song of the day – “One Way Or Another” | BLONDIE | 1979.


On June 15, 2014 (three years ago today), 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).american-top-40-casey-kasem

In honor of my radio hero, Casey Kasem, for the entire month of June, 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.  On June 30, 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!”

I remember hearing about Casey’s death during a trial run at a commercial radio station out of my hometown, Bar Harbor, Maine.  I was pre-recording some voice tracks to be played on the air that Sunday afternoon, and saw it pop up on the news feed on a computer in the station’s main on-air studio.  My heart sank.  I knew Casey hadn’t been well, but I had hoped he’d live much longer than he did, though 82 was a long life, and what a life it was.

Due to a communication snafu, it never worked out with that radio station, but at the very least, I got to at pay tribute to him on the air at that station, if only for a moment.  It’s the least I could do for a man who did so much for me – through music – all those years ago.  Like John Hughes, Casey Kasem is one of the most-influential people for me with music that I DIDN’T meet.

A couple of Sundays later, I did get to pay tribute to Casey with the first of three annual 2-hour radio shows in his memory on STUCK IN THE 80s, and that featured nothing but music from 1979 through 1989 and reached the American Top 40.  My theme song for each annual show was M’s No. 1 hit from 1979, “Pop Muzik,” which, to this day, I maintain is a song that epitomized the music of a decade – NOT the decade it came from, but the next one.  And, I couldn’t think of a better name for these tribute shows than LONG DISTANCE DEDICATION.

long distance dedication 6.29.14

One of the artists played on that show (and many other shows over the course of STUCK IN THE 80s’ 20+ years) was Blondie, who just released their eleventh studio album, the excellent and Rockin’ POLLINATOR.


By early 1979, Blondie had released three albums, with the latest one, PARALLEL LINES (which was released in September 1978), slowly climbing the BILLBOARD album chart.  Blondie’s self-titled 1976 debut album didn’t even reach the album chart here in the U.S., and their second album, PLASTIC LETTERS (released in February 1978), reached No. 72. 

The first U.S. single released from PARALLEL LINES – “I’m Gonna Love You Too” – ran parallel to the album’s September 1978 release, but the only places it became a hit was in Belgium and in The Netherlands.  Second single “Hanging On The Telephone” is a revered Punk / New Wave classic, but again, it failed to make a dent here in America, though it was a Top 5 U.K. hit.

Though it may sound like a cliché sometimes, like the saying goes, “third time’s a charm,” and in the case of singles released from PARALLEL LINES, the ol’ saying proved to be right for Blondie to finally break through in their homeland of the U.S. of A.

parallel lines

“Heart Of Glass” was released in January 1979, and by mid-February, it debuted on the BILLBOARD Hot 100 way down at No. 84.  10 weeks later, it spent a lone week at No. 1, helped PARALLEL LINES climb to No. 6 on the BILLBOARD album chart (becoming their first Platinum album), and reached No. 1 in at least seven other countries – and in the process, united both Punk and Disco fans alike – no easy trick.  I can’t think of any other song that truly did that.

heart of glass

After the worldwide success of “Heart Of Glass,” Blondie’s record label, Chrysalis, released “Sunday Girl” in May 1979…but not here in the U.S., despite the fact “Sunday Girl” spent three weeks at No. 1 in the U.K. and four weeks at No. 1 in Ireland.  (Thanks Chrysalis, you crusty jugglers!  Just because the first two singles didn’t work out here didn’t mean “Sunday Girl” wouldn’t have charted!)

sunday girl

For the fourth single released here in the U.S. and in Canada, Chrysalis released “One Way Or Another,” a song inspired by one of Debbie Harry’s ex-boyfriends who had stalked her after they broke up.  (Boy, you don’t wanna mess with Debbie, man!  I believe it when she says she’ll “get’cha, get’cha, get’cha, get’cha!”)

“One Way Or Another” (which, oddly enough, was NOT released as a single outside of the U.S. or Canada) was more Punk and Rock-friendly than Disco friendly, although I don’t know anyone in the ‘Verse who wouldn’t want to dance to this gem.  It’s infectious and instantly invites you to move.


Debuting on the BILLBOARD Hot 100 in early June 1979 (with “Heart Of Glass” still in the Top 15), “One Way Or Another” found its way onto the Top 40 four weeks after its debut, entering the Top 40 at the end of June at No. 35.  It inched up another notch the following week, and then for some weird reason, fell out of the Top 40 down to No. 41. 

In an even weirder chart move (and one I’m sure Casey Kasem loved to talk about), the following week, “One Way Or Another” roared back into the Top 40 from No. 41 to No. 29, a feat more commonplace in the Digital Age of the Hot 100 today, but back in 1979, to make such a dramatic turnaround on the chart was quite rare.

And that would be the last of the rare, big moves for “One Way Or Another,” as two weeks later, in early August 1979, it would spend the first of two weeks at No. 24.  Two weeks after departing the Top 40, it was gone from the Hot 100 completely.  In Canada, “One Way Or Another” fared better, reaching No. 14.

Deborah Harry by Chris Stein, 1979

The 1979 poster of Debbie Harry (photo taken by Chris Stein) that has eluded me for almost 40 years now…

The legacy of “One Way Or Another” didn’t stop there, though.  It’s been covered since by the likes of The Black Eyed Peas, Alvin And The Chipmunks, the cast of GLEE, and in 2013, the popular British boy band, One Direction, who did a mashup of “One Way Or Another” with “Teenage Kicks” by The Undertones – and titled “One Way Or Another (Teenage Kicks)” – and released a single in support of Comic Relief.  It was, like One Direction and Blondie before them, a global sensation, and reached No. 1 in at least five countries.  In the process, the original “One Way Or Another” squeaked onto the U.K. singles chart (through digital sales) at No. 98, its first appearance on that chart, and not bad for a 34-year-old song.

“One Way Or Another” has recently been in a number of commercials as of late (I think I heard it in two different commercials back-to-back, in fact), and in ROLLING STONE’s 2006 list of The 500 Greatest Songs Of All Time, “One Way Or Another” was ranked at No. 298.

chris debbie clem 2013

Chris Stein, Debbie Harry, Clem Burke, 2013.

