though the single stopped at No. 78 on the BILLBOARD Hot 100 in April 1983 and spent just seven weeks on the chart, it’s one of those singles that has stood the test of time despite its chart rank (a 1990 re-recording of “I Melt With You” peaked at No. 76).

1984’s RICOCHET DAYS matched the No. 5 peak of their debut album on the U.K. Indie album chart, and, like AFTER THE SNOW, also reached the top half of BILLBOARD’s album chart here in America.  RICOCHET DAYS gave the band their only other Hot 100 single, “Hands Across The Sea,” which reached No. 91.

The last album released by Sire Records here in the U.S. was 1986’s STOP START.  Overall, it was not well-received, and a brief AllMusic review calls it a “regrettable, overtly commercial album which impressed no one.”  I, for one, enjoyed the album, especially “Ink And Paper,” the lone single released from STOP START.

“Ink And Paper” was co-written with Tommy Dunbar of the Berkeley, California Power Pop band, The Rubinoos (who had two songs on the soundtrack of 1984’s REVENGE OF THE NERDS, including the film’s title song).  “Ink And Paper” is a song about a long-distance breakup through, well, ink and paper.  (“So many miles separate us / And they’ve come between us in the end / Once upon a time you said forever / But this is now and that was then…”)

After STOP START, the band broke up for a few years, got back together for another couple, with the next incarnation of Modern English getting back together in 1995.  It’s this incarnation I saw in Portland, Maine around 1997 (the memory is a little fuzzy on whether or not that’s the year); I do remember it was a great show.

The band is still together today, having toured North America and performing material from their 4AD days (the last stop of the tour was in Boston in June 2016), and fresh off of the early September 2016 release of TAKE ME TO THE TREES, their first studio album of new material in 20 years.

But, it’s this underrated gem from a mostly-forgotten album I wanted to share today, even if it’s not on ink and paper…

https://www.youtube.com/watch?v=Zrss1jrdpxs

song of the day – “Jimmie Jones” | THE VAPORS | 1981.

As I was telling Hope, my dear and super-talented friend, earlier today, when I try to figure out what song I’ll write about from day to day, some days it’s a no-brainer, and other days, I have no fucking idea.  That’s the way it was for me just a few hours ago.  And then, in a roundabout way, I figured it out.  Bear with me.

When a “song of the day” doesn’t come to me right away, I will often browse my digital copies of the BILLBOARD Hot 100 for every week of the 1980s (told you I was a singles chart nerd), and choose a song from the Hot 100 whose date during the decade corresponds with a current date.  That’s where I started my search tonight. 

On this date in 1980, “Turning Japanese” by the Guildford, England New Wave band, The Vapors, debuted on the Hot 100.  But The Vapors were one of the nearly 500 (real) one-hit wonders here in America during the 80s, as “Turning Japanese” was the only hit they had here (and most everywhere).  And I didn’t want to do the one-hit wonder post tonight (plus, I wanted to wait to feature “Turning Japanese” at a later date).

So, I then perused the Interweb, and came across a scene from one of my favorite films, the 2000 John Cusack film, HIGH FIDELITY (based on the 1995 Nick Hornby book, and whose title comes from a 1980 Elvis Costello song).  It’s a scene in the record store where it’s the turn of John Cusack’s character Rob (the store owner and main character of the film) to pick out a Top 5 song subject list.  He goes with “Top 5 Side 1’s, Track 1’s,” and the first song he mentions is “Janie Jones” by The Clash (from the band’s 1977 self-titled debut album).

Well, long story longer, “Janie Jones” prompted me to think of a kick-ass song by The Vapors that most folks won’t remember.  It’s from their excellent and sadly overlooked second (and final) album, 1981’s MAGNETS – and (conveniently) also a Side 1, Track 1 – “Jimmie Jones.” 

