(real) one-hit wonder of the week – “Black Stations / White Stations” | M+M (MARTHA AND THE MUFFINS) | 1984.

Posted on January 20, 2020 by retrogod1985

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 or so, I’ll highlight a (real) one-hit wonder for you.

In a way, it’s kind of funny to go back and think about all of the “controversial” songs from the 80s, many of which wouldn’t be anywhere in the same vicinity as controversial today. For example, George Michael’s “I Want Your Sex” (a song written as a response to the AIDS epidemic and exploring monogamy), was so “controversial” in 1987, that one of the local Central Maine radio stations, the Top 40 station called 92 MOOSE (I’m not kidding, that’s their name), reworked their own censored version, where the word “sex” was replaced by the word “moose.” JFC. And Casey Kasem didn’t even mention the title on AMERICAN TOP 40 until well into the song’s chart run (it peaked at No. 2). Now you have songs on the radio with the word “FUCK” in the title, and it’s a big hit (albeit edited for radio, but still).

But not all (then) “controversial songs” like “I Want Your Sex” or Frankie Goes To Hollywood’s “Relax” (famously banned by the BBC) go on to become big hits. “Sexcrime (Nineteen Eighty-Four)” by Eurythmics (from the film they scored, based on George Orwell’s 1984) is an incredible song with an amazing beat, was the 15th biggest Dance song of 1985 on BILLBOARD’s Dance chart, and a Top 10 hit all over the world. But, since it had the word “SEX” in it, American radio wouldn’t play it, and it stopped at No. 81 on the BILLBOARD Hot 100, despite the word “sexcrime” being used in George Orwell’s book, which, too, has been banned over the years.

In 1984, radio wasn’t even ready for songs about interracial couples, despite the fact that one of the biggest TV shows on at the time, THE JEFFERSONS, had an interracial married couple on the show. But, it’s true — I can name at least two songs from 1984 that struggled on the BILLBOARD Hot 100 because of that very subject matter.

The first song that comes to mind is the brilliant “Original Sin” by INXS, from their album, THE SWING. In a 1986 interview, Michael Hutchence had said “Original Sin” was about “kids and conditioning. Growing up. How you grow up through other people’s ideas or your own.”

Nile Rodgers, who produced “Original Sin,” had the idea to lean the lyrics in a more interracial direction: “The original lyrics were ‘Dream on white boy, dream on white girl.’ I said, ‘Why not make it ‘black boy white girl’?’ I come from an interracial couple. Psychologically that makes it a bigger statement.”

But, despite killer producing by Nile Rodgers, and backing vocal help from Daryl Hall, some radio stations weren’t too jazzed about the lyrics (and maybe even the title) and “Original Sin” stopped at No. 58 on the BILLBOARD Hot 100.

Another “controversial” song which had a similar attempt (and result) that year was “Black Stations / White Stations” by M+M (Martha And The Muffins).

The band from Toronto, Canada started out as a six-member New Wave / Art Rock / Dance-Pop band in 1977, but by the time their fifth album, 1984’s MYSTERY WALK, was released, they were down to just two members — lead singer, guitarist and keyboardist Martha Johnson and band founder, keyboardist and guitarist Mark Gane. So, they whittled Martha And The Muffins down to M+M (as a play on their first names).

Getting producing help again from the brilliant Daniel Lanois, who had co-produced their earlier albums THIS IS THE ICE AGE (from 1981) and DANSEPARC (from 1983), “Black Stations / White Stations” took a step away from New Wave and a step closer to Dance and Funk.

“Black Stations / White Stations” is based on a true story about radio stations and racism. Martha Johnson knew about a radio station that refused to play a song about an interracial relationship (“Original Sin,” perhaps?), and it prompted her and Mark Gane to write the song, with lyrics calling radio stations out to “Stand Up and Face The Music / This Is 1984.” And, being involved with radio for most of the past 35 years, I’ve learned that radio stations don’t like to be pissed on, especially in song, even if they know their policies are wrong, and even if the song itself is a protest song against racism.

The Canadian 12″ single cover art for “Black Stations / White Stations.”

So, suffice it to say, as awesome and funky and kickass as “Black Stations / White Stations” is, radio stations did not dig the title or the lyrics, and it was not well-received on the singles charts. A couple of Canadian singles charts, The RPM Top 100 and the Toronto radio station CHUM, did chart the single at Nos. 26 and 11, respectively, but the on official Canadian singles chart, THE RECORD, it didn’t even chart in the Top 40.

On the BILLBOARD Hot 100, “Black Stations / White Stations” debuted at the end of June 1984 at No. 82, had one big week a couple of weeks later in mid-July, and the following week, climbed to its peak of No. 63 (with a bullet), before falling out of the Hot 100 four weeks later. It was the only time M+M or Martha And The Muffins would grace the Hot 100.

The Netherlands 7″ single cover art for “Black Stations / White Stations.”

Over in the U.K., “Black Stations / White Stations” fared a little better, reaching No. 46, but the song found its biggest audience in the American dance clubs, and it reached No. 2 on the BILLBOARD Dance chart.

Today (1.20.2020) is Martin Luther King, Jr. Day here in the United States, and there’s an amazing quote about racism he said that I wanted to share in this post:

“I refuse to accept the view that mankind is so tragically bound to the starless midnight of racism and war that the bright daybreak of peace and brotherhood can never become a reality… I believe that unarmed truth and unconditional love will have the final word.”

The Rev. Dr. Martin Luther King, Jr.

It’s so unfortunate that radio and TV back in the 80s was so limiting as to what folks could sing or say to get their message out (even about racism). I remember it being a big deal when Alan Alda said “son of a bitch” on the last episode of M*A*S*H in 1983 — “OMG a swear on TV!” Today, however, songs about monogamous sex (or sex in general), the term “son of a bitch,” or talk of interracial couples won’t even raise an eyebrow. In some respects, I love how far we’ve come in terms of what’s allowed and embraced on radio and TV (network TV is even forking catching up), but I still really wish radio had embraced songs like “Sexcrime” and “Original Sin” and “Black Stations / White Stations” back in 1984…

“A voice inside of my car told me today / there was a song of a love they would not play / She was black, he was white / A voice inside of my car told me today… Black stations, white stations / Break down the door / Stand up and face the music / This is nineteen eighty-four!”

https://www.youtube.com/watch?v=os4eWX88OxA

M+M: Martha Johnson and Mark Gane.

song of the day – “Abracadabra” | STEVE MILLER BAND | 1982.

Posted on September 9, 2017 by retrogod1985

Waiting for the real Colin Hay to begin, Rockland, Maine, 8.16.2017. He was, of course, fantastic and soulful.

Hey everyone! Thanks so much for being patient with me, as I’ve taken an unexpected (but quite enjoyable) absence from the bloggy thing since the end of July. There’s been work stuff, home stuff, I had a fun time attending concerts featuring Blondie, the 80s Retro Futura Tour (including Howard Jones, Modern English, Men Without Hats, Paul Young, Katrina of Katrina And The Waves, and The English Beat!), and most recently, seeing the wonderful Colin Hay in beautiful Rockland, Maine.

I’ve also been spending a lot of quality time with the incredible and awesome Hope, my superfriend, sassy radio co-host and writing hero, which included a swim in the cold Atlantic Ocean here in Maine that changed me forever. There’s a lot more to say, and I will, in a post coming soon that will be about Hope and that swim in the ocean and much more! And Hope comes up again later in this post, so stay tuned!!

That’s the absolutely lovely HopeyT and me, Kettle Cove State Park, Cape Elizabeth, Maine, 9.2.2017!

When I started my tribute to my radio hero, Casey Kasem, back on June 1, school was in session and Summer was weeks away. Well, it’s now September 9, 2017, school is back in session and Fall is less than two weeks away. I’ve had fun bringing you this tribute to Casey (who passed away in June 2014 at the age of 82), and wanted to make sure (1) you all didn’t think I would hold out on the Number One song of this tribute, and (2) that I get this in ASAFP, because what’s a Top 40 countdown without a Number One song?

Much like AMERICAN TOP 40, this post will be full of nerdy chart facts and then some, but first, I wanted to recap the songs I’ve posted in this series so far. These songs (which include five (real) one-hit wonders of the 80s), are ranked at the positions they peaked at on the BILLBOARD Hot 100 (with peak year), and though they do not represent a definitive Top 40 list for me, but I love all of them, and hope you’ve enjoyed reading about them!

40. CLONES (WE’RE ALL) – ALICE COOPER (1980)

39. SLIPPING AWAY – DAVE EDMUNDS (1983)

38. PROMISES IN THE DARK – PAT BENATAR (1981)

37. WHISPER TO A SCREAM (BIRDS FLY) – ICICLE WORKS (1984; (real) one-hit wonder of the 80s)

36. SOMETIMES A FANTASY – BILLY JOEL (1980)

35. FAKE FRIENDS – JOAN JETT & THE BLACKHEARTS (1983)

34. ME MYSELF AND I – DE LA SOUL (1989)

33. PRIDE (IN THE NAME OF LOVE) – U2 (1984)

32. VALLEY GIRL – FRANK & MOON ZAPPA (1982)

31. (GHOST) RIDERS IN THE SKY – THE OUTLAWS (1981)

30. LIES – THOMPSON TWINS (1983)

29. TURN UP THE RADIO – AUTOGRAPH (1985; (real) one-hit wonder of the 80s)

28. POINT OF NO RETURN – NU SHOOZ (1986)

27. THE RIGHT THING – SIMPLY RED (1987)

26. NOT JUST ANOTHER GIRL – IVAN NEVILLE (1988)

25. TAKE ME WITH YOU – PRINCE & THE REVOLUTION featuring APOLLONIA (1985)

24. ONE WAY OR ANOTHER – BLONDIE (1979)

23. YOU CAN CALL ME AL – PAUL SIMON (1986 / 1987)

22. AIN’T NOBODY – RUFUS & CHAKA KHAN (1983)

21. FOOL IN THE RAIN – LED ZEPPELIN (1980)

20. OUR LIPS ARE SEALED – THE GO-GO’S (1982)

19. PUSH IT – SALT-N-PEPA (1988)

18. LET ME TICKLE YOUR FANCY – JERMAINE JACKSON with DEVO (1982)

17. YOU ARE THE GIRL – THE CARS (1987)

16. HOLIDAY – MADONNA (1984)

15. ONE OF THE LIVING – TINA TURNER (1985)

14. DIGGING YOUR SCENE – THE BLOW MONKEYS (1986; (real) one-hit wonder of the 80s)

13. TARZAN BOY – BALTIMORA (1986)

12. WHAT’S GOING ON – CYNDI LAUPER (1987)

11. EDGE OF SEVENTEEN – STEVEIE NICKS (1982)

10. RELAX – FRANKIE GOES TO HOLLYWOOD (1985)

09. THE ONE I LOVE – R.E.M. (1987)

08. LET THE MUSIC PLAY – SHANNON (1984)

07. WHAT I AM – EDIE BRICKELL & NEW BOHEMIANS (1989)

06. INFATUATION – ROD STEWART (1984)

05. WANNA BE STARTIN’ SOMETHIN’ – MICHAEL JACKSON (1983)

04. HEART AND SOUL – T’PAU (1987; (real) one-hit wonder of the 80s)

03. LOVE SHACK – THE B-52’S (1989)

02. DANCING IN THE DARK – BRUCE SPRINGSTEEN (1984)

Throughout this series, I’ve been mentioned how many songs peaked at each position between 1979 and 1989. It’s only fitting that songs which reached No. 1 would have the highest number of songs hitting the apex of the BILLBOARD Hot 100. For this post, I am only counting the songs that reached No. 1 between January 1980 and December 1989, and for that 80s time period, 232 songs went all the way to No. 1. Let’s get nerdy now (if you’re not already there), with some chart feats about No. 1 songs during the 80s and the BILLBOARD Hot 100:

FOUR (REAL) ONE-HIT WONDERS reached No. 1 during the 80s – Bobby McFerrin (“Don’t Worry, Be Happy”), the second-chance single, “When I’m With You” by Sheriff, Jan Hammer’s “Miami Vice Theme,” and Vangelis (“Chariots Of Fire (Titles)”), though the composer did reach the chart separately twice in the early 80s as part of the duo Jon & Vangelis, with Jon Anderson of Yes.