Though I didn’t initially warm up to “One Way Or Another” as I did with “Heart Of Glass” or “Dreaming,” which would chart a couple of months after “One Way Or Another,” the song grew on me (how could it not?), and I really loved seeing Debbie and Blondie belt this out when my dear friend Shawn (formerly of Maine and NYC) and I saw them in New York back in October 2013.

blondie wkrp 1

I’d be remiss if I didn’t mention part of the reason PARALLEL LINES did as well as it did.  The album was released the same month as my second all-time favorite TV show, WKRP IN CINCINATTI.  The show was instrumental in not only the success of the album, but its use of “Heart Of Glass” really helped it to become the big hit it was, and the band’s record label, Chrysalis, presented the producers of WKRP with an authentic Gold RIAA record award for PARALLEL LINES, and it hung on the wall of the station’s “bullpen” for the remainder of the series.  (While I don’t entirely forgive Chrysalis for not releasing “Sunday Girl” here, I thought it was a rare and wonderful and unusual gesture presenting a fictional radio station with a real Gold record.)

blondie wkrp 2

You know, some fans of Casey Kasem and AT40 might disagree, but in listening to some of Casey’s older 1970s AMERICAN TOP 40 countdowns on iHeart Radio (he started AT40, appropriately enough, on July 4, 1970, at the age of 38), I think Casey really started hitting his stride with AT40 in 1979 (though I may be biased, considering that’s the year I really started getting into music).  Maybe that’s what compelled me to keep tuning in week after week, year after year, and as often as I can, three years after his death, on the Interweb.

at80s2I’ve been involved with mostly community and college radio for the better part of 30 years, and in my short-lived time on a commercial station here in Central Maine back in 2008, one of my all-time proudest moments in radio is going on at 10:00 on Saturday mornings, following my radio hero, Casey Kasem, and rebroadcasts of AMERICAN TOP 40.

Though I’ve preferred Alternative, New Wave and Alt-Dance to Top 40 for a long time now, I don’t think I would have ever have had the appreciation for music I do today if it hadn’t been for Casey Kasem.

I miss you, Casey, wherever you are, and I promise to keep reaching for those stars…

one way or another


song of the day – “(Ghost) Riders In The Sky” | OUTLAWS | 1981.


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).american-top-40-casey-kasem

In honor of my radio hero, Casey Kasem, for the entire month of June, 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.  On June 30, 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!”

There are some songs in the history of music that just keep coming back and back and back again.  If imitation is the sincerest form of flattery, then the late songwriter and actor, Stan Jones (who died of cancer in 1963 at the age of 49) would be flattered to the moon and back and then some.


“(Ghost) Riders” writer and originator, Stan Jones.

When Stan Jones wasn’t acting in Westerns directed by the legendary (and Portland, Maine native) John Ford, he was writing songs, and one of those songs, a 1948 composition (written at the time he worked for the National Park Service in Death Valley, California) titled “(Ghost) Riders In The Sky: A Cowboy Legend” became a legend all its own.

Stan Jones recorded his original version of “(Ghost) Riders” in late 1948, and from there, it became one of the most-covered songs in history.  Bing Crosby, Burl Ives, Peggy Lee, The Ventures, Bob James and Dick Dale have covered it.  So have Tom Jones, Elvis Presley, Johnny Cash, Duane Eddy and Peter, Paul & Mary.  Deborah Harry of Blondie recorded a trance version of it in 1998, and more recently, Judy Collins, Concrete Blonde and various Death Metal bands have covered this classic.

debbie harry riders

Pretty bleepin’ cool.

“(Ghost) Riders In The Sky” has even reached the BILLBOARD Hot 100 in four different versions.  In 1961, The Ramrods (an Instrumental Rock band out of Connecticut) reached No. 30, and Lawrence Welk reached No. 87 with his version.  In 1966, the Baja Marimba Band took it to No. 52.  And, in 1981, Southern Rockers the Outlaws scored the second-highest charted version in BILLBOARD Hot 100 history with their cool, rockin’ 6-minute cover.

ghost riders LP

The Outlaws, formed in Tampa, Florida in 1967,  released their sixth studio album, GHOST RIDERS, in late November 1980.  The band had some moderate success in the 70s with their 1975 hit, “There Goes Another Love Song,” reaching the Top 40 of the BILLBOARD Hot 100.ghost riders 7

The single released from GHOST RIDERS was “(Ghost) Riders In The Sky.”  It made its Hot 100 debut at No. 83 on the last chart of 1980, a couple of days after Xmas.

Throughout the first weeks of 1981, the Outlaws steadily climbed the Hot 100, entering the Top 40 on Valentine’s Day 1981.  “(Ghost) Riders In The Sky” reached No. 31 in early March 1981, but fell out of the Top 40 the following week and left the Hot 100 in early April 1981 after 15 weeks on the chart.  It was the last time the band would reach the Hot 100.

Bruce Willis Performs in Las Vegas

Bruce Willis as John McClane singing “(Ghost) Riders?”  It could happen!

DREAM COVER: Someone should get Bruce Willis to cover this song, but as his famous character from the DIE HARD films, John McClane – “Yippe-ki-yay (motherfucker)!  Yippie-ki-yo (motherfucker)!”  Wouldn’t that be fun?

The Outlaws have been around for the better part of 50 years, with a long list of lineup changes that would take up another post entirely.  None of the original members are still with the band (a couple of them died in 1995, another in 2007).    They released their last studio album, IT’S ABOUT PRIDE, in 2012, and their fifth live album, LEGACY LIVE (a 2-CD set), in 2016.

legacy live

It’s hard to believe that I had nearly forgotten about this amazing cover from the Outlaws when Hope brought it to my attention years ago.  Long story longer, I fell in love with this version all over again and played it on STUCK IN THE 80s often during the show’s last several years.