Despite its cool New Wave sound and smart lyrics, MAGNETS was actually full of dark subject matter.  The title track was about the assassinations of John Kennedy and Robert Kennedy, two songs were about mental illness, and “Jimmie Jones” was about Jim Jones, the founder of The Peoples Temple of the Disciples of Christ religious movement, who, on November 18, 1978, led the cult to a mass murder-suicide of over 900 of its members in Jonestown, Guyana, as well as the murder of Congressman Leo Ryan of California.  Almost 300 children were murdered at Jonestown, nearly all by cyanide poisoning.  Jim Jones died from a self-inflicted gunshot to the head.

There were positive reviews for MAGNETS and “Jimmie Jones,” the second single released from the album (a No. 44 U.K. hit and a Top 40 hit on BILLBOARD’s Mainstream Rock chart), but the band’s record company, United Artists, was sold to EMI Records around that time, and EMI revived the old Liberty Records moniker (and was primarily used as a Country music label).  The band was among those acts who were not treated very well after the label change, and broke up in 1982, shortly after the album was released.

It’s criminal that a band like The Vapors is remembered just for the one big, great hit, but it’s my hope that folks will eventually discover their two albums, 1980’s NEW CLEAR DAYS (which features “Turning Japanese”) and 1981’s MAGNETS.  I discovered both albums through a 1998 CD called VAPORIZED, featuring the albums on one CD.  One of my best friends, Michael, has had both albums for as long as I’ve known him.  You can still find VAPORIZED on outlets like Amazon, or you might find both albums on streaming services like Spotify.  Either way, I highly recommend you check them out.  I’ve always loved “Turning Japanese,” but The Vapors, before they did eventually vaporize from the music scene, were really much more than the one-hit wonder name they became known for…

https://www.youtube.com/watch?v=iK1YlD3W7Pg

song of the day – “Holiday” | THE OTHER ONES | 1987.

Every once in a while, someone who knows me from my little 80s radio program, STUCK IN THE 80s (on WMPG community radio in Portland, Maine) will come up and ask me, “Why the 80s?”  My usual go-to response is, “The 80s keep me young, especially the music.”  I could do a series of blog posts about downright fun songs from the 80s, and I’d be at it for years.  One song that definitely fits into that category is “Holiday” by The Other Ones.

The Other Ones were a Berlin, Germany-based Rock band half-comprised of Australian members, including siblings Alf Klimek (vocals) and twins Jayney Klimek (vocals) and Johnny Klimek (bass).  The three Australian siblings traveled to Berlin and recruited three Berlin musicians, guitarist Andreas Schwarz-Ruszczynski, keyboardist Stephan Gottwald and drummer Uwe Hoffmann.

In Berlin, they formed The Other Ones in late 1983, and were signed by Virgin Records a year later.  Their self-titled debut album was released in late 1986, and the first single, “We Are What We Are,” debuted on the BILLBOARD Hot 100 in mid-April 1987 and became a moderate hit, spending a week at No. 53 in late May 1987, and reaching No. 31 in Canada and No. 38 in New Zealand.

A couple of months later, their second single from the album, “Holiday,” debuted on the Hot 100 at No. 90.  For a couple of weeks, it looked like “Holiday” would not chart well, but it started picking up steam, and by mid-October 1987, it debuted inside the Top 40 at No. 36.  The following week, it made a healthy move up to No. 29, but for reasons that still puzzle me to this day, the next week, “Holiday” retreated to No. 31, then No. 32, and then was gone from the Top 40 after just four weeks and gone from the Hot 100 after 17 weeks.  “Holiday” also reached No. 4 in Germany and No. 10 in New Zealand.

The band released one more album in 1988, LEARNING TO WALK, but it was not well-received and the band started breaking up a couple of years later.

Nearly 30 years later, though, “Holiday” is still one of my favorite songs (and one of the most fun songs) from the 80s, especially the 12” remix.  You can’t help feel good while listening to it.  I know I feel good when it comes on, even if I’m not on (a hola hola ho and a hola hola hey) another holiday…

https://www.youtube.com/watch?v=fidHm6bCvQI

song of the day – “You Make Me Feel So Good” | BOOK OF LOVE | 1986.

