song of the day – “Under Pressure” – QUEEN & DAVID BOWIE | 1981 / 1982.

Today, January 8, 2020, would have been David Bowie’s 73rd birthday.  But, on David Bowie’s birthday, for the past few years, I tend to think about January 10th, the day we lost him at age 69.  I know it’s weird to think of it like that.  It also reminds me that one of my first blog posts ever was about David Bowie. 

With this blog being three parts autobiographical, singles chart nerdiness and my love for the 80s, one thing I didn’t count on was how much more about myself I would learn through these songs and these artists when writing about them.  When I first wrote about David Bowie, I mentioned that, growing up, although I enjoyed his music very much, he wasn’t one of my immediate favorites.  But, and this surprised me the most, when I thought about it after he died, I realized that David Bowie was always a part of my life, in some form, at least since the 1977 Xmas special he did with Bing Crosby.  More than 42 years later, “Peace On Earth/Little Drummer Boy” is still my favorite Xmas song.

David Bowie and Bing Crosby, 1977.

David Bowie was also on the first record I ever bought with my own money, QUEEN’S GREATEST HITS, at the former LaVerdiere’s Drug Store across the river from where I’m writing this (in Wooterville, Maine, or Waterville, Maine for the uninitiated).  You throw in LET’S DANCE, LIVE AID, LABYRINTH and more, over the years, my love for David and his music grew more and more.  For years, I resisted getting a tattoo, and three months and a week after he died, I got my first tattoo with Mr. Bowie on my right shoulder, saying “We can be Heroes, just for one day.”  Just felt right and still does.  Sometimes, when Maryhope and I are on the air together, and we play David Bowie, I tend to refer to him as “the ever-present David Bowie.”  And he is, and not just because he’s on my shoulder.

Some of the early Elektra pressings of QUEEN’S GREATEST HITS had a new song on the album, with David Bowie — “Under Pressure.”  And I’m so grateful I got one of the early pressings.  My 39-year-old copy of the album is beat to shit, after the millions of times I played it, but as the first album I ever owned, I’ll never part with it.

Not my copy, this is mint compared to my beat-up copy!

Being a lanky 14-year-old singles chart nerd (and nerd in general) in 1981, one of the things I enjoyed most about QUEEN’S GREATEST HITS were the liner notes.  It had mini bios of each song, and revealed what positions the songs charted in both the U.K. and the U.S., which was a thrill for me, because at that time, I had little knowledge of how songs did across the pond, or other parts of the globe.

Here’s what the liner notes looked like on the first U.S. pressings of QUEEN’S GREATEST HITS, right down to the crease in the upper right corner.

What I didn’t know is that, on the U.K. and Ireland versions of QUEEN’S GREATEST HITS (or actually just titled GREATEST HITS, though I never called it that), “Under Pressure” was nowhere to be found.  But, on (at least) the American, Canadian and Japanese versions of the compilation, it was thankfully there.  And I instantly fell in love with it. 

“Under Pressure” was the brilliant pairing of two of the greatest voices in the history of music — Queen’s Freddie Mercury and David Bowie.  Absolute total fucking genius.  I’ve heard stories of stressful moments between them during the recording of “Under Pressure,” which, depending on your interpretation of the song, could be about stress and pressure because of work, politics, life, love, family, war, war within yourself, or anything.  When I hear “Under Pressure,” I don’t feel pressure at all, I don’t think about the battles Freddie and David had whilst making the song.  I just feel the love that was put into the song and I hear the passion and conviction in each of their voices:

“Love, love, love, love, love / Insanity laughs under pressure we’re breaking / Can’t we give ourselves one more chance? / Why can’t we give love that one more chance? / Why can’t we give love, give love, give love, give love / Give love, give love, give love, give love, give love?…”

The unassuming, pressure-free cover art for the “Under Pressure” single.

“Under Pressure” was released the last week in October 1981, on the same day as QUEEN’S GREATEST HITS.  Within two weeks, it debuted on the BILLBOARD Hot 100 at No. 80.  In early December 1981, it debuted in the Top 40 at No. 40.  A month later, in early January 1982, it spent a couple of weeks at its peak position of No. 29, 15 total weeks on the Hot 100, and was gone by late February.  I can’t express enough how pissed I was (or as pissed as a then-15-year-old nerd living in Central Maine could get) that “Under Pressure” didn’t get the recognition it deserved. 