MOST WEEKS SPENT AT NO. 1 IN THE 80s (27); MOST NO. 1 SONGS FROM ONE ALBUM (5); MOST NO. 1 SONGS IN THE 80s (9) – Michael Jackson. The King Of Pop reached No. 1 in the 80s with “Rock With You” (1980; 4 weeks at No. 1), “Billie Jean” (1983; 7 weeks), “Beat It” (1983; 3 weeks), “Say Say Say,” with Paul McCartney (1983 / 1984; 6 weeks), “I Just Can’t Stop Loving You,” with Siedah Garrett (1987; 1 week), “Bad” (1987; 2 weeks), “The Way You Make Me Feel” (1988; 1 week), “Man In The Mirror” (1988; 2 weeks); “Dirty Diana” (1988; 1 week).

MOST NO. 1 SONGS IN THE 80s (if you’re NOT Michael Jackson): Madonna (7), Phil Collins (7 solo hits), Whitney Houston (7), George Michael (6 solo hits, which includes “Careless Whisper”), Daryl Hall & John Oates (5), Lionel Richie (5).

NO. 1 WITH MOST WEEKS SPENT ON THE HOT 100 – 40 – “Red Red Wine” – UB40. It spent 25 weeks on the Hot 100, including a week at No. 1 in 1988, and had charted for 15 weeks in its first chart run in 1984.

MOST CONFIGURATIONS AT NO. 1 – PAUL McCARTNEY, with Wings (“Coming Up (Live At Glasgow),” 1980), with Stevie Wonder (“Ebony And Ivory,” 1982), and with Michael Jackson (“Say Say Say,” 1983 / 1984).

NO. 1 WITH MOST WEEKS SPENT IN THE TOP 10 OF THE HOT 100 (15) – “Physical – OLIVIA NEWTON-JOHN (1981 / 1982), and “Eye Of The Tiger” – SURVIVOR (1982). SUPER NERDY FUN FACT: the song which spent the most weeks in the Top 10 in the 80s didn’t even reach No. 1 – “Hurts So Good” by John Mellencamp spent 16 weeks in the Top 10, with four of those weeks in the runner-up spot.

MOST WEEKS SPENT AT NO. 1 IN THE 80s (10) – “Physical” by Olivia Newton-John (1981 / 1982). While it’s more commonplace on the Hot 100 these days, the biggest song of the 1980s would be the only song to spend at least 10 weeks at No. 1 on the chart for next 10 years. In 1992, Boyz II Men spent a then-record 13 weeks at No. 1 with “End Of The Road.” Two No. 1 songs later, Whitney Houston would break that record with “I Will Always Love You,” which spent its 14th and final week on top in late February 1993. The current record is 16 weeks at No. 1.

In the most recent tabulation of the Greatest Of All Time Hot 100 songs for BILLBOARD’s legendary singles chart, many songs from the 80s were represented, and are currently ranked as follows:

08. “Physical” – OLIVIA NEWTON-JOHN (1981 / 1982; 10 weeks at No. 1)

15. “Bette Davis Eyes” – KIM CARNES (1981; 9 weeks)

16. “Endless Love” – DIANA ROSS & LIONEL RICHIE (1981; 9 weeks)

24. “Eye Of The Tiger” – SURVIVOR (1982; 6 weeks)

29. “Every Breath You Take” – THE POLICE (1983; 8 weeks)

31. “Flashdance…What A Feeling” – IRENE CARA (1983; 6 weeks)

40. “Another One Bites The Dust” – QUEEN (1980; 3 weeks)

41. “Say Say Say” – PAUL McCARTNEY & MICHAEL JACKSON (1983 / 1984; 6 weeks)

54. “Call Me” – BLONDIE (1980; 6 weeks)

57. “Lady” – KENNY ROGERS (1980; 6 weeks)

63. “Centerfold” – THE J. GEILS BAND (1982; 6 weeks)

64. “(Just Like) Starting Over” – JOHN LENNON (1980 / 1981; 5 weeks)

68. “I Love Rock ’N Roll” – JOAN JETT & THE BLACKHEARTS (1982; 7 weeks)

73. “Ebony And Ivory” – PAUL McCARTNEY & STEVIE WONDER (1982; 7 weeks)

75. “That’s What Friends Are For” – DIONNE & FRIENDS (1986; 4 weeks)

77. “Upside Down” – DIANA ROSS (1980; 4 weeks)

83. “Billie Jean” – MICHAEL JACKSON (1983; 7 weeks)

86. “Abracadabra” – THE STEVE MILLER BAND (1982; 2 weeks)

89. “Say You, Say Me” – LIONEL RICHIE (1985 / 1986; 4 weeks)

91. “All Night Long (All Night)” – LIONEL RICHIE (1983; 4 weeks)

95. “Waiting For A Girl Like You” – FOREIGNER (1981 / 1982; 10 weeks at No. 2; still tied for a record for spending the most weeks peaked at No. 2 on the Hot 100)

98. “Hurts So Good” – JOHN MELLENCAMP (1982; 4 weeks at No. 2)

So, for now, the 80s represent more than a fifth of the greatest hits to grace the BILLBOARD HOT 100. Pretty damn cool. I know it won’t always be like that, and I always wonder why some huge hits like Prince’s “When Doves Cry” (No. 1 for 1984) or Pink Floyd’s “Another Brick In The Wall” (No. 2 for 1980) aren’t up there, but songs these days tend to stay atop the Hot 100 (and the chart as a whole) a lot longer than they did back in the day, but honestly, I’m grateful for the songs that are still there.

When I was preparing for this hefty blog post (prolly my second-longest, save for the Prince tribute post in April 2016), I was going through the list of No. 1 songs, and there are some songs I’ve already featured as a “song of the day” (Tears For Fears’ “Everybody Wants To Rule The World” comes to mind, and has often as of late), and there are many others I love.

But, I concede that there are some real stinkers in there, too: Will To Power’s awful covers medley of “Baby, I Love Your Way” and “Freebird” (subtitled “Freebaby,” which is just heinous)?! How in THE HELL did that get to go to No. 1 and “I Don’t Want Your Love” by Duran Duran stops at No. 4, and U2’s “Desire” stops at No. 3?! For the love of all things holy! And though I admit enjoying the movie MANNEQUIN, “Nothing’s Gonna Stop Us Now” by Starship?! Are you kidding me?! Even Grace Slick denounced that piece of shit. While the go-to “worst song of the 80s” award is usually 1985’s “We Built This City,” I can tolerate that way more over “Nothing’s Gonna Stop Us Now.” Yes, I’m THAT guy.

If I was going for my absolute favorite No. 1 song of the 80s, there’s no competition. It’s “Don’t You (Forget About Me)” by Simple Minds. It’s also my all-time favorite song. But it’s a post I want to save for another time. So, I thought it would be fun to bring in Hope, my writing hero, who, unlike yours truly, doesn’t obsess and write about nerdy chart facts or Top 40 hits, let alone ones that hit No. 1. I thought it would be cool to have her choose the song for this post.

On August 11, 2017, Hope was kind enough to send me her list of her picks for No. 1 songs from the 80s, many of which have been already mentioned in this post! One of those songs, and a song that is almost universally loved (like “Let’s Dance” by David Bowie, “Time After Time” by Cyndi Lauper, or the aforementioned Tears For Fears, Prince and Simple Minds gems) is “Abracadabra” by The Steve Miller Band.

Hope had included “Abracadabra” under the category of “Situational” No. 1 songs. For Hope, “Abracadabra” was popular during the Summer after her high school graduation (“the glamorous Summer in The Hamptons!”), and she loves the line, “black panties with an angel’s face.” Who wouldn’t love that line?! It’s awesome (much like Hope herself)!

Milwaukee, Wisconsin native Steve Miller formed his Psychedelic Rock / Blues Rock band in San Francisco back in 1966. Since his first two albums were released in 1968, through to his 1988 Jazz album, BORN 2 B BLUE, Steve Miller had been on Capitol Records, and he had some huge albums in the 70s.

After 1981’s CIRCLE OF LOVE album (with the sweet Top 40 hit and criminally-forgotten gem, “Heart Like A Wheel”) failed to become his fourth consecutive platinum album here in America (though it was certified Gold), Steve was undeterred, got to work, and released the ABRACADABRA album in mid-June 1982.

Of the album, ROLLING STONE said, “The essence of good magic is deception, and with the release of this album, Steve Miller has earned the right to twirl his wand and shout, ‘Abracadabra!’”

Well, Steve thought so too, but Capitol wasn’t so sure. The song inspired by Diana Ross (whom Steve met on a Pop music TV show in the 60s) told THE HOWARD STERN SHOW in 2016 that Capitol Records didn’t see a hit with the song “Abracadabra”:

“Capitol didn’t believe in [“Abracadabra”] and didn’t want to release it. I had a different deal with Phonogram in Europe. When it came out in Europe, I cancelled my American tour because it was Number One everywhere in the world, except the States.” Once again, the record label got it wrong.

Well, after seeing the success of “Abracadabra” overseas, Capitol gave in and released it in the U.S., a month before the ABRACADABRA album was released. “Abracadabra” debuted on the BILLBOARD Hot 100 in late May 1982 at No. 75, and took just four weeks to debut within the Top 40.

The next few weeks were a steady climb, and by late July 1982, “Abracadabra” had become Steve Miller’s first Top 10 hit in five years, to the month. With John Mellencamp’s “Hurts So Good” camped out at No. 2, and Survivor’s “Eye Of The Tiger” camped out at No. 1, “Abracadabra” was stuck at No. 3 for four weeks before it could work its magic on reaching No. 1.

In early September 1982, after 15 weeks on the chart, “Abracadabra” finally hit No. 1 on the BILLBOARD Hot 100, giving Steve Miller his third No. 1 U.S. single overall, and his first No. 1 single since 1976’s “Rock’n Me” spent a week on top. The No. 1 run of “Abracadabra” was just as quick as “Rock’n Me,” and his first No. 1 song, 1974’s “The Joker,” which also spent a lone week at No. 1.

The Steve Miller Band, 1982.