One of the first things I learned about WMPG community radio in Portland, Maine when I started my little 80s radio program, STUCK IN THE 80s, there in 1996 was the Begathon.  WMPG gets approximately 1/3 of its funding from the University of Southern Maine, approximately 1/3 from underwriting, and approximately 1/3 from listener donations.  A large chunk of the latter comes from the Begathon.  What started out as a 2-week pledge drive in which volunteer radio hosts would “beg” to raise money for the station is now split up into two 1-week pledge drives, one in the Spring and one in the Fall.  It’s come a long way since my first Begathon in the Fall of 1996.  My very last Begathon for WMPG will be today, Sunday, 9.25.2016.

The New York (and later Philadelphia) Synthpop band Book Of Love has been a favorite on STUCK IN THE 80s since the show’s 1996 inception, ten years after the release of their self-titled debut album, and I couldn’t imagine my last Begathon show on WMPG without them. 

The third single released from that album was “You Make Me Feel So Good,” written by vocalist Susan Ottaviano and keyboardist and them some, Ted Ottaviano (interestingly enough, despite their last names, they are not related).

“You Make Me Feel So Good” wasn’t a hit anywhere, though it did reach No. 23 on BILLBOARD’s Dance Sales chart.  It was always a hit with me, and I appreciated that Ted Ottaviano played the melodica (otherwise known as a “hooter,” the namesake of their fellow Philadelphians, The Hooters) on this song.

I could easily dedicate their own song to Book of Love, because their music has always made me feel so good, but today (as I will during the show tonight) will dedicate this song to my listeners, my fans, my friends and family, people who have called up or e-mailed requests week after week, or don’t feel they have to call but tune in faithfully, and to everyone who has pledged money during STUCK IN THE 80s over the past 20 years to help keep WMPG community radio going, as well my fellow MPGers (some of them donors as well), and my two amazing regular guest hosts and dear friends, Hope and Shawn.  I’m forever grateful and I thank and love you all.  YOU make me feel so good!

https://www.youtube.com/watch?v=0TgX7k5bId0

song of the day – “Money Changes Everything” | CYNDI LAUPER | 1985.

One of the first things I learned about WMPG community radio in Portland, Maine when I started my little 80s radio program, STUCK IN THE 80s, there in 1996 was the Begathon.  WMPG gets approximately 1/3 of its funding from the University of Southern Maine, approximately 1/3 from underwriting, and approximately 1/3 from listener donations.  A large chunk of the latter comes from the Begathon.  What started out as a 2-week pledge drive in which volunteer radio hosts would “beg” to raise money for the station is now split up into two 1-week pledge drives, one in the Spring and one in the Fall.  It’s come a long way since my first Begathon in the Fall of 1996.  My very last Begathon for WMPG will be on Sunday, 9.25.2016.

An artist I love to play any time of the year, Cyndi Lauper, is responsible for a  song I love to play any time of the year – especially during Begathon – her 1985 hit, “Money Changes Everything” (from her amazing 1983 debut album, SHE’S SO UNUSUAL).

“Money Changes Everything” was actually a cover of a song first recorded in 1978 by the Atlanta, GA Rock band, The Brains, written by vocalist and keyboardist Tom Gray.  Their version led them to a contract with Mercury Records, and they re-recorded “Money Changes Everything” for their 1980 self-titled debut album, produced by the legendary Steve Lillywhite, who also produced albums that year for The Psychedelic Furs (their self-titled debut) and Peter Gabriel (his third self-titled album, also known as MELT, and featuring “Games Without Frontiers” and “Biko.”

SHE’S SO UNUSUAL contained a near-even mix of originals, like “Time After Time” and “She Bop,” and cover songs, including “Girls Just Want To Have Fun” (originally by Robert Hazard), “All Through The Night” (Jules Shear), “When You Were Mine” (a fantastic cover of the Prince original), and “Money Changes Everything.”

Released in late 1984 as the fifth single from SHE’S SO UNUSUAL, “Money Changes Everything” debuted on the BILLBOARD Hot 100 three days before Xmas 1984, the same week Cyndi’s fourth Top 5 single from SHE’S SO UNUSUAL,  “All Through The Night” dropped out of the Top 10 (Cyndi was the first female recording artist to have four Top 5 singles from one album, and a debut album at that).