Unbeknownst to me, though, in many other parts of the globe, “Under Pressure” DID indeed get the recognition it deserved.  In the U.K., it spent two weeks at No. 1, a week at No. 1 in the Netherlands, and reached the Top 10 in (at least) Australia, Austria, Belgium, Canada, Ireland, New Zealand, Norway, South Africa, Spain, Sweden and Switzerland.  Why Americans couldn’t get behind this masterpiece is a question that eluded me for a very long time.

10 years to the week after “Under Pressure” hit No. 1 in the U.K., Freddie Mercury sadly passed away at the age of 45.  His loss was felt everywhere, and less than six months after he died, a benefit concert was put together in honor of him.  Many artists performed with the surviving members of Queen, including Robert Plant, Paul Young, Seal, Lisa Stansfield, George Michael, Elton John, and when it came time for “Under Pressure,” Queen’s Brian May, Roger Taylor and John Deacon performed with David Bowie, and singing Freddie’s part of the song, the extraordinary Annie Lennox of Eurythmics.  The performance was magnificent, and an amazing tribute indeed, that I’m sure Freddie would have loved.

Annie Lennox and David Bowie, from the Freddie Mercury Tribute, April 20, 1992.

Over the years, you couldn’t escape “Under Pressure” being featured in numerous TV shows and movies, including a touching scene in the brilliant 1997 John Cusack film, GROSSE POINTE BLANK.

John Cusack and a baby, quietly jamming out to “Under Pressure” in 1997’s GROSSE POINTE BLANK.

When David Bowie died in 2016, many of his songs returned to the charts everywhere in the world, even here in America.  On the BILLBOARD Hot 100, “Under Pressure” was the highest Bowie song to re-enter the chart, at No. 45 — over “Let’s Dance,” over “Fame,” over “Space Oddity.”  And now (maybe also due in part due to the excellent 2018 Freddie Mercury biopic, BOHEMIAN RHAPSODY), “Under Pressure” is in heavy rotation at Retro Rock and Classic Rock stations all over.  It took awhile, but here in the U.S., “Under Pressure” has finally gotten the recognition it has deserved all along.

I want to travel back in time and go to there!

It’s hard to believe that, at one time in my life, David Bowie was not one of my favorite artists.  But, today, January 8, 2020, and well before today, and with many eternally grateful thanks to Maryhope, I can honestly say David Bowie is one of my all-time favorite artists.  I can’t imagine my life without him or his music. 

If I had access to a working DeLorean time machine, you can bet your 88 miles an hour ass that I would go back in time and see David perform live and buy everything of his that I could, at those moments.  But, since that’s not yet physically possible, I take comfort in the fact he left us an incredibly brilliant catalog of music that stretches far across the universe and then some. 

I also take comfort with something Maryhope often reminds me of, how we existed on this planet at the same time as David Bowie.  That’s so fucking cool.  Also so fucking cool is a thought I’ve had of David hanging out with Maryhope’s dad, Dennis, and my two baby brothers, Mark and Jonn — because they can.

Happy Birthday, Starman, wherever you are.  My love to you all…

“Cause love’s such an old fashioned word / And love dares you to care for / The people on the edge of the night / And love (people on streets) dares you to change our way of / Caring about ourselves / This is our last dance / This is our last dance / This is ourselves / Under pressure / Under pressure / Pressure…”

https://www.youtube.com/watch?v=a01QQZyl-_I

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

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. 

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

(real) one-hit wonder of the week – “Tainted Love” | SOFT CELL | 1981 / 1982.

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 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.

It occurred to me this past weekend (4.8-9.2017) that it’s been nearly three months since I shared a (real) one-hit wonder from the 80s with you!  So, I thought I’d share one of THE biggest – “Tainted Love” by Soft Cell.

When “Tainted Love” came to my attention around Xmas 1981, there was nothing tainted about it.  I really loved that song from the start.  Soft Cell’s Synthpop / New Wave sound was unique, not to mention very cool.  And, strangely enough, it took me years, right up through adulthood, to realize “Tainted Love” was NOT written by Soft Cell, but was in fact a cover of an R&B song from 1964.

Written and produced by Ed Cobb, “Tainted Love” was first recorded by R&B singer / songwriter Gloria Jones, who was in her late teens at the time.  Ed Cobb, who was with the popular quartet, The Four Preps (who had a couple of big hits back in the late 1950s), discovered Gloria Jones, and she signed with his production company.