The following week, Chicago’s “Hard To Say I’m Sorry” snuck into the No. 1 position when no one was looking and stayed there for two weeks. “Abracadabra” dropped to No. 3 (behind previous No. 1, “Eye Of The Tiger”). But, in a magical chart feat, “Abracadabra” moved back up to No. 2 the next week, and by the end of September, “Abracadabra” reclaimed the No. 1 spot for one more week, before John Mellencamp’s little ditty about “Jack And Diane” started its four-week run at No. 1. “Abracadabra” stayed on the Hot 100 until mid-Novemer 1982, and left the chart after nearly half a year. It finished the year at No. 9 here in America.

Around the globe, “Abracadabra” worked its magic on the singles charts of many countries, reaching No. 1 in Switzerland (six weeks), Sweden (four weeks), Australia and Canada (two weeks), and Austria, No. 2 in the U.K., Germany and Ireland, No. 4 in Norway, No. 8 in New Zealand, and No. 26 in the Netherlands.

“Abracadabra” was the last song The Steve Miller Band placed inside of the Top 40 of the BILLBOARD Hot 100, though they charted several more times through 1993, including the brilliant but oddly-underrated “I Want To Make The World Turn Around” from 1986.

Steve Miller continues to tour today, and in 2016, he was inducted as a solo artist into the Rock And Roll Hall Of Fame, where he had some not so nice things to say about the whole thing, calling the Hall a “private boys’ club full of fucking gangsters and crooks,” and vowing to make it better.

The Steve Miller Band, 2015.

He suggested taking the Rock And Roll Hall Of Fame nominating committee, replace every one of them and start over. I hope it works out, because Devo, from Akron, Ohio (less than an hour south of Cleveland, where the Hall is based), should have been inducted years ago, much like the incomparable Cyndi Lauper, who has taken on Blues, Standards, Folk, Dance and Country music in the past 15 years, not to mention writing a book, winning a Tony Award and co-founding the True Colors Fund, which works to end homelessness among LGBT youth, and even testified before Maine Senator Susan Collins in 2015 about this very subject.

Steve-Miller-Rock-and-Roll-Hall-of-Fame-Press-Room-Photo

This photo of Steve at the 2016 Rock And Roll Hall Of Fame induction ceremony speaks volumes, and not favorably for the Hall…

As for me and Hope and many others for “Abracadabra,” it’s one of those infectious songs that deserved to go to No. 1, and 35 years later, it still holds up. At least the five-minute, eleven-second album version. When the single was released, I bought it, but was instantly pissed it wasn’t the long version! Sure, it’s only a minute and change difference, but if you hear the single version vs. the album version, you can tell the single version is a bit sped up, and the kick-ass instrumental that closes out the rest of the song isn’t there. That’s even why I chose the video link below. It’s not a link to the actual video, but to the album version. You know, all these years later, I’m still impressed that sped up, edited single version got the song to No. 1. Maybe that was magic too.

Speaking of magic, Hope inspired me recently to start training for a 5K using the Couch To 5K app (C25K); we’re both training for it, and finishing Week 5 of 8 this weekend! Hope and I haven’t run a proper 5K in our adult lives, and the last time I ran the equivalent of a 5K was in high school during Cross Country, where I lettered my senior year. Holy cats, that was 33 years ago!

Post-run workout, 9.7.2017! (With a kick-ass playlist by DJ HopeyT to keep me going!)

But, you know what? Maybe it’s not magic after all that’s got us training for our first 5K ever – and in our early 50s! Maybe you just need to believe. Just like Steve Miller believed he had a hit with “Abracadabra,” even as his longtime record label disagreed – and he was right! It’s one of THE BEST songs of the 80s and of all-time. And I believe getting through this 5K (and other aspects of my life) will happen with belief over magic, though I have to say, when it happens, it will feel pretty damn magical and then some…

https://www.youtube.com/watch?v=dKCV8gzSlYw

song of the day – “Dancing In The Dark” | BRUCE SPRINGSTEEN | 1984.

Posted on August 2, 2017 by retrogod1985

On June 15, 2014, Casey Kasem, host of the longtime countdown program, AMERICAN TOP 40, passed away at the age of 82. From my first blog post (and prolly some more inbetween then and now), I explained how, in 1979, I was a geeky, lanky and somewhat lost 12-year-old living in Central Maine, had a few friends and not a lot of interest in much of anything, but at some point early that year, I discovered AMERICAN TOP 40, and was glued to it every weekend. Not only could I hear the 40 biggest songs in the country every week, but also Casey’s cool trivia and facts about the songs and the artists, a trait I treasure to this day. For me, the show was No. 1 with a bullet. And still is (thanks to the re-airing of broadcasts of AT40 on iHeart Radio).

In honor of my radio hero, Casey Kasem, since the start of June, I have been highlighting songs that peaked in the Top 40 of the BILLBOARD Hot 100 (including five (real) one-hit wonders of the 80s), just like on AMERICAN TOP 40, the hits have gotten bigger with each post. On June 1, 2017, I featured a song that peaked at No. 40. With the next post, I’ll feature a “song of the day” that went all the way to No. 1.

As Casey used to say on AT40, “And on we go!”

If you listened to AMERICAN TOP 40 as faithfully as I did back in the 80s, before Nos. 2 and 1 were announced, he’d usually take a commercial break before announcing them, and would usually say, “The two biggies are coming right up!” “The two biggies.” Always cracked me up and still does.

But, when it came to AMERICAN TOP 40, “the two biggies” were, in fact, a big deal. There a few positions on the chart that are the most frustrating, like Nos. 101, 41 and 11, but no other peak position on the BILLBOARD Hot 100 (or any singles chart, for that matter) was more frustrating to stop at than No. 2.

Foreigner endured the No. 2 position the longest in the 80s, spending 10 weeks in the runner-up spot in 1981 and 1982 with “Waiting For A Girl Like You,” a chart record Foreigner still shares to this day. And I believe Madonna, who has six No. 2 songs to her credit (four of them in the 80s), still holds the chart record for most No. 2 singles in Hot 100 history.

All told, nearly 100 songs reached No. 2 between 1979 and 1989, including songs by three Beatles (Paul McCartney, John Lennon, and George Harrison, whose 1981 No. 2 hit, “All Those Years Ago,” was a tribute to John Lennon), two Jacksons (Michael and Janet), and a couple of (real) one-hit wonders, including the Cold War Classic by Nena, “99 Luftballons.”

Some of the biggest songs in history that maybe you thought were No. 1 hits in America were actually No. 2 hits, such as “Girls Just Want To Have Fun” by Cyndi Lauper, “Easy Lover” by Philip Bailey and Phil Collins, “We Got The Beat” by The Go-Go’s, “Electric Avenue” by Eddy Grant, “Danger Zone” by Kenny Loggins, “Hurts So Good” by John Mellencamp, “Start Me Up” by The Rolling Stones and “Purple Rain” by Prince And The Revolution.

Several artists peaked at No. 2 between 1979 and 1989 with two songs, including The Bangles, Culture Club (with their first two hits), Air Supply, Duran Duran, Glenn Frey, Kool & The Gang, John Mellencamp, Billy Ocean (including the guilty pleasure, “Loverboy,” which a DJ back in the day once referred to as “Heavy Metal Disco”; I would disagree), plus Robert Palmer, Pointer Sisters, Linda Ronstadt (in two big duets with James Ingram and Aaron Neville), Tina Turner and Jody Watley.

Michael Jackson gets an honorable mention, as he peaked at No. 2 with “The Girl Is Mine” with Paul McCartney, and he is featured in an uncredited role backing up Rockwell on “Somebody’s Watching Me.” Likewise with Sheena Easton, who backed up Prince uncredited on “U Got The Look” and had her own No. 2 hit in 1989 with the sexy Dance hit, “The Lover In Me” (a long way from when she took that “Morning Train” to No. 1 in 1981; I’m sure Prince may have had something to do with it).

Speaking of Prince, he had three No. 2 hits between 1979 and 1989, or in this case, 1984 through 1987, with the aforementioned “Purple Rain” and “U Got The Look,” but also with “Raspberry Beret.” He, too, gets an honorable mention, as he composed the No. 2 hit for The Bangles, “Manic Monday.”

And a number longtime recording artists saw their biggest hits stop at No. 2, like The Cure (“Lovesong”), Journey (“Open Arms”), The Greg Kihn Band (“Jeopardy”), and Bruce Springsteen’s “Dancing In The Dark.”

If there was any one huge artist in the 80s I wanted to see reach No. 1 on the BILLBOARD Hot 100 singles chart, it was Bruce Springsteen. I was first introduced to Bruce’s music with 1980’s “Hungry Heart,” from his first No. 1 album, THE RIVER. At the time, I had no idea he had already released four critically-acclaimed and successful albums.

After “Hungry Heart,” I was a Bruce fan for life – granted, not the superfan that Hope is, but I don’t think anyone loves Bruce’s work more than Hope, except maybe for Bruce’s wife, Patti Scialfa.

“Dancing In The Dark” was released in early May 1984, a month before the BORN IN THE U.S.A. album was released. And, right out of the gate, it was a hit. “Dancing In The Dark” blasted onto the BILLBOARD Hot 100 the last week of May 1984 all the way into the Top 40, at No. 36. By the next week, it was already No. 18, with its eyes set on No. 1.

Bruce had hit No. 1 before – as a songwriter. A song from his 1973 debut album, GREETINGS FROM ASBURY PARK, N.J. – “Blinded By The Light” – was recorded by the London Rock band, Manfred Mann’s Earth Band, in 1977, and spent a week at No. 1 on the Hot 100 in February 1977, exactly four years to the month when Bruce’s original was released as a single.

“Dancing In The Dark” had a lot going for it – a popular video directed by Brian de Palma (SCARFACE, THE UNTOUCHABLES, CARRIE, DRESSED TO KILL and the first MISSION: IMPOSSIBLE film) with actress Courtney Cox (FAMILY TIES, FRIENDS) dancing with Bruce on the stage (the video would win the MTV Video Music Award for Best Stage Performance).

It also had a 12” Dance remix courtesy of Arthur Baker (who’s remixed songs for Daryl Hall & John Oates, Afrika Bambaataa, Cyndi Lauper, Pet Shop Boys and New Order). The “Blaster Mix” was miles away from anything on 1982’s NEBRASKA or 1980’s THE RIVER, but people loved it. Not only did it reach No. 7 on BILLBOARD’s Dance chart, it was the biggest-selling 12” single for all of 1984. Arthur Baker would also go on to remix the follow-up Bruce singles “Cover Me” and “Born In The U.S.A.” as well.

As much as “Dancing In The Dark” had going for it in its second week on the Hot 100, another single debuting on the same chart that early June was “When Doves Cry” by Prince, released in advance of the album and film, PURPLE RAIN. “When Doves Cry” reached the Top 40 a week later, and just like “Dancing In The Dark,” made a big move into the Top 20 the following week.

By late June 1984, “Dancing In The Dark” had climbed to No. 4, while “When Doves Cry” was closing in at No. 8. The following week, “When Doves Cry” had jumped to No. 3, and “Dancing In The Dark” was at No. 2, right behind Duran Duran’s “The Reflex.”

“When Doves Cry” proved to be too powerful for “Dancing In The Dark,” which stayed for four weeks in the runner-up position. “When Doves Cry” was the biggest song of 1984 here in America.