“Money Changes Everything,” which features a solo from friend and “Time After Time” co-writer, Rob Hyman of The Hooters on the Hohner Melodica (otherwise known as a “hooter”), reached the Top 40 of the Hot 100 in just four weeks, but stalled for a week at No. 27 in February 1985, and though it didn’t reach the Top 10, “Money Changes Everything” did help keep Cyndi in the Top 40 every week for 13 consecutive months, ever since “Girls Just Want To Have Fun” debuted in the Top 40 in late January 1984.

Around the globe, “Money Changes Everything” reached No. 14 in New Zealand, No. 19 in Australia and No. 40 in Canada.  It was a big hit in South America, reaching No. 3 in Colombia and No. 10 in Chile.

The official video for “Money Changes Everything” (a link to the video is below) was a live performance piece, where she sported a haircut not many folks could pull off (but she did), she was getting love much love from the audience, and when she wasn’t dancing all over the stage, she was kicking and beating the shit out of this metal garbage can.  She eventually she climbed into another garbage can on the stage, and she (and the garbage can) were elevated over the audience.  When I saw Cyndi perform in Boston in May 2016 with my dear and talented friend, Hope, it was also nice to see Cyndi still showing love for the song (and the audience too), and it was the last song she performed before her first encore.

“Money Changes Everything” is actually about money and how it interferes with personal relationships.  While that’s certainly true in real life, I’ve never looked at the song that way, especially at Begathon time.  For a small community radio station like WMPG that, for one week twice a year, asks listeners for help to keep the station running 24/7/365, money from listeners DOES change everything…

https://www.youtube.com/watch?v=pp4suZ4jNXg

(real) one-hit wonder of the week – “Money (That’s What I Want)” | THE FLYING LIZARDS | 1980.

One of the first things I learned about WMPG community radio in Portland, Maine when I started my little 80s radio program, STUCK IN THE 80s, there in 1996 was the Begathon.  WMPG gets approximately 1/3 of its funding from the University of Southern Maine, approximately 1/3 from underwriting, and approximately 1/3 from listener donations.  A large chunk of the latter comes from the Begathon.  What started out as a 2-week pledge drive in which volunteer radio hosts would “beg” to raise money for the station is now split up into two 1-week pledge drives, one in the Spring and one in the Fall.  It’s come a long way since my first Begathon in the Fall of 1996.  My very last Begathon for WMPG will be on Sunday, 9.25.2016.

Between late 1979 and the end of 1989, there were nearly 500 (real) one-hit wonders of the 80s that reached the BILLBOARD Hot 100 just one time, a list that includes Soft Cell, Gary Numan, Timbuk 3, The Church, Bronski Beat, Nik Kershaw, The Buggles, The Waitresses, Ultravox and two different bands named The Silencers.  Once a week, I’ll highlight a (real) one-hit wonder for you.

When I was preparing this post last night, I chose “Money (That’s What I Want)” by The Flying Lizards as the “(real) one-hit wonder of the week,” not realizing I had already highlighted it as a “song of the day” the week of the March Begathon pledge drive.  So, I deleted the post I was putting together last night, and instead, I will re-post the last four paragraphs of the original post – not as a “song of the day,” but as a (real) one-hit wonder of the 80s.  I don’t think folks will mind.  It’s such a great song, and one more time, I’ll be proud to play “Money” to start a Begathon show on STUCK IN THE 80s…

“Money (That’s What I Want)” was originally a 1959 hit for Barrett Strong, co-written by Motown Records founder Barry Gordy and covered by The Beatles in 1963.

The Flying Lizards’ 1979 New Wave cover of “Money” was a Top 10 hit in Canada, New Zealand, and their U.K. homeland, plus it reached the Top 40 in five other countries.  Here in the U.S., “Money” spent a week at No. 50 on the BILLBOARD Hot 100 in January 1980, and reached No. 22 on the BILLBOARD Dance chart.