NERDY FUN FACT: The baritone member of The Four Preps, Glen Larson (who passed away in 2014), would be best known as a television producer, writer and creator of some of the favorite shows of my youth – including BATTLESTAR GALACTICA, BUCK ROGERS IN THE 25th CENTURY, MAGNUM, P.I. and KNIGHT RIDER. 

Gloria Jones, the original voice of “Tainted Love,” joined the Glam Rock band, T. Rex, in 1973, and was the girlfriend of the band’s charismatic leader, Marc Bolan.  Gloria and Marc also had a child in 1975.  Sadly, early in the morning of September 16, 1977, she was driving the car that crashed and killed Marc Bolan.    It was ruled an accidental death. 

T. Rex’s Marc Bolan and the original voice of “Tainted Love,” Gloria Jones.

While Gloria Jones had some success here in her American homeland, in Northern England, she was incredibly popular, and she was labeled as the “Northern Queen Of Soul.”  Marc Almond, the vocal half of Soft Cell, once heard the original “Tainted Love” in a nightclub in Northern England, and was inspired to rework it.

The duo of Soft Cell was formed in Leeds, England in 1977, consisting of singer Marc Almond and multi-instrumentalist David Ball.  Like many bands and recording artists early in their careers, Soft Cell’s first few years were not successful.  They twice-released their memorable song, “Memorabilia,” in the first part of 1981, but the best they could muster was a No. 35 ranking on BILLBOARD’s Dance chart with the second release.  When Marc and David decided to record a cover of “Tainted Love,” however, the music world as they knew it would change forever.    

For Soft Cell’s version of “Tainted Love” (which appears on their debut album, NON-STOP EROTIC CABARET), they reworked the song from a Soulful, fast arrangement to a slower tempo, replacing horns, bass, drums and guitars with synthesizers.  Soft Cell’s record label released “Tainted Love” in the U.K. on July 7, 1981, and would have been their last single if it didn’t do well.  Suffice it to say, it was NOT their last record.

“Tainted Love” was so popular, in fact, that it reached No. 1 on the U.K. singles chart about two months after its release, spending two weeks on top, and was the biggest-selling song in the U.K. for all of 1981.

Around the globe, “Tainted Love” was a monster hit, reaching No. 1 in Australia, Belgium, Canada, Germany, and South Africa, and reaching the Top 10 in Austria, France, Holland, Ireland, New Zealand, Spain, Sweden and Switzerland.

The U.S. singles chart history for “Tainted Love” is like chart nerd heaven, especially for this chart nerd.  “Tainted Love” debuted on the BILLBOARD Hot 100 at No. 90 in mid-January 1982.  Less than a month in, it started losing steam, and by the end of February 1982, it fell from a peak of No. 64 all way down to No. 100.

Well, after staying at No. 100 for a couple of weeks (which almost never happens, by the way), “Tainted Love” started climbing the chart again.  Two months after debuting on the Hot 100, it was back to its debut position of No. 90.  By the end of March 1982, it had climbed back up to its peak position of No. 64. 

And it continued to climb.  By mid-April 1982, it had reached No. 50, the halfway point of the Hot 100, but the following week, it lost its chart “bullet” (which notates a significant gain).  But, as it had seemed to peaked for a second time, it kept climbing, and by late May 1982, in its 19th week on the Hot 100, it finally debuted in the Top 40.  (To make a comparison, the 1983 No. 1 song by Billy Joel, “Tell Her About It,” spent just 18 weeks in its entire chart run.)

In mid-July 1982, six months and one week after debuting on the Hot 100, “Tainted Love” reached its actual peak position of No. 8, where it stayed for two weeks.  A couple of months later, in its 36th chart week, “Tainted Love” was nearly off the chart, falling to No. 99.  But, for another incredible seven weeks (or nearly two months), it continued to hang on in the lower region of the Hot 100, spending its last five weeks on the chart all at No. 97. 

On the BILLBOARD Hot 100 chart dated November 13, 1982, “Tainted Love” was finally gone after 43 weeks, setting a new (then) chart record for most weeks spent on the Hot 100, a record it would hold onto for seven years, when a 1989 re-release of Moving Pictures’ 1982 / 1983 Top 30 hit, “What About Me,” spent 17 weeks on the chart, matching the 43-week run of “Tainted Love.”  The incredibly long run for “Tainted Love” placed it quite high on the year-end BILLBOARD Hot 100 chart, and it ranked at No. 11 for all of 1982.