Though “Dancing In The Dark” didn’t reach No. 1, Bruce Springsteen still had a lot to be proud of. The song gave Bruce his first Grammy Award, winning for Best Rock Vocal Performance. In the 1984 ROLLING STONE readers poll, “Dancing In The Dark” was voted “Single Of The Year.” It’s also listed as one of The Rock And Roll Hall Of Fame’s 500 Songs That Shaped Rock And Roll.” It sold a million copies in the U.S. alone, and the single’s B-side (one of the best ever), “Pink Cadillac,” was a Top 5 hit for Natalie Cole in 1988.

Around the globe, “Dancing In The Dark” was an international smash (though in some countries it took awhile), reaching No. 1 in Belgium and the Netherlands, No. 2 in Ireland, New Zealand and Sweden, No. 4 in South Africa and the U.K., No. 7 in Canada and Norway, No. 11 in Finland and No. 12 in Italy. In Australia, though it stopped at No. 5, it was the No. 1 song of the year, spending 40 weeks on the singles chart there.

“Dancing In The Dark” was just the first part of an amazing journey for Bruce Springsteen and the BORN IN THE U.S.A. album. Seven out of the album’s 12 songs were released as singles, and all seven reached the Top 10 on the Hot 100 between 1984 and 1986, tying a record set in 1984 by Michael Jackson’s THRILLER album.

BRUCE_SPRINGSTEEN_BORN+IN+THE+USA+-+LONG+BOX-219449b

The first compact disc manufactured in the U.S.A. was BORN IN THE U.S.A.

BORN IN THE U.S.A. was No. 1 on BILLBOARD’s album chart twice, in July / August 1984 and January / February 1985. PURPLE RAIN may have been the album of the year here in the U.S. for 1984 (BORN IN THE U.S.A. was No. 28), but for 1985, BORN IN THE U.S.A. was the No. 1 album of the year in America (and even No. 16 for 1986).

NERDY FUN FACT: BORN IN THE U.S.A. was the first compact disc manufactured in the U.S. for commercial release. I remember seeing it at a DeOrsey’s in Waterville, Maine, and think it sold for something like $25.00. And the record album still sounds better.

NERDY FUN FACT 2: According to a 1984 ROLLING STONE interview, the “Dancing In The Dark” Blaster Mix by Arthur Baker happened because Bruce had heard the remix Arthur did for Cyndi Lauper’s “Girls Just Want To Have Fun,” and he thought it was incredible: “It sounded like fun, so I hooked up with Arthur. He’s a character, a great guy. He had another fellow with him, and they were really pretty wild. They’d get on that mixing board and just crank them knobs, you know? The meters were goin’ wild.”

Bruce Springsteen is one of those rare artists who have been on the same record label from the start – Columbia. Two other Columbia artists instantly come to mind – Barbra Streisand and Bob Dylan. There won’t be anyone else like them. Ever.

Bob Dylan and Bruce Springsteen (along with many other familiar faces) at the “We Are The World” recording session, 1985.

If you pull away the catchy dance beat, “Dancing In The Dark” is a personal song about the difficulty of writing a hit song and Bruce’s frustration of trying to write songs that will please everyone. Though I’m thinking Bruce would have liked to have another of his more personal songs become his biggest hit, I would almost bet my record collection he’s alright with that hit being “Dancing In The Dark.”

Bruce Springsteen with The E Street Band, 1984.

“You can’t start a fire / You can’t start a fire without a spark / This gun’s for hire / Even if we’re just dancing in the dark…”

https://www.youtube.com/watch?v=129kuDCQtHs

song of the day – “Love Shack” | THE B-52’s | 1989.

Posted on July 27, 2017 by retrogod1985

In honor of my radio hero, Casey Kasem, for the entire month of June (and now through July), I will be highlighting a song each day (some days will have two songs!) that peaked in the Top 40 of the BILLBOARD Hot 100 (including five (real) one-hit wonders of the 80s), and with every blog post, just like on AMERICAN TOP 40, the hits will get bigger with each post. On June 1, 2017, I featured a song that peaked at No. 40. Sometime here in July, I’ll feature a “song of the day” that went all the way to No. 1.

As Casey used to say on AT40, “And on we go!”

Casey Kasem used to also say, “As the numbers get smaller, the hits get bigger.” And so does the number of songs that reached these “smaller” positions. Between 1979 and 1989, more than 110 songs peaked at No. 3, and many artists stayed there more than once, including Bobby Brown, El DeBarge (solo and with DeBarge), Duran Duran, Genesis, The Jets, Billy Joel, Cyndi Lauper, Huey Lewis & The News, Richard Marx, Olivia Newton-John, The Pointer Sisters, The Police (Sting also had a No. 3 solo hit), Kenny Rogers, Barbra Streisand, Styx, Wham! and Donna Summer. Chicago reached the No. 3 positions four times between 1979 and 1989.

1988 was a popular year for No. 3 hits, when 17 songs reached that position, including songs by Taylor Dayne, Samantha Fox, Debbie Gibson, the “comeback” hit for Hall & Oates (“Everything Your Heart Desires”), Breathe, Anita Baker, Information Society, INXS, U2 and (real) one-hit wonder Patrick Swayze (from DIRTY DANCING).

No. 3 hits also included the first solo by David Lee Roth (his cover of The Beach Boys’ “California Girls”), as well as the first Van Halen hit without him, “Why Can’t This Be Love.” There were also big No. 3 hits for Simple Minds, Belinda Carlisle, The Cars, Neneh Cherry, Charlie Daniels Band, Chris de Burgh, Earth, Wind & Fire, Corey Hart, Don Henley, Chaka Khan, Love & Rockets, Men At Work, Men Without Hats, Nu Shooz, Stevie Nicks with Tom Petty & The Heartbreakers, The S.O.S. Band, The Stray Cats, Tears For Fears, Thompson Twins, Madonna and the last Top 40 hit for the late, great Marvin Gaye (“Sexual Healing”).

Love was a constant theme among the No. 3 hits, and was featured in the title of 15 songs, and implied in many others. One of the 15 hits with the “Love” connection (sorry, couldn’t be helped) was one of two No. 3 hits in a row for The B-52’s – “Love Shack.”

One of the 80s’ biggest success stories – some would say one of the biggest comebacks – belonged to Athens, GA’s New Wave / Alt-Rock / Alt-Dance legends, The B-52’s. By 1989, The B-52’s had already released four albums and two EPs, and had reached the BILLBOARD Hot 100 three times – “Rock Lobster” (No. 56, 1980), “Private Idaho” (No. 74, 1980) and “Legal Tender” (No. 81, 1983).

The B-52’s started recorded their fourth album – BOUNCING OFF THE SATELLITES – in July 1985. At that time, the band was comprised of vocalist Fred Schneider, vocalist and keyboardist Kate Pierson, vocalist and percussionist Cindy Wilson, lead guitarist Ricky Wilson (Cindy’s brother), and drummer / rhythm guitarist and keyboardist Keith Strickland. This had been the lineup since the band’s formation in 1976.

During the recording of BOUNCING OFF THE SATELLITES, it was discovered that Ricky Wilson was suffering from AIDS. None of the rest of The B-52’s (except for Keith Strickland) had known about it. In an interview, Kate Pierson had said that Ricky Wilson kept his illness a secret from the rest of the band because he “did not want anyone to worry about him or fuss about him.”

On October 12, 1985, while still in the recording process of BOUNCING OFF THE SATELLITES, Ricky Wilson died of AIDS at the heartbreakingly young age of 32 years old.

After Ricky’s death, drummer Keith Strickland learned how to play guitar in Ricky’s own style and switched from drummer to lead guitarist. The band hired session musicians to help out as well, including the album’s producer, Tony Mansfield (who had also worked with Naked Eyes, Captain Sensible, a-ha and After The Fire).

Devastated beyond belief at the loss of Ricky Wilson, The B-52’s released BOUNCING OFF THE SATELLITES on September 8, 1986, with no fanfare and no tour, though they did make a music video for my favorite song on the album, “Girl From Ipanema Goes To Greenland.”

Cindy Wilson went into a deep depression following her brother’s death, Keith Strickland spent some time at Woodstock, NY, while Fred Schneider and Kate Pierson remained in New York City. They all felt at that moment The B-52’s couldn’t continue without Ricky Wilson.

But, in time, Keith Strickland began composing songs again, and after playing some of the new music he had worked on to the rest of the band, they agreed to try and start writing together again. The result was COSMIC THING, the biggest album the band would ever have.

COSMIC THING’s production was smartly split up between Don Was (of Was (Not Was) fame) and Nile Rodgers. It worked and then some, and the album’s first single, “Channel Z,” was not well-received anywhere except College and Modern Rock radio, who embraced it right away. “Channel Z” would spend three weeks at No. 1 on BILLBOARD’s Modern Rock chart in August 1989.

“Channel Z” was also the B-side of the album’s second single, “Love Shack,” which was released a week in advance of COSMIC THING in late June 1989. It took a month and a half to reach BILLBOARD’s Hot 100 chart and become the band’s fourth single to reach the chart.

“Love Shack” debuted on the Hot 100 in early September 1989 at No. 84. Within three weeks, “Love Shack” had already surpassed the peak of every B-52’s single which had reached the chart. By the end of September 1989, it was the first Top 40 hit the band had in its U.S. homeland.

In early November 1989, The B-52’s landed their first Top 10 hit, with “Love Shack.” That was also the week I saw them perform for the first time, when they came to the University of Maine at Orono and almost literally brought the roof of the venue down with their show. They were amazing. I would see them again on the COSMIC THING tour in 1990 at The Ballpark in Old Orchard Beach, Maine.

“Love Shack” would go on to spend a couple of weeks at No. 3 in November 1989, and just before Xmas 1989, it was certified Gold. Follow-up single “Roam” debuted on the last Hot 100 of 1989, when “Love Shack” was still in the Top 30. And, in late January 1990, “Roam” debuted within the Top 40 the last week “Love Shack” spent in the Top 40. (“Roam” would also reach No. 3 and was certified Gold as well.)

A total of 27 weeks was spent on the Hot 100 for “Love Shack,” one week more than half a year. It was that lengthy time on the chart which saw it finish on the year-end BILLBOARD charts two years in a row. Pretty impressive. It also reached (with “Channel Z”) No. 7 on BILLBOARD’s Dance chart, spent four weeks at No. 1 on BILLBOARD’s Modern Rock chart, and received two MTV Video Music Awards, for Best Group Video and Best Art Direction.

NERDY FUN FACT: “Love Shack” was produced by Don Was, and the inspiration for the song was this cabin around Athens, GA, which had a tin roof, and where the band conceived their first hit, “Rock Lobster.” Kate Pierson even lived in the cabin back in the 70s (it burned down in 2004). Prolly the most famous line in the song, where Cindy Wilson exclaims, “Tin roof…rusted,” was actually an outtake that was added to the song later on.

Around the globe, lots of love was felt for “Love Shack,” and it spent eight weeks at No. 1 in Australia, four weeks at No. 1 in New Zealand, a week at No. 1 in Ireland, plus it reached No. 2 in the U.K., and the Top 20 in Belgium and the Netherlands.