And if I were a betting man, I think Stan Jones might have have been much more than flattered when he heard The Outlaws version, and I think he would have raised his fist up and started jammin’ to it, or at the very least, tipped his cowboy hat in appreciation.  Yippie-yi-yaaaay.

outlaws 1980

song of the day – “Slipping Away” | DAVE EDMUNDS | 1983.


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).american-top-40-casey-kasem

In honor of my radio hero, Casey Kasem, for the entire month of June, 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.  On June 30, 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!”

In researching for this blog post, I found a lot more songs from the 80s that peaked at No. 39 than expected, at least 30.  There were some great ones, like “Atomic” by Blondie, “I Don’t Care Anymore” by Phil Collins, “In The Mood” by Robert Plant,” “Looking For A Stranger” by Pat Benatar, “My Town” by the Michael Stanley Band, “Skin Trade” by Duran Duran, “Tomorrow People” by Ziggy Marley, “(What) In The Name Of Love” by Naked Eyes, “Second Nature” by Dan Hartman, “Who’s Making Love” by The Blues Brothers, Bon Jovi’s first hit, “Runaway,” ELO’s sadly-forgotten “Last Train To London,” the gorgeous “Wake Up (Next To You)” by Graham Parker And The Shot, and six (real) one-hit wonders of the 80s.


I also found some songs I had forgotten about, like “Don’t Let Him Know” by Prism and “New Romance (It’s A Mystery)” by Spider, and some stinkers among the bunch, including “Memory” by Barry Manilow, “Sartorial Eloquence” by Elton John (sorry Elton, with a song title like that, it was bound not to work out), and the “WTF was I thinking with this song” song by Mick Jagger, “Let’s Work.”  Downright awful.  Don’t watch the video – that’s four minutes you’re not getting back.

wake up next to you

I nearly chose “Wake Up (Next To You)” as my selection for a song that peaked at No. 39 on the BILLBOARD Hot 100, but I wanted to choose instead a gem from the sensationally-talented Welsh singer / songwriter / guitarist / über-producer, Dave Edmunds.

i hear you knockingBorn in Cardiff, Wales, Dave Edmunds first got his big break with a band called Love Sculpture, and in 1968, they reached No. 5 on the U.K. singles chart with a song called “Sabre Dance.”  Two years later, he had himself a huge international solo hit called “I Hear You Knocking,” which spent six weeks at No. 1 in the U.K., reached No. 3 in Canada and New Zealand, and No. 4 in the U.S. and Australia.  Dave’s version was actually a cover of a 1955 hit by R&B singer Smiley Lewis, and then covered by the legendary Fats Domino in 1961.  It’s also been covered many times over the decades, including versions by Bruce Springsteen and Bryan Adams.

repeat when necessaryThrough the end of the 1970s, Dave Edmunds picked up another three Top 10 U.K. hits, including Silver-Certified “Girls Talk,” written by Elvis Costello and appearing on his 1979 album, REPEAT WHEN NECESSARY (on Led Zeppelin’s SWAN SONG label). 

NERDY FUN FACTS: Huey Lewis appears on that same 1979 Dave Edmunds album, playing harmonica on a song he wrote called “Bad Is Bad,” four years before it would appear on Huey’s own monster album with The News, SPORTS.  And a song called “Queen Of Hearts” was also on the album, a No. 11 U.K. hit for Dave Edmunds that would become a big global hit for New Jersey Country singer, Juice Newton, in 1981.

bad is bad

Yepper, that’s Huey Lewis’ name and song on Led Zeppelin’s label, years before Huey became a star in his own right…

In addition to being a successful singer, songwriter and musician, Dave Edmunds was also a popular producer for other artists, including producing several albums by The Stray Cats, The Fabulous Thunderbirds, his side project with Nick Lowe, Rockpile, and k.d. lang’s second album, ANGEL WITH A LARIAT.

In all the years Dave Edmunds produced his own albums and the works of other artists, when it came time to work on his own 1983 album, INFORMATION, Dave did something he had never done before – he collaborated with another producer, in this case, Jeff Lynne of the Electric Light Orchestra.


Jeff Lynne would go on to produce two songs on the album – the title track, and the album’s first single, “Slipping Away,” which Jeff Lynne also wrote.  “Slipping Away” entered the BILLBOARD Hot 100 at No. 93 in mid-May 1983.  I confess I didn’t know much about Dave Edmunds when this song came out, but I loved the updated twangy sound. 

slipping away

With the help of airplay on the relatively new MTV, “Slipping Away” inched its way up the Hot 100, reaching its peak position of No. 39 nearly three months after debuting on the chart.  Four weeks after reaching the Top 40, “Slipping Away” slipped its way out of the Hot 100.  It’s his last Top 40 hit to date. 

on guitar

Dave Edmunds, now 73, released two albums in recent years, one in 2013 called …AGAIN (featuring recordings from the 90s and four new songs), and in 2015 (ON GUITAR…RAGS & CLASSICS).

It’s his twangy, Jeff Lynne-penned and produced No. 39 hit, though, that caught my ear, which introduced me to a music legend, and is a song that has never slipped away from me since, and won’t…

dave edmunds

song of the day – “Clones (We’re All)” | ALICE COOPER | 1980.

forever young blog logoFor whatever reason(s), I’ve been unintentionally lax in my FOREVER YOUNG: MY LIFE STUCK IN THE 80s blog post output so far this year.  Last year, between January 11, 2016 (my first-ever blog post), until June 1, 2016, I had written 111 blog posts.  Not bad for a first-timer.  From January 4, 2017 through today, June 1, 2017, I’ve posted less than half of that 2016 amount.  Well, that changes right now.

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, for the entire month of June, 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, and with every blog post, just like on AMERICAN TOP 40, the hits will get bigger with each post.  Today’s “song of the day” (June 1, 2017) will feature a song that peaked at No. 40.  On June 30, 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!”