The current BILLBOARD Hot 100 longevity holder (and prolly will be for all time) is by the Las Vegas, NV Pop / Rock band, Imagine Dragons, and their 2012 / 2013 / 2014 hit, “Radioactive.”  It spent an unthinkable 87 weeks on the Hot 100 (well over a year and a half), and is currently THE best-selling Rock song in the history of digital downloads.

The 12” single version of “Tainted Love” featured an awesome nine-minute medley of “Tainted Love” and The Supremes’ “Where Did Our Love Go?”  I should know, because it was the first 12” single I ever bought.  Other folks seemed to like it too, as it reached No. 4 on BILLBOARD’s Dance chart.  The medley of the two covers was so popular that an edited version of the medley was serviced to radio stations, and years later, to the public.

One of the cool things about “Tainted Love” is that, despite two failed attempts at making “Memorabilia” a hit, Soft Cell put “Memorabilia” as the “Tainted Love” B-side.  So, in a way, this great song finally got its due. 

Though Marc Almond and David Ball would not chart again on the BILLBOARD Hot 100 (their No. 3 hit, “What!” came close, reaching No. 101), they would go on to have five more Top 5 songs in the U.K., and six other U.K. Top 40 hits through 2003. 

Away from Soft Cell, singer Marc Almond has released a whopping 21 solo studio albums and eight live albums between 1984 and 2015, not including compilations or EPs.  On the U.K. singles chart, he spent four weeks at No. 1 (with the late Gene Pitney) on “Something’s Gotten Hold Of My Heart,” a 1989 reworking of a song Gene Pitney himself released in 1967.  Marc sure had a penchant for cover songs, and another 1967 hit he covered reached No. 4 on the U.K. singles chart for him in 1992 – “The Days Of Pearly Spencer.”  Marc’s gorgeous reworking is from his 1991 album, TENEMENT SYMPHONY.

The other half of Soft Cell, David Ball, released his own album, IN STRICT TEMPO, in 1983, and has worked as a producer and / or remixer for folks like David Bowie  and Pet Shop Boys.

Soft Cell broke up in 1984, and again in 1992, and reunited for a tour in 2001.  According to Marc Almond’s website, HITS AND PIECES – THE BEST OF MARC ALMOND AND SOFT CELL, is available now and is the first comprehensive Marc Almond and Soft Cell singles album since 1991, and features a new single, “A Kind Of Love.” 

The legacy of Soft Cell continues today, with their huge cover of “Tainted Love” appearing in a number of films, TV shows and commercials (remember that cool emergency room-set, Spike Jonze-directed Levi’s commercial from 1996?).  Plus, their version of “Tainted Love” has been, in turn, covered by acts like Impedance, Marilyn Manson, Flying Pickets, Inspiral Carpets, The Pussycat Dolls, Paul Young and Straight No Chaser.  Their song “Memorabilia” has been covered by Nine Inch Nails and their “Say Hello, Wave Goodbye” has been brilliantly covered by Nouvelle Vague and David Gray (whose incredible cover – one of the best I’ve heard – clocks in at nine minutes, about four minutes longer than the Soft Cell original).

Thinking back, it may have taken me awhile to realize “Tainted Love” wasn’t originally a Soft Cell song, but thinking now, there’s no mistaking that it was indeed Soft Cell who made “Tainted Love” their own…

https://www.youtube.com/watch?v=UARn9GLnhow

xmas song of the day – “Do They Know It’s Christmas?” | BAND AID | 1984 / 1985.

Happy Holidays!  Since it’s the first year of my blog, and since it’s the last year for my Annual Holiday Show on my little 20-year-old 80s radio program, STUCK IN THE 80s (on WMPG community radio in Portland, Maine), I wanted to present to you THE 31 DAYS OF 80s XMAS SONGS, or, 31 of my favorite 80s holiday musical treats.

The song for Day 30 of THE 31 DAYS OF 80s XMAS SONGS is prolly the biggest holiday song of my generation, written and spearheaded by Bob Geldof of The Boomtown Rats and Midge Ure of Ultravox, in response to the TV reports of famine in Ethiopia – “Do They Know It’s Christmas?” by Band Aid.