In a 2002 interview with ROLLING STONE (which named “Love Shack” as the Best Single of 1989), Fred Schneider spoke of the album’s success: “We thought it would be good, but we didn’t know how good. We don’t really set out saying, ‘Oh, this is going to be commercial,’ or ‘This is going to be this or that.’ We just wanted good songs, and we thought the songs were really good. We were pretty shocked, because we didn’t expect it to go that big. The success of it brings problems because it’s really hard to do tours. I’m not one to want to go tour at all, but to do eighteen months is like torture. You just get offers that are really good and you’re going to New Zealand and Australia and all over Europe, and it’s pretty exciting. It all went way beyond what you’d think.”

After COSMIC THING, The B-52’s continued to record and chart for a few more years, including a fun cover of the TV theme song, “(Meet) The Flintstones” (from the 1994 FLINTSTONES movie starring John Goodman). It snuck onto the Top 40 for one week in early June 1994.

Apart from recording (as The BC-52’s) for Fred, Wilma, Barney and Betty (and a couple of popular compilations), the band took a lengthy hiatus, and in March 2008, released FUNPLEX, their first album in nearly 16 years. It was worth the wait.

In October 2011, they released a CD and a DVD of a live concert from earlier that year, WITH THE WILD CROWD! LIVE IN ATHENS, GA. To borrow from a line out of FERRIS BUELLER’S DAY OFF, “It is so choice. If you have the means, I highly recommend picking one up.” Seriously, it’s that good. One of the best live performances I’ve ever seen on the small screen, from one of the bands with two of the best live performances I’ve seen in person.

Though the band hasn’t released a solo album since 2008’s FUNPLEX, The B-52’s continue to tour and perform 50-60 shows a year (minus Keith Strickland, who is still with the band, but who stopped performing live with them in 2012). Sadly, I missed them this Summer, when they came to Hampton Beach, New Hampshire (where I saw Billy Idol in 2014), and when they performed with the Boston Pops. That must have been incredible! Prolly the only Pops show where you can’t control people from dancing on their seats, in the aisles and everywhere!

I gotta be honest, after years of playing it at wedding receptions, “Love Shack” is not my favorite B-52’s song. But, if you were in a jam and tried to get people out onto the dance floor, that was THE go-to song, and people loved it, and loved dancing to it. Though it’s not my favorite from the band, I do love the song to death, and I’m so glad it finally got The B-52’s the recognition they deserved after so many years of struggling despite putting out great music, and with the terrible loss they suffered when they lost Ricky Wilson.

Both COSMIC THING and “Love Shack” are a testament to Ricky’s memory, and I’m so proud to call The B-52’s one of my all-time favorite bands, even if it took me awhile to get there. They are a heluva lot of fun to listen to and dance to, play on the radio and see perform live, which I hope to do again sometime soon…

“Hop in my Chrysler, it’s as big as a whale and it’s about to set sail / I got me a car, like, it seats about 20 / So come on and bring your jukebox money… The Love Shack is a little old place where we can get together / Love Shack, ba-by….”

https://www.youtube.com/watch?v=9SOryJvTAGs

(real) one-hit wonder of the week – “Heart And Soul” | T’PAU | 1987.

Posted on July 20, 2017 by retrogod1985

As Casey used to say on AT40, “And on we go!”

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.

The nearly 80 songs that reached the No. 4 position on the BILLBOARD Hot 100 between 1979 and 1989 had a bit of everything – Top 40 newbies which included Irene Cara (“Fame”), Asia (“Heat Of The Moment”), Samantha Fox (“Touch Me (I Want Your Body)”), the first two hits by Debbie Gibson (“Only In My Dreams,” “Shake Your Love”), Rickie Lee Jones (“Chuck E.’s In Love”), Suzi Quatro & Chris Norman (“Stumblin’ In”), Run-D.M.C. (“Walk This Way”), and Spandau Ballet (“True”).

Songs that reached No. 4 also included the biggest U.S. chart hits for Howard Jones (“No One Is To Blame”), Electric Light Orchestra (“Don’t Bring Me Down”), Eddie Money (“Take Me Home Tonight”), OMD (“If You Leave”), Soul II Soul (“Back To Life”), Teena Marie (“Lovergirl”), The Fixx (“One Thing Leads To Another”) and Tommy Tutone (“867-5309/Jenny”).

Some of my all-time favorite songs reached No. 4 as well, like “Urgent” by Foreigner, “Eyes Without A Face” by Billy Idol, “Mandolin Rain” by Bruce Hornsby & The Range, “Give Me The Night” by George Benson, Terence Trent D’Arby’s “Sign Your Name,” “Sultans Of Swing” by Dire Straits, “Freeze-Frame” by The J. Geils Band and “Cruisin’” by Smokey Robinson.

Multiple artists hit No. 4 more than once, including Lionel Richie (one solo and two with the Commodores), Duran Duran, Fleetwood Mac (who spent an agonizing then-record seven weeks at No. 4 with 1982’s “Hold Me”), the aforementioned Debbie Gibson, Madonna, Phil Collins (one solo and two with Genesis), Ray Parker, Jr. (one solo and one with Raydio), and Stevie Wonder.

Two memorable Elvis covers also reached No. 4 – “Don’t Be Cruel” by Cheap Trick and “Always On My Mind” by Pet Shop Boys (the highest-charting version of that song here in America).

Two (real) one-hit wonders of the 80s reached No. 4 on the Hot 100 between 1979 and 1989. The first one was Taco, the German musician whose spirited version of Irving Berlin’s “Puttin’ On The Ritz” reached No. 4 in September 1983, and was a huge international hit.

The original T’Pau (from STAR TREK).

The second (real) one-hit wonder of the 80s to reach No. 4 was a British Pop / Rock band whose lead singer, Carol Decker, hailed from Liverpool, and the band’s name came from a character in the original STAR TREK from the 60s – T’Pau, the name of a Vulcan elder. Before deciding on a name for the band, their working name was Talking America.

T’Pau formed in 1986 as a six-member band and released their debut single, “Heart And Soul,” in late April 1987, a month in advance of their debut album, BRIDGE OF SPIES. One of the memorable things about “Heart And Soul” is that Carol Decker is in a duet with herself, courtesy of overlapping vocals.

A couple of weeks after its release, “Heart And Soul” debuted on the BILLBOARD Hot 100 in early May 1987 at No. 91. It landed in the Top 40 six weeks into its chart run, steadily climbing on the chart until peaking at No. 4 for a week in early August 1987, the month it was released in in their U.K. homeland. During this time, it was also featured in a Pepe Jeans ad, though I can’t really say I even remember Pepe Jeans. But, it seemed to help the song’s chart success.

Despite that chart success here in America, “Heart And Soul” did not fare well in the U.K. upon its release, but eventually the U.K. warmed up to the song, and it, too, reached No. 4. Outside of the U.S. and the U.K., “Heart And Soul” reached No. 4 in Ireland, No. 5 in Canada, No. 9 in New Zealand and Switzerland, No. 10 in France and Germany, and the Top 20 in Australia, Belgium, South Africa, Sweden and the BILLBOARD Dance chart.

Thanks to its 27 weeks on the Hot 100, “Heart And Soul” finished 1987 here in the U.S. at No. 33 for the year, above No. 1 hits by Kim Wilde, George Michael and Aretha Franklin, Huey Lewis & The News, Madonna and two No. 1 songs by Michael Jackson.

Though T’Pau never charted on the BILLBOARD Hot 100 again, their biggest international success came with another single from BRIDGE OF SPIES – “China In Your Hand,” which was a massive No. 1 hit in several countries, including the U.K. and Switzerland (5 weeks at No. 1), Belgium, Ireland and the Netherlands (2 weeks), plus a No. 1 rank in Norway, and Top 10 rankings in (at least) Austria, Germany, New Zealand, Poland and Sweden.

T’Pau is still together today, though from the original six-member band, the only members left are “Heart And Soul” co-writers Carol Decker and rhythm guitarist / songwriter Ronnie Rogers. In early 2015, they released their fifth studio album, PLEASURE & PAIN, which became their first-charting U.K. album in nearly 25 years.

For this album, Carol Decker expressed her frustration through an interview about her new music not being played vs. the radio stations being only interested in playing their 80s classics: “It’s a little harder to get on the radio because all the ‘80s stations play the ‘80s stuff and they won’t play your new stuff. They actually say they can’t, and then the younger stations play the younger artists, the hip stations. That’s the downside, and I miss hearing radio plays for the new stuff… it is a little frustrating that I can’t get it out to the wider audience anymore.”

This is just one of many reasons why I need to (soon) start the next incarnation of my radio show, STUCK IN THE 80s, so I can highlight the new music, like I did on my longtime show with WMPG.

Though I honestly never kept up with T’Pau (partially because of the one hit here), I always loved “Heart And Soul,” and continue to introduce it to folks when I can (I recently guest-hosted a show on WMPG with my former radio neighbor, DJ Shaxx, and he fell in love with it when we played it on the air).

Thank you, Carol and Ronnie, for putting some needed “Heart And Soul” into my music for 1987. 30 years later, it’s not forgotten…

“Give a little bit of heart and soul / Give a little bit of love to grow / Give a little bit of heart and soul / And don’t you make me beg for more / Give a sign, I need to know / A little bit of heart and soul…”

https://www.youtube.com/watch?v=SwrYMWoqg5w

song of the day – “Wanna Be Startin’ Somethin’” | MICHAEL JACKSON | 1983.

Posted on July 19, 2017 by retrogod1985

As Casey used to say on AT40, “And on we go!”

Well, we’re finally into the Top 5! Normally it would have taken Casey Kasem three-and-a-half hours to reach this point, but he had a script, a chart already set up courtesy of BILLBOARD magazine, and he didn’t have to write everything out. Not that I mind. While it’s taken me quite a bit longer than I had hoped, I have really been enjoying this series, and hope you have too.

The songs that peaked at No. 5 between 1979 and 1989 are, so far, in a class all by themselves. More than 100 songs reached that position, including some memorable cover songs, like “Respect Yourself” by Bruce Willis (originally by The Staple Sisters), “Cum On Feel The Noise” by Quiet Riot (Slade), “Once Bitten, Twice Shy” by Great White (Ian Hunter) and “Pink Cadillac” by Natalie Cole (Bruce Springsteen, who also had three No. 5 hits of his own).

One of three singles to reach No. 5 on the BILLBOARD Hot 100 for Bruce Springsteen between 1979 and 1989.

Many artists had more than one No. 5 hit, including Pat Benatar, Gloria Estefan (with and without the Miami Sound Machine), Exposé, Lou Gramm (with and without Foreigner), Daryl Hall (solo and two with John Oates), Janet Jackson (solo and with Herb Alpert), Madonna, Sade, Willie Nelson (solo and a duet with Julio Iglesias), George Michael (solo and as a guest vocalist for (real) one-hit wonder, Deon Estus), Olivia Newton-John, Eddie Rabbitt, Rolling Stones, Bob Seger and Rod Stewart. Australia’s Air Supply had four No. 5 hits.

One of two singles to reach No. 5 on the BILLBOARD Hot 100 for Madonna between 1979 and 1989.

The late, great John Lennon and his son, Julian Lennon, both hit No. 5 within a two-year period of each other, and some of my favorite 80s songs peaked at No. 5, like Thomas Dolby’s “She Blinded Me With Science,” “When Smokey Sings” by ABC, “In Your Room” by The Bangles, The Dazz Band’s “Let It Whip,” “What You Need” by INXS, “Stand Back” by Stevie Nicks, “Sister Christian” by Night Ranger, “I’m Coming Out” by Diana Ross, “(She’s) Sexy + 17” by The Stray Cats, “On The Radio” by Donna Summer, “Master Blaster (Jammin’)” by Stevie Wonder, and “All Through The Night” by Cyndi Lauper, which set a BILLBOARD Hot 100 record for Cyndi as she was the first female recording artist who would reach the Top 5 with four chart hits from a debut album. And she wouldn’t be the last.