In the 1970s, Alice Cooper was famous for his “snake-eyes” makeup and his being “The Godfather Of Shock Rock,” from Rockin’ songs like “School’s Out,” his first hit, “I’m Eighteen” and “No More Mr. Nice Guy,” and awesome ballads like “Only Women Bleed,” “I Never Cry” and “You And Me.” 

welcome to my nightmare, 1975

Alice Cooper on the WELCOME TO MY NIGHTMARE tour, 1975.

It was his ballads, actually, that gave Alice Cooper his biggest hits in the 70s, which isn’t really that strange, because if you think about it, just about all of the big Rock bands of the 70s, 80s and even 90s had their biggest success with a ballad (pardon me, that should prolly read “power ballad”) – a list that includes but is not limited to Styx, Journey, Cheap Trick, Foreigner, Scorpions, Night Ranger, The Cars, Boston, REO Speedwagon, Heart, Kiss, Def Leppard, Mötley Crüe, Ozzy Osbourne, Poison, Queensrÿche, Warrant, Winger, Europe, Cinderella, Skid Row, Bad English (featuring John Waite) and Aerosmith, whose big song from the biggest film of 1998, ARMAGEDDON – “I Don’t Want To Miss A Thing” – gave the Boston band not only their first (and sole) No. 1 song, but their biggest hit in the 25 years they had been together at that point.

Well, by 1980, Alice Cooper wanted to try something new.  He ditched the makeup  and recorded the 28-minute album, FLUSH THE FASHION, with popular producer, Roy Thomas Baker, who, in the two years previous to FLUSH THE FASHION, had worked with bands like The Cars, Foreigner, Journey and Queen.

flush the fashion

FLUSH THE FASHION had a sort of New Wave influence, and since its release, it has been hailed as a “hidden gem” in the 26 studio albums Alice has released since 1969 (his 27th, PARANORMAL, is scheduled to be released in late July 2017).  At the time of the release of FLUSH THE FASHION, though, many longtime fans were bewildered at the change in Alice’s sound.

Still, FLUSH THE FASHION became Alice Cooper’s biggest album in three years, and returned him to the Top 40 of the BILLBOARD Hot 100 for the first time in two years. alice clones

“Clones (We’re All)” was the first single released from the album, making its debut on the Hot 100 in mid-May 1980 at No. 77, just a few weeks after the release of FLUSH THE FASHION.  “Clones” had risen to No. 51 by early June, and reached No. 40 on July 5, 1980, but, sadly like Blondie’s brilliant “Atomic” (No. 39 that week), both songs lost steam and plummeted down more than half the chart the following week after just nine weeks on the Hot 100.

NERDY AT40 FACT: To my knowledge, “Clones (We’re All)” was actually never mentioned by Casey Kasem, because on that chart dated July 5, 1980, AMERICAN TOP 40 aired a special broadcast of the “AMERICAN TOP 40 Book Of Records” that week, so “Clones” was never even played on AT40 because it was gone from the Top 40 that following week.

“Clones” did have some chart success elsewhere, reaching No. 15 in Canada, No. 36 in Australia, No. 58 in Germany, and somehow all 2 minutes and 51 seconds of “Clones” was serviced to Dance clubs, and it actually reached No. 69 on BILLBOARD’s Dance chart.

alice 1980 v2

Alice Cooper, 1980.

I’m not sure exactly how “Clones,” a song about forced conformity (“I’m all alone, so are we all / We’re all clones / All are one and one are are all…”), came onto my music radar, I just really liked it.  Strangely enough, today was the first time I ever saw the music video for “Clones,” and if videos were as popular then as they would be a year or so later, and if the 13-year-old version of myself had seen Alice’s frail-looking and somewhat menacing appearance, I am not sure if I would have changed my mind about the song.  But, honestly, whatever attracted me to this odd and yet topically-interesting song still attracts me to it 37 years later.

After “Clones” and FLUSH THE FASHION, his next few albums fizzled and most of the 80s were not good to Alice Cooper.  But, by 1989, he was on a new record label and returned with a vengeance with the album TRASH, his first Platinum album since 1975, which featured the biggest hit of his career – no, not a power ballad this time – the Hard Rockin’ “Poison.”  That song was certified as a Gold single and reached No. 7 on the Hot 100, plus it reached the Top 10 in (at least) the U.K., Australia, Austria, Canada, Holland, Ireland, Norway and Sweden.  Alice Cooper was back. 


From the “Poison” music video…

In 1992, Alice appeared as himself in the highly successful and fun film adaptation of the SATURDAY NIGHT LIVE skit, WAYNE’S WORLD, where he performed at a concert and got his intellectual on about Milwaukee, Wisconsin backstage with Wayne (Mike Meyers) and Garth (Dana Carvey).  In my humble opinion, they’re all worthy.

wayne's world

On top of a new album release this summer (an album which features contributions from Larry Mullen of U2 and Billy Gibbons of ZZ Top, among others), Alice will be co-headlining a tour in August with Deep Purple and Edgar Winter.


You know, regardless of chart positions, I’ve always found it interesting how there’s no rhyme or reason to which songs we choose to like and keep liking and loving over the years, but when when do like and love them, those songs really matter, and will forever. 

On the opposite end of the spectrum, or the radio dial if you prefer, as much as I love radio, and loved being involved in it for the better part of 32 years (so far), you’ve gotta wonder how a commercial and/or conglomerate station determines what songs are deemed “worthy” of being played forever and what songs are left behind.  I suppose that’s been the case all along (I mean, how else can you explain two great songs dropping 53 places out of the Top 40 from one week to the next?). 

stuck-in-the-80s-20-yearsI know for me, for many great shows on community stations like WMPG, and for shows like Barry Scott’s “The Lost 45s” and the (unrelated) STUCK IN THE 80s podcast based in Florida, I could never forget the amazing songs I loved from my youth and discovered into adulthood and beyond.  And I was proud to share them for nearly 21 years on my weekly STUCK IN THE 80s radio show on WMPG in Portland, Maine, and will again, because I’m sure I’m not the only one out there that feels this way. 