For me, in addition to being a cool cover song, The Flying Lizards’ version of “Money (That’s What I Want)” has been a part of STUCK IN THE 80s for a long time.  And, if it helps raise some money to support the radio station I’ve called a second home for 20 years, then yeah, that’s what I want…

If you’re interested in learning more about WMPG community radio, go to WMPG.org, and if you’re interested in supporting WMPG, you can make a safe donation online via PayPal, with my thanks.  Tell them Ron sent you!

https://www.youtube.com/watch?v=E-P2qL3qkzk

song of the day – “Call Me” | BLONDIE | 1980.

One of the first things I learned about WMPG community radio in Portland, Maine when I started my little 80s radio program, STUCK IN THE 80s, there in 1996 was the Begathon.  WMPG gets approximately 1/3 of its funding from the University of Southern Maine, approximately 1/3 from underwriting, and approximately 1/3 from listener donations.  A large chunk of the latter comes from the Begathon.  What started out as a 2-week pledge drive in which volunteer radio hosts would “beg” to raise money for the station is now split up into two 1-week pledge drives, one in the Spring and one in the Fall.  It’s come a long way since my first Begathon in the Fall of 1996.  My very last Begathon for WMPG will be on Sunday, 9.25.2016.

The 80s gave us a bunch of songs titled “Call Me,” from the likes of Throwing Muses (off of their self-titled 1986 debut album), the Brooklyn Funk band Skyy (1981; No. 26, BILLBOARD Hot 100, No. 1 BILLBOARD R&B, No. 3 BILLBOARD Dance), Styx’s Dennis DeYoung (1986: No. 54 Hot 100), and Go West (from their self-titled 1985 debut album; No. 54 Hot 100, No. 7 Ireland, No. 10 New Zealand, No. 12 U.K. and Australia).

Yet, with all the songs named “Call Me,” no song was greater in the 80s (or prolly for all time) than Blondie’s “Call Me” (from the Richard Gere film, AMERICAN GIGOLO).

The poster for the 1980 film, AMERICAN GIGOLO.

Blondie had just debuted on the Hot 100 in early February 1980 with “The Hardest Part,” the second single from their 1979 album, EAT TO THE BEAT, but the week “Call Me” debuted on the chart (at No. 80), “The Hardest Part” stalled at No. 84.  If it had been released a little earlier, maybe the chart run for “The Hardest Part” wouldn’t have been so hard.  But, “Call Me” overshadowed it and then some.  “Call Me” was so huge, it also outlasted the third and final single from EAT TO THE BEAT, the brilliant “Atomic,” which peaked at No. 39 while “Call Me” was still in the Top 30.  “Atomic” sadly fell of the chart a couple weeks later.

“Call Me,” produced by the amazing Giorgio Moroder and co-written with Debbie Harry, blasted onto the Top 40 within four weeks, and after 10 weeks, it reached No. 1 (after waiting four weeks for Pink Floyd’s “Another Brick In The Wall” to fall from No. 1).  “Call Me” would spend six weeks at No. 1 in April / May 1980, spent nearly half a year on the chart, was certified Gold, and would go on to become the biggest American hit of that year. 

On BILLBOARD’s Dance chart, “Call Me” spent four weeks at No. 2, and in 2015, it ranked at No. 54 on BILLBOARD’s Greatest All Time Hot 100 Singles list (and the eighth-biggest from the 80s; Olivia Newton-John’s 1981 / 1982 monster hit, “Physical,” the biggest song of the 80s, ranks at No. 8 on the entire list).

Around the world, fans rang up the theme from AMERICAN GIGOLO in a big way, reaching No. 1 in Canada (four weeks) and the U.K. (one week), plus Top 10 rankings in Australia, Austria, Belgium, France, Holland, Ireland, New Zealand, Norway, South Africa, Sweden and Switzerland.

I’ve always loved “Call Me” and love playing it around Begathon time (and will again).  If I had to rank my favorite Blondie songs ever, I would say “Call Me” comes in at No. 5, a list led by “Dreaming” and “Atomic” (both from EAT TO THE BEAT), “Rapture” (from AUTOAMERICAN) and “Heart Of Glass” (from PARALLEL LINES). 