Another of my favorite No. 5 hits belongs to the man who was not only the biggest recording artist of the 1980s, the entire year of 1983 belonged to him. Of course, I’m talking about the late, great Michael Jackson. The THRILLER album spent a massive 37 weeks at No. 1 on BILLBOARD’s album chart. THRILLER was so big, in fact, that it was the No. 1 album in America for two consecutive years.

By now, everyone and their mother (and grandmother) knows all about the Quincy Jones-produced THRILLER album and the success it has had. It’s still the biggest-selling, non-compilation album of all time.

The first song on the THRILLER album was the fourth (of seven) singles released from the album – “Wanna Be Startin’ Somethin’.” What a heluva way to start off an album! From the opening drum beats, you just knew Michael Jackson had something special with this album.

“Wanna Be Startin’ Somethin’” (a song about strangers – i.e. the press – spreading rumors to start arguments for no apparent reason), was released in early May 1983 and didn’t waste any time debuting on the BILLBOARD Hot 100. It debuted on the chart at No. 41, three weeks after its release, and with “Billie Jean” still on the chart (at No. 42) and “Beat It” at No. 3.

The following week, “Wanna Be Startin’ Somethin’” roared to No. 22, looking like a third No. 1 hit in a row from THRILLER (the album’s first single, “The Girl Is Mine,” with Paul McCartney, peaked at No. 2). After a few slow chart weeks, it reached the Top 10 by early July 1983, and a couple weeks later, spent a quick two weeks at No. 5. THRILLER’s fifth single, “Human Nature,” had already reached the Top 40 while “Wanna Be Startin’ Somethin’” was still in the Top 10. It was one of five singles from THRILLER to finish the year in the Top 100 here in the U.S. in 1983.

Around the globe, “Wanna Be Startin’ Somethin’” spent two weeks at No. 1 in the Netherlands, and reached No. 3 in Belgium, No. 5 in Ireland, No. 8 in the U.K., No. 11 in Canada, No. 14 in Spain and No. 16 in Germany.

“LET’S ALL GO TO COURT, LET’S GO MAKE SOME LAW NOW” FACT: As talented as Michael Jackson was, he had a bad habit of “borrowing” other people’s music for his own songs – without their consent. At the “We Are The World” recording in 1985, he confessed to Daryl Hall that he used the beat of “I Can’t Go For That” for the beat in “Billie Jean.” Daryl Hall didn’t seem to mind, but for “Wanna Be Startin’ Somethin’,” that catchy vocal bit near the end, you know the one – “Mama-say mama-sah ma-ma-coo-sah” – was actually taken directly from a 1972 Disco song by Manu Dibango called “Soul Makossa” (Manu Dibango is a saxophonist from Cameroon, and Makossa is a type of music and dance in that country), and the bit was used without permission.

For years, there was no lawsuit about this, but when current Pop star, Rihanna, used the bit in one of her songs from 2007, both she and Michael Jackson were sued. In early 2009, just months before Michael Jackson died, Michael had admitted he “borrowed” the line, and he ended up settling out of court. Apparently, when Rihanna asked Michael Jackson to see if she could use the line in her song, that’s when the fit hit the shan, and once again, Manu Dibango was not contacted by Michael Jackson prior to the song’s use, hence the lawsuit.

It’s hard to believe Michael’s been gone nine years already. He was 50 at the time of his death, the age I’m at right now (don’t worry – I’m not leaving anytime soon), and I’m convinced that Michael had a big comeback in the works when his life was cut short on June 25, 2009. While I have my own theory about what really happened with his death, I would much rather choose to celebrate his music, in this case “Wanna Be Startin’ Somethin’,” which is six minutes of pure Post-Disco joy and dance floor gold. Honestly, who do you know that WOULDN’T get out on the dance floor and dance to this as soon as they heard it?!

“Lift your head up high / And scream out to the world / I know I am someone / And let the truth unfurl / No one can hurt you now / Because you know it’s true / Yes, I believe in me / So you believe in you…

https://www.youtube.com/watch?v=8KWf_-ofYgI

song of the day – “Infatuation” | ROD STEWART | 1984.

Posted on July 18, 2017 by retrogod1985

As Casey used to say on AT40, “And on we go!”

About 70 songs peaked at No. 6 between 1979 and 1989, and out of these songs I found many favorites, like “Lay Your Hands On Me” by Thompson Twins, “The Logical Song” by Supertramp, “Don’t Let It End” by Styx (a great song you almost never hear anymore), “Breakout” by Swing Out Sister, “Late In The Evening” by Paul Simon, the gorgeous “Piano In The Dark” by Brenda Russell featuring Joe Esposito, “Your Love” by The Outfield, “Neutron Dance” by The Pointer Sisters (from BEVERLY HILLS COP), “Come Dancing” by The Kinks, “Him” by Rupert Holmes (love those story songs), “Steppin’ Out” by Joe Jackson, “Family Man” by Daryl Hall & John Oates, “Fast Car” by Tracy Chapman, “Funkytown” by Pseudo Echo, “Word Up” by Cameo, “Obsession” by Animotion, “Boogie Wonderland” by Earth, Wind & Fire with The Emotions (from CADDYSHACK), “Some Like It Hot” and “Election Day” by Duran Duran spinoffs The Power Station and Arcadia, respectively, and “I Drove All Night” by the incomparable Cyndi Lauper. I’ll come back to Cyndi in a moment.

The No. 6 position was also a favorite for Huey Lewis & The News, who placed four songs at No. 6, and three of those were consecutive No. 6 hits from their monster 1983 album, SPORTS – “I Want A New Drug,” “The Heart Of Rock & Roll” and “If This Is It.”

Bryan Adams, Dr. Hook, Little River Band and John Mellencamp each had two No. 6 hits, plus there were two fantastic ballads by Bruce Springsteen from BORN IN THE U.S.A. (“I’m On Fire” and “My Hometown”), and two songs by Rod Stewart – “Love Touch” and one of my all-time favorite songs by the London native, “Infatuation.”

On Friday, July 14, 2017, my oldest friend, Peter, and I had the absolute privilege of seeing Cyndi Lauper and Rod Stewart perform in Bangor, Maine. Cyndi opened up for him, and was, of course, phenomenal, as I knew she would be. If my math is correct, it was her first time performing in Maine since her 1986-1987 TRUE COLORS tour, and was definitely long overdue and yet so worth the wait.

Cyndi Lauper on the big hi-def screen, stunning as evah.

I was more than pleased to see the Maine crowd welcome back Cyndi, and the crowd went nuts when Maine Senator Susan Collins came out to the stage. In 2015, Senator Collins – a longtime Maine Republican Senator – chaired a bipartisan committee to look into the serious issue of homeless youth. Cyndi testified before Senator Collins and the Transportation, Housing and Urban Development Appropriations subcommittee, to seek legislative funding programs for homeless teens. (For years, Cyndi’s wonderful True Colors Fund, has existed to help combat homeless LGBT youth, “creating a world in which all young people can be their true selves.” Please go to TrueColorsFund.org for more info and find out how you can help.)

Cyndi was about to go into another song when one of her crew members came out and whispered that Senator Collins was backstage. I think I heard Cyndi say, “Bring her out!” And once the Senator came out to greet Cyndi, Cyndi told the audience, “This woman is a hero. And she’s my hero. And she’s a Republican. She’s helped us so much with the LGBT homeless youth and all the homeless kids.” And then Senator Collins got the hug I wanted, dammit! It’s all good. I may not agree with all of the political views of Senator Collins, but it was a really nice moment. After the show, Cyndi even tweeted a selfie of Senator Collins, Rod Stewart and herself.

What a great selfie: Maine Senator Susan Collins, Rod Stewart and Cyndi Lauper.

Speaking of Sir Rod Stewart, holy cats! I don’t know why exactly I had never seen Rod perform live before, but I’m so glad I got to see him this time. The guy is 72, and still had the moves, the looks, an incredible band, lovely ladies who could sing, dance and play instruments, and he sure knew how to work the crowd. And he could kick the shit out of a soccer ball (er, football for everyone outside of the U.S.) (he gave away signed soccer balls by kicking them out to the crowd; one went over Pete and I, and about five people scrambled to get it, though they forgot a barrier was there. Oopsie!).

What almost looks like a huge painting is actually a very elated Rod Stewart, wowing the crowd in Bangor, Maine.

The first song he sang surprised me, but it was so great to hear – “Infatuation.” Between 1979 and 1989, Rod Stewart reached the Top 10 seven times, including his No. 1 hit, “Da Ya Think I’m Sexy?”, which incidentally was the first 45 I ever bought with my own money back in 1979, and the last song he played in Bangor.

The upbeat Rock / Dance hit featuring the incredible Jeff Beck on guitar (he also appears in the music video), “Infatuation” was released in advance of Rod Stewart’s 13th studio album, CAMOUFLAGE. It debuted on the BILLBOARD Hot 100 in late May 1984 way up at No. 47, and would have been the highest-debuting song of the week, but Bruce Springsteen’s “Dancing In The Dark” had other plans, and debuted within the Top 40.

The following week, “Infatuation” jumped into the Top 40, and from there made a slow but steady climb up the chart, reaching the Top 10 in late July 1984, and spent the next two weeks at its peak position of No. 6. “Infatuation” departed from the Hot 100 by late September 1984 and finished the year at No. 58.

There was even a bit of infatuation for “Infatuation” across the globe, and it was a Top 20 hit in Canada, Ireland, Sweden and Switzerland, and a Top 30 hit in the U.K. and Germany. It also reached No. 5 on BILLBOARD’s Mainstream Rock chart and No. 19 on BILLBOARD’s Dance chart, his last of five songs to date to reach that chart.

Rod continued to chart well on the BILLBOARD Hot 100 into the the first half of the 1990s, and his last Top 10 hit was also his last No. 1 single to date – “All For Love” (from the 1993 film, THE THREE MUSKETEERS), with Sting and Bryan Adams. It was No. 1 for three weeks in early 1994.

Bryan Adams, Rod Stewart and Sting, teaming up for one of the biggest hits of 1994. And now I’ve seen all three perform live!

Over on the album charts since then, especially with his GREAT AMERICAN SONGBOOK series since Y2K, Rod Stewart has seen a ton of success all over the world. In Bangor, he also played a lovely track from his most-recent album, 2015’s ANOTHER COUNTRY, called “Love Is.” The album went Platinum in his U.K. homeland and reached No. 2 there.

Though I don’t know why it took me decades to finally see Rod Stewart perform, I’m so glad I did. I was honestly there to see Cyndi perform, but I had always a fan of Rod’s music, so I thought it’d be great to see him too. Little did I know just how impressed I would be with his performance and then some.

Rod and Cyndi also did a wonderful duet together – “This Old Heart Of Mine,” a 1966 song originally by The Isley Brothers that he covered in 1975, and which reached No. 83 on the BILLBOARD Hot 100. In 1989, he covered the song again with Ronald Isley, and it became a Top 10 hit, surpassing the original. Rod’s duet with Cyndi was one – of many – highlights of the night.