I love Billy Joel, but every time I hear his overrated “Big Shot,” I can’t help but cringe (The guy’s got a gajillion songs!  Play another one!).  The song jumped from No. 51 to No. 23 on the Hot 100 and stopped at No. 14 three weeks later, and yet it’s been deemed “worthy” for radio eternity by the powers that be.  Play something different, dammit!  Give me 1980’s “Sometimes A Fantasy” every day of the week and twice on Sunday (and look for it in an upcoming blog post, dammit!). 

I don’t know, after listening to commercial stations for nearly 40 years, from the big conglomerate ones to the locally-owned ones with diminutive, covfefe head GMs who think 80s Hard Rock songs should be played back-to-back with the likes of Justin Bieber and Taylor Swift, maybe it’s those programmers and radio heads who are the ones that are clones. 

As I am, unlike these sad folks, not a drone or a clone, I think the best response I can give to that is this simple but appropriate quote from Alice’s mostly-forgotten kick-ass gem from 1980:

“I just want wanna be myself / I just wanna be myself / I just wanna be myself / Be myself / Be myself…”

alice cooper 1980

song of the day – “Love Is A Battlefield” | PAT BENATAR | 1983 / 1984.

I have been a fan of Pat Benatar since the first time I heard “Heartbreaker” in late 1979.  I own several of her albums, and yes, 12” singles too (hey – almost everybody did remixes back in the 80s!).  But, oddly enough, as much as I have loved Pat Benatar and her music for almost 40 years, I have never seen her perform live.  I am hoping to rectify that this Summer.

pat benatar ME state pier

This week, I found out that Pat and her long-time husband and guitarist, Neil Giraldo, will be performing at Portland’s Maine State Pier for the second time in three years.  In 2015, I believe they had the distinction of being the first performers at the Maine State Pier, performing in early May 2015.  I wasn’t at that show, but from what I heard, it was incredibly cold (we were barely out of our longer-than-usual Winter that year) and I feared Pat wouldn’t be back to Maine again.

The Winter of 2014-2015 was what I classified as “The Winter That Would Never End,” in that it snowed on November 1, 2014, and snowed in six consecutive months, through April 2015.  Even for Maine, that’s pretty unusual.  I love Maine but not its Winters, and always hope they won’t last more than their calendared three months.  (This year, Mom Nature is playing her own April Fool’s Joke on us, with several inches of snow predicted the first day of April.)  I’m so glad Pat and Neil have picked to return to Portland’s Maine State Pier in late July, when – theoretically – it’ll be an awesome Summer (like 2016!).

neil + pat

Neil and Pat, having fun on the road and hopefully in my view this Summer…

By late 1983, the then-30-year-old from Brooklyn, NYC already had released four hugely successful albums, including a No. 1 album – 1981’s PRECIOUS TIME – and a No. 2 album – her biggest album to date, 1980’s CRIMES OF PASSION, which has been certified (at least) 4x Multi-Platinum.  She had also nine out of 10 singles reach the Top 40 of the BILLBOARD Hot 100, including one Top 10 hit, “Hit Me With Your Best Shot,” which reached No. 9 in late December 1980.

Pat’s fifth release, a mostly-live album called LIVE FROM EARTH, was released in mid-October 1983, and contained two new studio tracks, “Lipstick Lies” and “Love Is A Battlefield,” the latter of which was written by popular songwriters Mike Chapman and Holly Knight, who have written a combined amount of huge songs that would require their own entire blog post, which I may write one day.  I can say that Holly Knight (a member of the short-lived Dance / Rock band, Device) also wrote and/or co-wrote three other Pat Benatar songs, including 1985’s “Invincible (The Theme From THE LEGEND OF BILLIE JEAN).”

live from earth


From the back of the LIVE FROM EARTH album.

“Love Is A Battlefield” was released a month in advance of LIVE FROM EARTH, and only took 12 days to reach the BILLBOARD Hot 100, debuting at No. 78.  In just four weeks, “Love Is A Battlefield” debuted in the Top 40, giving Pat her tenth Top 40 American hit.  In a chart coincidence that only a singles chart nerd like myself could love, “Love Is A Battlefield” also debuted in the Top 40 the same week as Eurythmics debuted with “Love Is A Stranger.”

Like most Pat Benatar singles, “Love Is A Battlefield” made a steady climb up the chart and spent a week at No. 5 in early December 1983.  It stayed on the Hot 100 until the second half of February 1984 and one of BILLBOARD’s biggest Hot 100 hits of 1984.  With 1985’s “We Belong,” it remains her highest-charting American hit so far, and gave Pat her fourth consecutive Grammy Award for Best Female Rock Vocal Performance.

love is a battlefield

Around the globe, there was a lot of love for “Love Is A Battlefield.”  It spent five weeks at No. 1 in Australia, four weeks at No. 1 in Holland and BILLBOARD’s Mainstream Rock chart, two weeks at No. 1 in Belgium, plus Top 10 rankings in Canada, Germany, Ireland and New Zealand, and the Top 20 in the U.K. and Switzerland.

battlefield bus

From the back of the bus in the “Love Is The Battlefield” video.

A special remix was used for the popular music video, which features Pat as a teenager running away from her family, Pat exploring the fast life in the big city, becoming a dancer, her father eventually showing regret for things he said that drove her away, and through all of this, she ends up discovering strength and independence, and the incredible undeniability of girl power.  Pat also showed off some pretty cool dance moves in this partially-choreographed video, which was nominated for an MTV Video Music Award for Best Female Video.

I know the dancing and using a drum machine was out of Pat Benatar’s normal Rock ’n’ Roll element, and that remixes prolly weren’t her thing (although she’d end up releasing a few more; I know, because I own them), but in the end, “Love Is A Battlefield” is a song that worked, even when songwriter Mike Chapman didn’t think it would work, and even when Pat’s record company didn’t think it would work.  But all’s fair in love and war and pop hits, right?  What most folks involved with the record thought wouldn’t work is one of THE songs Pat Benatar is remembered most for to this day, and is a song I hope to hear her sing in Portland, Maine in late July.