While we’re on the subject of Debbie Harry and Blondie, I remain forever grateful to my dear friend Shawn in New York, who, around this time in 2013, took me to see X and Blondie perform on the same bill at one of the last performances at the famed Roseland Ballroom (just outside of Times Square). 

The promo poster for the 2013 tour with Blondie and X.

As I’m sure I’ve mentioned here (and as I’m sure I’ll mention again), when Debbie Harry appeared on stage, our school boy crushes for Debbie (who is a year older than my mother) came roaring back.  She was sensational (as were the rest of Blondie and X).  A concert I’ll never ever forget.  And, on the off-chance Debbie is reading this, Maine (which includes yours truly) would still love to have you and the band come up here.  Lots of great venues than there were just three years ago.  So, if you’re interested, well, you know what to do…

https://www.youtube.com/watch?v=aH3Q_CZy968

From L to R: The members of Blondie, along with Giorgio Moroder, Richard Gere and AMERICAN GIGOLO director / writer Paul Schrader.

song of the day – “Legal Tender” | THE B-52’s | 1983.

One of the first things I learned about WMPG community radio in Portland, Maine when I started my little 80s radio program, STUCK IN THE 80s, there in 1996 was the Begathon.  WMPG gets approximately 1/3 of its funding from the University of Southern Maine, approximately 1/3 from underwriting, and approximately 1/3 from listener donations.  A large chunk of the latter comes from the Begathon.  What started out as a 2-week pledge drive in which volunteer radio hosts would “beg” to raise money for the station is now split up into two 1-week pledge drives, one in the Spring and one in the Fall.  It’s come a long way since my first Begathon in the Fall of 1996.  My very last Begathon for WMPG will be on Sunday, 9.25.2016.

“Legal Tender” by The B-52’s is another of my favorite “money” songs, and I like to play it especially around Begathon time.  For their third studio album, 1983’s WHAMMY!, the Athens, GA music legends took a more New Wave / Synthpop direction, and though the love for the album was mixed, WHAMMY! was still popular enough to be certified Gold here in the U.S., selling over 500,000 copies.

The leadoff track (and single) from WHAMMY!, the fun “Legal Tender” (with Kate Pierson and Cindy Wilson sharing vocals) was a big club and radio hit in Brazil, and in the U.S., it became their third single to chart on BILLBOARD’s Hot 100 chart, debuting in mid-July 1983 at No. 88.  The song’s time on the chart was short-lived, however, peaking at No. 81 two weeks later, and cashing out after four weeks.  The B-52’s wouldn’t reach the Hot 100 again until “Love Shack” debuted in early September 1989.  It was the comeback of the year.

The Japanese single for “Legal Tender.”

It did, however, have more success on BILLBOARD’s Dance chart, reaching No. 9 with two more tracks from WHAMMY!: “Whammy Kiss” and “Song For A Future Generation” (“Hi, my name is Ron, and I’m an Aquarius!”).

In a 1983 ROLLING STONE review of WHAMMY! by Chris Connelly, he said, “On ‘Legal Tender,’ the band’s ode to counterfeiting, they holler, ‘Ten!  Twenty!  Thirty million dollars / Ready to be spent,’ in what must be the most exuberant tribute to wealth–ill-gotten or otherwise–in rock annals.  So appealing are their performances that by the time they introduce themselves in the gut-busting ‘Song For A Future Generation’ (‘Hello, I’m Cindy.  I’m a Pisces, and I like Chihuahuas and Chinese noodles!’), you’re almost hoping they’ll tell you their phone numbers.”

Folks kinda tend to forget about WHAMMY!, but I suggest you revisit it sometime, as there were so many great songs on the album, including the kick-ass instrumental, “Work That Skirt,” and the aforementioned “Whammy Kiss,” “Song For A Future Generation” and of course, “Legal Tender” – three minutes and forty seconds of pure, fun Synthpop perfection.

https://www.youtube.com/watch?v=mBRr_TqLDf4