Rod Stewart and Cyndi Lauper, singing “This Old Heart Of Mine.”

“Infatuation” isn’t regarded as one of those Rod Stewart songs most folks immediately associate with him, but I sure do, and I’m so glad he dug it out for what turned out to be an incredibly memorable show…

https://www.youtube.com/watch?v=nH_xiZZheg4

song of the day #2 – “What I Am” | EDIE BRICKELL & NEW BOHEMIANS | 1989.

Posted on July 15, 2017 by retrogod1985

As Casey used to say on AT40, “And on we go!”

Nearly 80 songs reached No. 7 on the BILLBOARD Hot 100 between 1979 and 1989, a list comprised of many (then) up-and-coming R&B / Hip Hop and Dance stars, like those awesome Beastie Boys (with “(You Gotta) Fight For Your Right (To Party!)”), plus Young MC bustin’ a move, Babyface, Bobby Brown, Dino and Karyn White.

No. 7 was a popular number for hits for The Cars, Michael Jackson and Juice Newton, who had two No. 7 hits each. There were also No. 7 hits from Bruce Springsteen, and Rhode Island’s answer to Bruce Springsteen – John Cafferty & The Beaver Brown Band, plus you had Heart and Corey Hart (“Who Will You Run To” when you have on “Sunglasses At Night?”). Heart’s Ann Wilson also reached No. 7 with “Almost Paradise,” the love theme from FOOTLOOSE, a duet with (real) one-hit wonder Mike Reno of Loverboy.

The No. 1 artist of the 80s, with his last hit of the 80s, one of two solo songs that reached No. 7 for Michael Jackson.

In 1989, though they would be their last Top 10 American hits, there were a few 70s superstars who had big comeback hits that reached No. 7 – Bee Gees (“One”; their first Top 10 hit since 1979), Alice Cooper (“Poison”; his first Top 10 hit since 1977), and Donna Summer (“This Time I Know It’s For Real”; her first Top 10 hit since 1983).

1989 was a huge year for No. 7 hits on the BILLBOARD Hot 100 – 14 of them reached the peak that year. One of those songs was a song was by a singer, at the time, that I could not stand and a song, at the time, I could stand even less – “What I Am” by Edie Brickell & New Bohemians.

Ever have some songs that just eat away at you for whatever reason? Sure you do. A handful of songs from the 80s do that to me. Maybe one day I’ll mention them. When “What I Am” came out, there was just something about it that was so as repulsive to me. I don’t know if it was the hippie-ish nature of Edie Brickell, her voice, or the guitar style that sounded like something Jerry Garcia of The Grateful Dead would do (I was also not a fan of The Dead in 1989). Whatever it was that bugged the fuck out of me about that song, it’s long gone now.

The New Bohemians formed as a trio in Dallas, Texas in the early 80s. The drummer for The New Bohemians, Brandon Aly, guitarist Kenny Withrow and percussionist John Bush had all attended the same magnet performing arts school as Dallas native Edie Brickell, though at the time, Edie was there for art, not music.

In 1985, Edie Brickell was asked to join the band onstage and sing with them, and she continued on from there. After being a local favorite for years, playing in clubs and even backing Bo Diddley one time, the band’s big break came in August 1988, when they released their first album as Edie Brickell & New Bohemians, SHOOTING RUBBERBANDS AT THE STARS.

Edie Brickell was just 22 years old at the time (I believe they were all young), and SHOOTING RUBBERBANDS was incredibly well-received for a debut album by a young band. In a review on the AllMusic site by Kelly McCartney, Edie Brickell’s “simple observations offer deep contemplations for the willing disciples of her musical philosophies. ‘What I Am’ is the perfect example: ‘I’m not aware of too many too many things / I know what I know, if you know what I mean…’ Zen and the art of songwriting.”

Well, the songwriting, the vocals, the Alt-Folk tunage – it all found a place in homes and radio stations and record stores across the country, and eventually SHOOTING RUBBERBANDS AT THE STARS sold than two million copies in the U.S. alone.

The first single from SHOOTING RUBBERBANDS, “What I Am,” was released in November 1988, a few months after the release of the album. By month’s end, it debuted on BILLBOARD’s Hot 100 chart at No. 96. By mid-January 1989, “What I Am” had found its way to the Top 40 of the Hot 100, and for several weeks since debuting on the chart, had been in competition with Information Society’s “Walking Away,” which debuted a couple places below “What I Am” back in late November 1988.

By mid-February 1989, “What I Am” surpassed “Walking Away” for the first time since they debuted, and in early March 1989, “What I Am” spent a week at its peak position of No. 7. And, in good form (though unintentional, I’m sure), both “What I Am” and “Walking Away” walked away the Hot 100 in early April 1989.

Around the globe, “What I Am” was a No. 6 hit in Canada, and it reached No. 11 in New Zealand, No. 18 in Australia, No. 23 in Ireland and No. 31 in the United Kingdom. It also reached No. 4 on BILLBOARD’s Modern Rock chart, and No. 9 on BILLBOARD’s Mainstream Rock chart.

Edie & The New Bohemians charted on the Hot 100 just one more time, with “Circle,” the follow-up single to “What I Am,” which stopped at No. 48, and was a modest hit around the globe, reaching the Top 40 in Belgium and the Netherlands.

Paul Simon and Edie Brickell, March 2016.

QUIRKY FUN FACT: On November 5, 1988, the same month “What I Am” was released, Edie and the band performed the song on SATURDAY NIGHT LIVE. Well, Paul Simon was there by a cameraman, and in a January 2011 interview with the TODAY show, she said, “Even though I’d performed the song hundreds of times in clubs, [Paul] made me forget how the song went when I looked at him,” she said smiling. “We can show the kids the tape and say, ‘Look, that’s when we first laid eyes on each other’.” Paul Simon and Edie Brickell were married in late May 1992, and they have three children – Adrian, Lulu and Gabriel.

After a six-year break in the 90s, Edie Brickell & New Bohemians have been together for the past 20 years, most-recently playing three sold out nights in April 2017 in the Dallas suburb where Edie was born, Oak Cliff.

Edie Brickell, Oak Cliff, Dallas, Texas, April 2017.

When she’s not working with New Bohemians (their last album was in 2006), she’s released several of her own albums, including her other band, The Gaddabouts, and has recorded two Bluegrass albums with the brilliant Steve Martin – 2013’s LOVE HAS COME FOR YOU and 2015’s SO FAMILIAR. Both albums went to No. 1 on BILLBOARD’s Bluegrass Albums chart. LOVE HAS COME FOR YOU was BILLBOARD’s No. 1 Bluegrass album for 2013, and No. 3 for 2014. SO FAMILIAR was the No. 3 Bluegrass Album for BILLBOARD in 2016, six positions higher than the year-end chart for the year it was released.

In the liner notes for SHOOTING RUBBERBANDS AT THE STARS, Edie Brickell wrote out some annotations about each song on the album, replete with illustrations. For “What I Am,” she wrote, “‘What I Am’ is a smart-alec’s way out of a deep discussion on the universe as it relates to the self.”

Well, as for this self, I’m not trying to get out of a deep, universal discussion as to why “What I Am” and Edie & Co. didn’t do anything for me for all those years, though maybe it was more of “Who I Am” than “What I Am.” And while I’m still not a big fan (although I LOVE their 1989 cover of Bob Dylan’s “A Hard Rain’s A-Gonna Fall” from BORN ON THE FOURTH OF JULY), I’m glad the song eventually grew on me, and became part of what – and who – I like…

https://www.youtube.com/watch?v=tDl3bdE3YQA

song of the day – “Let The Music Play” | SHANNON | 1984.

Posted on July 15, 2017 by retrogod1985

As Casey used to say on AT40, “And on we go!”

Unlike the songs that peaked at No. 9, for the more than 70 songs that reached No. 8 between 1979 and 1989, there were no specific themes among them, but I found some similarities. There were a couple of clubs (and (real) one-hit wonders) – Timex Social Club (“Rumors”) and Boys Club (“I Remember Holding You,” though I’m betting you prolly don’t remember the song very well).

Neil Diamond’s patriotic immigration gem, “America,” reached No. 8, and the band America reached the Top 10 one more time, with “You Can Do Magic.” There was also a surge in new R&B female singers near the end of the decade, and three of them reached No. 8 – Vanessa Williams (“Dreamin’”), Karyn White (“Superwoman”) and the sweet, Soulful sounds of Anita Baker (“Sweet Love”).

Multiple artists had multiple No. 8 hits – Eagles, Electric Light Orchestra, John Mellencamp and ZZ Top each had two, as did Sting, one with The Police (the gorgeous “Wrapped Around Your Finger”) and solo (the sexy “Fortress Around Your Heart”), and Prince reached that position three times (with “Delirious,” “I Would Die 4 U” and “Alphabet St.”).

One song that reached No. 8 and stood out for me was “Let The Music Play,” by Shannon, born Shannon Brenda Greene in Washington D.C., who was 25 years old in 1983 and enrolled at the University of New York’s York College. At that time, she also toured with the New York Jazz Ensemble.

Away from the Ensemble, someone from a production team heard Shannon sing, and she auditioned for them. They gave her what would become “Let The Music Play,” and ultimately Shannon had her own music style named after her (“the Shannon sound”). “The Shannon Sound” would eventually be known as Freestyle – an early form of Electronic Dance Music (or Electro-Funk), and some examples of 80s Freestyle artists include Exposé, Lisa Lisa And Cult Jam and Pretty Poison – all of whom had No. 8 hits in the 80s as well.

“Let The Music Play” was released in September 1983, and would become the title track of her debut album, released in early February 1984. I fell in love with it from the first time I heard it. “Let The Music Play” debuted on the BILLBOARD Hot 100 in mid-November 1983 at No. 91.

Making a slow but steady climb up the chart, “Let The Music Play” found its way to the Top 40 in early January 1984. It had already spent six weeks at No. 1 on BILLBOARD’s Dance chart back in 1983, and was still No. 1 there when it debuted on the Hot 100.

Once it reached the Top 40, “Let The Music Play” continued a steady climb up the survey, reaching its peak position of No. 8 in late February 1984, after nearly four months on the chart. “Let The Music Play” would go on to spend 24 weeks on the chart, leaving the Hot 100 in late April 1984.

Around the globe, “Let The Music Play” reached No. 2 in New Zealand, No. 5 in Germany, No. 13 in Canada and Italy, No. 14 in the U.K., No. 17 in the Netherlands, and the Top 40 in Belgium and Switzerland. It also reached No. 2 on BILLBOARD’s R&B chart.

Both the single and album, LET THE MUSIC PLAY, brought Gold certifications in the U.S., and though she had two more No. 1 hits on BILLBOARD’s Dance chart, and just missed the Top 40 with follow-up single “Give Me Tonight” (No. 46) and “Do You Wanna Get Away” (No. 49, 1985), Shannon continued to make music through 2006. Today, Shannon still performs around the globe and is a voting member for the Grammy Awards.

Freelance music journalist, Peter Shapiro, once referred to “Let The Music Play” as a cross between Gary Numan and Tito Puente. I can’t say I really agree with that, but I can say that I’ve always felt the infectious “Let The Music Play” brought Disco back (like Lisa Stansfield after her in 1989) for four-and-a-half minutes, and I agree with many others that Shannon and this song did start the Dance-Pop movement in the 80s.