Writing about “Love Is A Battlefield” here made me think of a time back in the mid-00s, when I was still living in Portland and had a Saturday night retro DJ gig at one of the clubs intown, where, in the small, already crowded Alt-Rock / Dance and New Wave “rec room” full of the music of New Order, Blondie, Duran Duran, Smiths, Siouxsie & The Banshees, Nine Inch Nails and the oft-requested Elvis Costello, there wasn’t much room for Pat’s Benatar’s straight up, kick-ass Rock ’n’ Roll, but I remember a couple of times I got a request for something by Pat.  And I was pleasantly surprised both times. 

love is a battlefield 12

The first time Pat Benatar was requested, for a second, I thought, “what could I possibly play for this amazing crowd of people that would blend in?”  The only song that came to mind – and what proved to be THE best choice – was the 12” dance remix of “Love Is A Battlefield.”  When Pat was requested another time, the choice that time was a no-brainer, because, not only did “Love Is A Battlefield” get a sweet reception the first time, when it comes to dance music from the 80s, whether it’s Pop, Rock, Punk, Funk, Dance, Rap, New Wave, New Romantics – to me, there IS no battlefield. 

“We are strong / No one can tell us we’re wrong / Searching our hearts for so long / Both of us knowing / Love is a battlefield…”


don’t you (forget about me).

As I start this blog post, it’s in the 7:00pm hour on Sunday, February 26th, 2017, and during this time for the better part of the past 21 years, for the folks of Portland, Maine and beyond, I’d be playing a lexicon of the great 80s music you remember and much more on my little 80s radio program, STUCK IN THE 80s (on WMPG community radio).  More on the amazing last STUCK IN THE 80s show in a bit.

Once the show ended, I wanted to take a couple of weeks off from the blog, though truth be told, I’ve been thinking about this post since before the last show even aired.

original STUCK logo

The original STUCK IN THE 80s logo…

After nearly 21 years, over a thousand shows, thousands of requests, tens of thousands of songs played, these two weeks later, it’s still hard to believe that the last STUCK IN THE 80s has aired on WMPG, a radio station that has been like a second home for me for nearly half my life.  Though I’m still considered a volunteer there, I’ll miss being a regular part of it.

Back in August 2015, I first announced that I would be ending the show at the end of August 2016 after 20 years on WMPG, but in April 2016, I decided I wasn’t ready to end the show yet.  The show started part-time in the Spring of 1996 (I was 29 years old), and full-time on Sundays in the Fall of 1996.  When I realized that my 50th birthday in 2017 fell on a Sunday, it just felt right; it felt cathartic to end the show then.  I’m still happy with that decision.  But the last weekend for the show wasn’t without its moments.


This didn’t exactly happen here in Maine the weekend of the last STUCK IN THE 80s on WMPG, but it wasn’t too far off…

Many months ago, I half-joked about the last show, saying, “Wouldn’t it be funny if there was a blizzard and I couldn’t do my last show?”  Well…I’m not sure if it was an official blizzard in Portland, Maine, but the weather was more blizzard-like than blizzard-lite.  I always planned on co-hosting my last show with my dear, dear friends and regular STUCK co-hosts, Hope and Shawn.  Shawn lives in Portland, and Hope (who did a touching radio tribute for me in November 2016 and put together a wonderful tribute video for me recently) traveled all the way from Springfield, MA to be there.   I’m so grateful to both of them.


Hope, me and Shawn, having a fun time at Bayside Bowl, Portland, Maine 2.11.2017.

That Saturday night (2.11.2017) before the last show, I had planned on a “cheers and thanks” get-together at a Portland venue, but with the inclement weather, most folks weren’t able to attend.  The last show’s attendance was another story.

Before the last show could happen, though, I needed to contact WMPG’s fantastic Program Director, Jessica, to see if the station was going to be shut down due to the storm, which was in full force before Sunday night.  Jessica was indeed planning on shutting down the station but knew it was my last show that night, and was kind enough to let Hope, Shawn and I go on with the last STUCK IN THE 80s and then shut the station down, which was actually kinda cool in a way.


The show’s STUCK IN THE 80s “Parting Shot” playlist featured songs Hope and Shawn wanted to hear, and songs that meant a lot to me over the years (and many of those songs have appeared on this blog so far): 

  • ALPHAVILLE – FOREVER YOUNG (SPECIAL EXTENDED MIX) (1984) – This Cold War Classic was part of the inspiration for my blog.
  • BOOK OF LOVE – MODIGLIANI (LOST IN YOUR EYES) (1986 / 1987) – One of my “Desert Island” songs, or rather, one of the songs I would want to have with me if I was stranded on a desert island.
  • BLONDIE – DREAMING (1979) – Another of my “Desert Island” songs, this is my all-time favorite Blondie song, from the Fall of 1979.  I remember it well.
  • THE ENGLISH BEAT – I CONFESS (DAVE ALLEN REMIX) (1982) – One of my best memories during the show was interviewing and meeting Dave Wakeling in 2009.  I’ve seen him and the band perform in Portland almost every year since.  Hearing this song live gives me such joy!
  • THE CLASH – THIS IS RADIO CLASH (1981) – Released as a stand-alone single between 1980’s SANDINISTA! and 1982’s COMBAT ROCK, this was requested for DJ HopeyT!
  • BAUHAUS – SPIRIT (ALTERNATIVE VERSION) (1982) – The original version from THE SKY’S GONE OUT and requested for DJ Shawn!
  • PRINCE & THE REVOLUTION – TAKE ME WITH U (1984 / 1985) – This gem from PURPLE RAIN is one of my all-time favorite Prince songs that doesn’t get nearly enough love as it should, so I wanted to play it.
  • THE THE – THIS IS THE DAY (EXTENDED 12” MIX) (1983) – A true statement that night…  The end of an era and the beginning of a new one…
  • TALKING HEADS FEAT. JOHN GOODMAN – PEOPLE LIKE US (1986) – My favorite version of this spirited T-Heads gem from TRUE STORIES…
  • JOE JACKSON – CANCER – Recorded live during the NIGHT AND DAY tour on 5/8/83 at the Hordern Pavilion, Sydney, Australia.  One of my all-time favorites (of many) by Joe Jackson.
  • DAVID BOWIE feat. THOMAS DOLBY – HEROES – Like many others, David Bowie’s sad passing in 2016 did a number on me.  But, ever since, I’ve been inspired too.  On July 13th, 1985 (at LIVE AID), he dedicated this song to his son, “to all our children, and the children of the world.”
  • ROBYN HITCHCOCK – CHINESE WATER PYTHON (1990) – One of the most beautiful pieces of music I’ve ever heard, from one of the most brilliant singer / songwriter / storytellers in the world.
  • THE DREAM ACADEMY – PLEASE PLEASE PLEASE LET ME GET WHAT I WANT (instrumental version) (1985 / 1986) – I couldn’t leave STUCK IN THE 80s on WMPG without playing this gorgeous Smiths cover by one of my favorite 80s bands, and from a pivotal scene in one of my favorite John Hughes films (FERRIS BUELLER’S DAY OFF).
  • INXS – DON’T CHANGE (1982 / 1983) – A favorite gem from my favorite album by my favorite band…
  • PET SHOP BOYS – WEST END GIRLS (1986) – I remember hearing this for the first time like it was yesterday, and it was around this time 31 years ago…
  • YELLO – DOMINGO (1985) – When DJ Hope and her sister, DJ Weez, teamed up for a 4-hour edition of her awesome show, POWERHAUS, in early 2016, they played this song.  I don’t know how it was off my radar for so long, but I’m glad it’s there now!
  • THE KLF feat. TAMMY WYNETTE – JUSTIFIED & ANCIENT (12” MIX) (1991) – The origins of this song date back to 1987, when The KLF were still The Timelords.  One of THE best one-time collaborations of all-time.
  • PETER GABRIEL – IN YOUR EYES (2011 NEW BLOOD ORCHESTRAL VERSION) – Hope and I were so glad to see Peter Gabriel perform in 2016, but I wish I had also seen him on this tour, featuring orchestral versions of his amazing songs.  This is my favorite, originally from 1986’s brilliant SO album.
  • CYNDI LAUPER – TIME AFTER TIME (1983 / 1984) – Meeting and interviewing Cyndi Lauper in 2002 was a moment, much like Cyndi herself, that I’ll treasure forever.
  • SIMPLE MINDS – A BRASS BAND IN AFRICA (1985) – This amazing instrumental was the B-side of “Don’t You (Forget About Me).”
  • SIMPLE MINDS – DON’T YOU (FORGET ABOUT ME) – Recorded live from The Ahoy in Rotterdam, 12.3.1985.  My favorite song for all-time.

The response to the last STUCK IN THE 80s on WMPG was incredibly overwhelming and heartfelt.  It was prolly the most-listened-to show I’ve ever had.  Wanted to share just some of the truly amazing and kind comments shared by my WMPG family, friends and fans:

  • “Better safe than sorry, I suppose…  Better to Be Stuck in the 80’s than in the low teens and a blizzard…  Big shout out to Ron for all his years on the air, and his show to end all shows, tonight… at least for a day or two…  cheers!”
  • “Thank you Ron.  Our Sunday nights won’t be the same without you.”
  • “Ron …….Rock it….tear the roof off……and then shut it down buddy!”
  • “What an end to a great run.  SHUT IT DOWN, Ron!”
  • “What a way to go – a birthday, a blizzard, and then shutting down the station.  Tonight will be epic – thank you for the tunes and enjoy the next great adventures in Life!”
  • “Thanks Ron for one last – and hopefully not final – Sunday night kitchen dance party.”
  • “Ron, Sunday nights will not be the same.  Thank you so much.  It has been a pleasure listening to your programs.  It was a thrill to program and co-host a show.  You will be missed.  All the best in what lies ahead.”
  • “Wow your birthday, last show and an epic nor’easter on its way.  You certainly know how to party!!!!”
  • “Congrats on such a great show.  I’ll miss tuning in to you.”
  • “Happy birthday Ron!  Forever grateful for your show!  You truly are the King of the 80’s!”
  • “What the hell am I supposed to do on Sunday evenings; be sociable?”
  • “REALITY sets in as Sunday evening approaches without STUCK IN THE 80s.  It’s kinda going to be like a zombie achieving consciousness and understanding that everyone’s a zombie and there are no fresh brains.”
  • “You’re gonna get me crying again…forget you?  You, Hope and Shawn were our Sunday nights….we’ll never forget.”
  • “This will be a last show you can never forget!”
  • “Happy Birthday, Ron! Congratulations on an incredible radio run!”
  • “This is the end of an era!!  No 80s show on the radio even came close to yours.  The research, the knowledge and the vast music catalog are unparalleled.  Sad to see it go, but glad you gave Portland a proper 80s experience for so many years.  I hope the next phase in your life is great as well.”
  • “What do you do when the radio show you love and have been listening to for the last 15-plus years goes silent (Wow, Ron, you really went out in dramatic fashion, this blizzard and all!)?!  Will and I miss you already!  Thank you so much, Ron – all the best to your next chapter!”
  • “Happy Birthday to you, my brother!  Today is bittersweet for sure.  Can’t wait for your next musical adventure.  Peace & Love (and birthday spankings) to you!”
  • “Mike drop!!! Thanks for 20 years Ron & crew!!!”
  • “Ron does final show.  Shuts down transmitter.  /mic drop/”  (more on that in a bit…)

DJ Shaxx, Whitney and me, 1.29.2017…

And from my radio neighbor for the past 11 months, host of the wonderful LEFT OF THE DIAL, the incredibly talented DJ Shaxx:

“First, Happy birthday, friend!