So, what are you waiting for? Let the music play!

https://www.youtube.com/watch?v=_-0sUuGufmw

song of the day – “The One I Love” | R.E.M. | 1987.

Posted on July 12, 2017 by retrogod1985

As Casey used to say on AT40, “And on we go!”

Nearly 80 songs found a home at the No. 9 position of the BILLBOARD Hot 100 between 1979 and 1989, and many of them seemed to be split up into categories, like the (real) one-hit wonders – Gary Numan, Buckner & Garcia, Ollie & Jerry and Oran “Juice” Jones.

Then you had the first big Top 10 hits (or first big Top 10 solo hits) by established artists – “Let My Love Open The Door” by Pete Townshend, “Touch Of Grey” by The Grateful Dead, “Hit Me With Your Best Shot” by Pat Benatar, “Trouble” by Lindsey Buckingham, “Don’t Shed A Tear” by Paul Carrack, “Lovin’ Every Minute Of It” by Loverboy, “Rush Hour” by Jane Wiedlin of The Go-Go’s, “Be Near Me” by ABC and “Burning Down The House” by Talking Heads.

A few second-chance singles reached No. 9 as well – In 1982, Steve Winwood’s original version of “Valerie” stalled at No. 70, while a remix on the CHRONICLE hits compilation in 1987 propelled the song to No. 9. The Pointer Sisters’ No. 30 hit from 1982, “I’m So Excited,” re-entered the chart in 1984 with a new mix and a new chart peak. Ben E. King’s iconic No. 4 hit from 1961,“Stand By Me,” re-entered the chart in 1986 thanks to the brilliant film of the same name, and charted in the Top 10 for the second time, 25 years apart.

Plus, you also had No. 9 hits from well-known artists that have been mostly forgotten for whatever reason (though not by me), like “Walking Away” by Information Society, “Room To Move” by Animotion, “We’re Ready” by Boston, “Love Will Save The Day” by Whitney Houston, “Love Will Conquer All” by Lionel Richie, “I Know What I Like” by Huey Lewis & The News, “Love You Down” by Ready For The World and “Let’s Go!” by Wang Chung (who could forget that one?!).

And, there were the big Top 10 comeback hits (“The Doctor” by The Doobie Brothers, “Your Wildest Dreams” by The Moody Blues, “You Got It” by the late, great Roy Orbison), and folks who had more than one No. 9 hit – Sheena Easton, Dan Fogelberg, Barry Manilow, John Mellencamp and The Motels, all with two No. 9 hits, while both Bruce Springsteen and Journey had three each.

In the Summer of 1987, I was two years removed from high school and DJing wedding receptions, and spinning tunes and showing music videos to crowds of up to 600 teenagers and young adults at a chem-free night club in Waterville, Maine (called Studio 2). That’s where I met Michael, one of my future best friends, who somehow conned me into giving him my 45 of “Burning Down The House” either the night I met him or the next time I saw him. Clever bastard.

There’s not a whole lot of nightclubbing to be had by youngsters here in Central Maine, even less so now. I met Michael on a Wednesday, when Studio 2 was trying out a mid-week night, trying to duplicate their popular Saturday night dance excursions for the area youth.

Though the Wednesday experiment didn’t work, I’m forever grateful to have met Michael that night. He came down with a crowd from Pittsfield, about 20 miles north of Waterville, and they wanted to hear Alternative music. Well, by the Summer of 1987, my knowledge of “Alternative music” consisted of select songs by Depeche Mode, The Cure, The Clash, Talking Heads and R.E.M., and maybe The Cult and a couple others, but that was about it.

From that moment on, Michael and I became close friends (he was just out of high school), and he started his 30-year (so far) tutelage of music I never even knew about. And some of those bands and singers (Robyn Hitchcock especially), Michael has influenced and inflicted more music on me than anyone, and while I still love most of the Top 40 music I grew up with, I am a HUGE fan of Alt-Dance and Alt-Rock today, mostly thanks to Michael.

Thank you, Michael, for introducing me to Robyn Hitchcock and his music all those years ago. One of the best things anyone ever did for me…

R.E.M. was one of those bands that did have a Top 40 hit in 1987, and I had no idea prior to “The One I Love” and its parent album, DOCUMENT, that they had been together since 1980 and had already released four critically-acclaimed, full-length albums and an EP, but through Michael’s amazing music collection, I was introduced to all of it. When I went back to college in 1990 (or College 2.0 if you prefer), Michael made me a mix tape (when there was still such a thing) of R.E.M. songs up through 1990. I still have it!

Formed in Athens, GA in 1980, R.E.M. – consisting of singer Michael Stipe, guitarist Peter Buck, bassist and backing vocalist Mike Mills and drummer Bill Berry – were critical darlings in their first several years, and had some success on BILLBOARD’s album chart – their first four albums were certified Gold – but on the BILLBOARD Hot 100 singles chart, they couldn’t chart any higher than No. 78.

But somehow, with DOCUMENT (their last album for I.R.S. Records), they broke out beyond the critical praise of music journalists and college programmers and landed into the realm of commercial radio, and garnered a shit-ton more fans, yours truly included.

Part of the success of DOCUMENT is most likely attributed to Scott Litt, who worked with R.E.M. for the first time, and he produced the album. He would also go on to produce their next five albums (the first five R.E.M. albums for Warner Bros.), and all five albums did incredibly well.

The album was universally hailed as a great achievement. ROLLING STONE’s David Fricke called the album R.E.M.’s “finest album to date” and how DOCUMENT is “a vibrant summary of past tangents and current strengths, [it] is the sound of R.E.M. on the move, the roar of a band that prides itself on the measure of achievement and the element of surprise. The end of rock & roll as R.E.M. knows it is a long way off.”

Pitchfork said of the album on DOCUMENT’s 25th Anniversary in 2012: “If 1985’s FABLES OF THE RECONSTRUCTION was R.E.M.’s most self-consciously Southern record to date and 1986’s LIFES RICH PAGEANT their most overtly political, DOCUMENT maintained both their regional self-definition as well as their indirect social engagement.”

The first single from DOCUMENT, “The One I Love,” was released in August 1987, a month before the album. The song was oft-mistaken for a love song (and maybe still is, I’m not sure). It even might have been featured as one of Casey’s “Long Distance Dedications.” But, the song is just the opposite. Michael Stipe has said “The One I Love” is about “using people over and over. It’s deceptive because it could be a love song until the line, ‘A simple prop to occupy my time’.”

Well, deceptive or not, something worked. “The One I Love” debuted on the BILLBOARD Hot 100 in mid-September 1987 at No. 84. The following week, it had already surpassed the three previous R.E.M. singles to reach the Hot 100. A month after its debut, it shot into the Top 40.

Two weeks after its Top 40 debut, it won the Sales award for that week. And in early December 1987, the first Top 40 hit for R.E.M. became their first Top 10 hit, as “The One I Love” spent a week at No. 9. In an interview that appeared in ROLLING STONE a couple of days before, Michael Stipe half-jokingly spoke of the song’s oft-misinterpretation: “I’ve always left myself pretty open to interpretation. It’s probably better that they just think it’s a love song at this point.”

Another version of the cover art for “The One I Love.”

“The One I Love” stayed on the Hot 100 for 20 weeks, spending their last week on the chart in late January 1988, the same week follow-up single, “It’s The End Of The World As We Know It (And I Feel Fine)” made its debut. Both songs helped propel the DOCUMENT album, and it was the band’s first album to be certified Platinum, and wouldn’t be their last.

Around the globe, “The One I Love” reached No. 5 in Ireland, No. 6 in New Zealand, No. 14 in Canada, No. 16 in the U.K., and No. 2 on BILLBOARD’s Mainstream Rock chart. Once BILLBOARD got their Modern Rock chart going September 1988, R.E.M. was the first band to have two No. 1 songs on that chart – “Orange Crush” (eight weeks at No. 1) and “Stand” (two weeks).

After R.E.M. left I.R.S. for Warner Bros., the band’s success exploded from there. They would go on to have two No. 1 albums – 1991’s OUT OF TIME and 1994’s MONSTER, two No. 2 albums – the brilliant AUTOMATIC FOR THE PEOPLE from 1992 and 1996’s NEW ADVENTURES IN HI-FI, a No. 3 album, 1998’s UP, eight more Top 40 hits (led by 1991’s “Losing My Religion”), and an incredible contract with Warner Bros. that gave them quite a ride for awhile.

R.E.M. broke up in 2011 after more than 30 years of putting out amazing music. Though I sadly never got to see the band perform, in March 2007, I was 10 feet in front of Peter Buck at a show in Cambridge, MA at T.T. The Bear’s, when he was part of Robyn Hitchcock & The Venus 3 (I was also standing next to Amanda Palmer of The Dresden Dolls, though I think Michael – who was a huge fan of her and her band – had to point her out to me).

Robyn Hitchcock and Peter Buck, hamming it up at SXSW, March 2007.

Robyn & Peter & the rest of The Venus 3 played some Venus 3 originals, covers by The Beatles, Bob Dylan, Pink Floyd, and some of Robyn’s songs, both solo and with The Soft Boys. It was an incredible show. That’s attributed to Michael, for introducing me to Robyn Hitchcock from the start of our friendship.

Mike Mills, Record Store Day 2014.

I also got to meet Mike Mills when he came for a signing at Record Store Day at the Bull Moose in Scarborough, Maine in 2014. Bull Moose’s Chris Brown was the inspiration for Record Store Day (also founded in 2007), and I believe the inspiration for getting Mike Mills to come to the store that day. In the brief moment I met him, Mike was very cool and really down to earth, and he was kind enough to sign a GREEN 25th Anniversary CD for a WMPG auction, and for me, he signed the 4-album set Mike was promoting, R.E.M.’s UNPLUGGED: THE COMPLETE 1991 AND 2001 SESSIONS. So, I got to see half of R.E.M., in a sorta roundabout way.

It’s funny, “The One I Love” is NOT the R.E.M. song I love the most. I actually can’t choose a favorite. But, if I could choose more than one, that distinction would go to “Laughing” (from 1983’s MURMUR), the 1981 Hib-Tone version of “Radio Free Europe,” “Cuyahoga” and “I Believe” (from my favorite 80s R.E.M. album, 1986’s LIFES RICH PAGEANT), “Can’t Get There From Here” (from 1985’s FABLES OF THE RECONSTRUCTION, and an old popular saying here in Maine), “Near Wild Heaven” and “Belong” (from 1991’s OUT OF TIME), “At My Most Beautiful” (from 1998’s UP), the original 1992 version and the 1999 orchestral version of “Man On The Moon,” and “Nightswimming” (from my favorite 90s R.E.M. album, 1992’s AUTOMATIC FOR THE PEOPLE).

But, “The One I Love” will always be the R.E.M. song that I loved FIRST, and, with Michael’s help, made me love the band’s music forever…

Me and Michael, 10.31.2015, right before the wedding of his daughter, Devon. Can’t remember if he or one of his sisters was trying to make me laugh. ‘Twas a really great day of many in a wonderful friendship…

https://www.youtube.com/watch?v=j7oQEPfe-O8