“Can’t believe I won’t be there tonight for you to pass the broadcasting baton to me as I begin LEFT OF THE DIAL.  One of the reasons I love doing my show is that it has always followed STUCK IN THE 80s.  I come into the studio on a wave of positivity and grooving to your music; your legendary presence in the big chair as I walk into the on air studio.  Your personality and music has always helped me start my show with a bang.  In fact, my intro, my first song… you’re the audience.  I have so much enjoyed our conversations transitioning between shows.  And then, as you hit the road, I continue to spin music and speak on the mic and imagine you driving up interstate 295.

“With your departure, Ron Raymond Jr., a big part of what I do will change.

“Changes…  The only constant in life, right?  But change is good.  I’m excited for you and the changes coming up in your life.  The opportunities for great things to happen.  Your future is bright, Ronnie.  You gotta wear shades.

“Man, I’m gonna miss you.  I will miss your DJ mentorship, extensive knowledge and impeccable taste in music.  I will miss your humor and your kindness.

“Thank you for all that you’ve given to WMPG.  Thank you for sharing your great, great knowledge of the 80s every week.  You can feel it tonight.  Everyone tuning in.  Theirs are invisible airwaves crackling with life.  Ripe and tender, whistling with energy (as Geddy Lee would sing).  Thanks for carrying on that great Spirit of Radio.  Because of what you’ve done.  It will live on.  For a long, long time.  Someday inhabitants of a distant universe will be hearing these broadcasts and they will say, ‘Geez!  These people are stuck in the 80s.  We must rescue them.’  And then our planet will never be the same.



When you host a radio show for as long as I did with STUCK IN THE 80s, I had 20 years of thank-you’s and shout-outs to announce.  Of course, I wasn’t able to get to everyone.  That alone would have taken a whole entire show.  The last of my deserved thank-you’s were dedicated to two of my dearest and closest friends in the whole world – DJs extraordinaire Hope and Shawn, who I’d like to truly love to thank again, for their love and knowledge of music and the 80s, their mad DJ skillz, and their passion, dedication and innumerable contributions to STUCK IN THE 80s!  I couldn’t have done it all these years without them!  (BTW, at the end of the show, since we were shutting down the station, Hope came back on the air and said, “STUCK IN THE 80s OUT!”  And then, in sorta dramatic fashion, Shawn and I did drop out mics…  It was great.)


Shawn, me and Hope, WMPG-FM and, 2.12.2017, hiding from the blizzard outside and truly STUCK IN THE 80s!

For over a year now, people have been asking me why I’m ending the show.  Well, there’s a number of reasons, but mainly, for now, I want to take a break and take some time for me, do some screenwriting, maybe some voiceover work, continue with the little bloggy thing here, and with me turning 50 a couple of weeks ago, to figure out the next step of my path in this next chapter of my life. 


Thank you, for 20 years and then some…

I don’t know where, and I don’t know when, but STUCK IN THE 80s will be back, I guaRONtee.  I’ll be back too.  And don’t worry ‘bout a thing, ‘cause every little thing is gonna be alright.  And please know that STUCK IN THE 80s has been the proudest moment of the first half of my life.  Thank you.  I love you and I’ll miss you all.

So, until the next time you hear me on your radio, take care, be good, talk hard, and don’t you forget about me.  I’ll catch you on the flip side.  And as Mr. David Bowie once said, “I don’t know where I’m going from here, but I promise it won’t be boring.”  So stay tuned…


Hope and Shawn, I couldn’t have done it without you.  Thank you!

(real) one-hit wonder of the week – “A Million Miles Away” | THE PLIMSOULS | 1983.

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.


One of the great movie soundtracks to come out of the 80s was the soundtrack to 1983 film, VALLEY GIRL, starring a young Nicholas Cage in his first lead film role.  There was just one problem – despite all of the great music to come out of VALLEY GIRL, like Modern English’s “I Melt With You,” “Johnny Are You Queer?” by Josie Cotton, “Angst In My Pants” by Sparks, “Love My Way” by The Psychedelic Furs and “Who Can It Be Now?” by Men At Work – there was no official soundtrack released. 


valley-girl-soundtrack-2Well, that changed in 1994 when Rhino Records put together VALLEY GIRL: MUSIC FROM THE SOUNDTRACK, a 15-track CD compilation of songs that appeared in the movie.  The soundtrack was so successful, Rhino put out a companion CD in 1995 called VALLEY GIRL: MORE MUSIC FROM THE SOUNDTRACK, which featured songs from Sparks, Thompson Twins, Bananarama, Culture Club, The Jam, “I Eat Cannibals” by Total Coelo, “Mickey” by Toni Basil and much more.

One of the songs featured in the film and on the first soundtrack was “A Million Miles Away,” a song by a Power Pop / Alt-Rock band formed in Paramount, California (just outside of Los Angeles) called The Plimsouls. 


Formed in 1978 by singer / songwriter / guitarist Peter Case, The Plimsouls already had an EP and an album to their credit by 1983, when they released their second full-length album, EVERYWHERE AT ONCE.  When VALLEY GIRL was released in late April of that year, several songs from the film ended up being minor hits, prolly most notably, “I Melt With You” by Modern English, which reached No. 78 on the BILLBOARD Hot 100 in 1983, but has lived on in radio ever since.


“A Million Miles Away” also benefited from its use in VALLEY GIRL, and debuted on the Hot 100 in late July 1983 at No. 88.  It reached its No. 82 peak the following week, and its stay on the Hot 100 was short-lived, leaving the chart after just three weeks.  They wouldn’t reach the Hot 100

The Plimsouls broke up shortly after their minor success, and Peter Case has gone on to have a successful solo career, releasing 16 albums and compilations between 1986 and 2015, including one of my favorite album titles of the 80s, THE MAN WITH THE BLUE POST-MODERN FRAGMENTED NEO-TRADITIONALIST GUITAR (or BLUE GUITAR for short; from 1989).

The band has reunited a number of times since 1995, including a stint featuring Blondie’s Clem Burke.  They have also put out three live albums, the latest of which was released in 2012.

But, it was their 1983 Alt-Rock gem from a small movie with a future big actor and Academy Award winner and a kick-ass soundtrack that has thankfully endured much longer than its Hot 100 chart life, and never seems like a million miles away any time I revisit it…