Bob and Midge first got together about this project in early November 1984, and knew they had a limited time frame to work with, if they wanted to get the song ready for the holiday.  They put the song together, and then started recruiting many of the biggest recording stars in the U.K. and Ireland at the time (save for Chicago’s Jody Watley and Jersey City’s Kool & The Gang, who happened to be on the same record label as The Boomtown Rats and who happened to be in there when Bob Geldof pitched the idea to the label). 

Bob Geldof (in his “Feed The World” T-shirt) and Midge Ure.

They then asked famed producer Trevor Horn (Frankie Goes To Hollywood, The Art Of Noise) if he would produce, but he told Bob and Midge that he would need at least six weeks to do it, which wouldn’t get the record ready in time for Xmas.  Though Trevor Horn wasn’t able to produce the original single, he did offer a studio for them to use free of charge for 24 hours on Sunday, November 25, 1984, and he later produced and remixed the 12” single for a 1985 re-release.

Nearly 40 recording artists, including members of Duran Duran, U2, Culture Club, The Boomtown Rats, Bananarama, Spandau Ballet, Ultravox and Status Quo, as well as folks like Sting, Paul Young, George Michael, Phil Collins (who played drums on the song) and Paul Weller of The Style Council, participated on the benefit record.  Artists who weren’t able to be there but who sent in recorded messages were David Bowie, Paul McCartney, Holly Johnson of Frankie Goes To Hollywood and Big Country.  These messages were included on the single’s B-side and as part of the 12” extended mix.

It took only a week after recording ended to release “Do They Know It’s Christmas?”  The single had 250,000 advance orders and that number swelled to a million less than a week after its release.  Phonogram (who put out the single in the U.K.) had all five of its European factories working on pressing that one single to help meet demand.

On December 15, 1984, just 12 days after its release, “Do They Know It’s Christmas?” spent the first of its five weeks at No. 1 on the U.K. singles chart.  It was the fastest-selling single in U.K. chart history and sold three million copies in the U.K. alone by the end of 1984.  Until Elton John’s “Candle In The Wind 1997” 13 years later, it was the biggest-selling single of all-time in the U.K.

Around the globe, the response to “Do They Know It’s Christmas?” was phenomenal.  It also reached No. 1 in Australia, Austria, Belgium, Canada, Denmark, Germany, Holland, Ireland, Italy, New Zealand, Norway, Sweden and Switzerland.

Over here in the U.S., the video for “Do They Know It’s Christmas?” was played often throughout the holiday season on MTV, and the single was released on December 10, 1984 on Columbia Records.  A few days before Xmas, it debuted on the BILLBOARD Hot 100 at No. 65.  For the first chart in 1985, it shot up to No. 20.  But, despite the fact it was outselling Madonna’s “Like A Virgin” (the No. 1 single then) by a four-to-one margin (selling nearly two million copies in its first eleven days of release), the lack of airplay prevented it from charting any higher than No. 13.  It was gone from the Hot 100 after just nine weeks, departing in mid-February.

Bob Geldof had hoped “Do They Know It’s Christmas?” would raise £70,000 for Ethiopia, but instead, it raised £8 million within a year of its release.  And the support of the Ethiopian famine relief didn’t stop there. 

In early March 1985, (mostly) American recording artists teamed up as USA For Africa for the “We Are The World” single and album.  Canadian artists banded together as Northern Lights for “Tears Are Not Enough.”  The LIVE AID concert on July 13, 1985 brought musicians and fans together in London, Philadelphia and around the globe to raise money for famine relief.

“Do They Know It’s Christmas?” was re-recorded three times – in 1989, 2004 and 2014 – all three re-recordings reached No. 1 in the U.K. and all were charity records for Africa (the 1989 and 2004 versions went to famine relief, while the 2014 version raised money for the Ebola crisis in West Africa).

For this Xmas (and always), of course, the best gift I’d love to get is peace, love and understanding, especially for my wealth of family and friends.  I’d also love to see more support for those less fortunate than you or I.  On the 12” single for “Do They Know It’s Christmas?” David Bowie puts out a plea for support: “It’s Christmas 1984, and there are more starving folk on the planet than ever before.  Please give a thought for them this season and do whatever you can, however small, to help them live.  Have a peaceful New Year.” 

“Do They Know It’s Christmas?” (especially the 12” extended mix) will always have a special place in my heart.  And from that 12” single, David Bowie’s plea, 32 years later, still resonates to this day. 

In Maine, there are so many folks in need – of food, heat, medicine, shelter, and affordable health care, for starters.  I’m sure it’s like that all over the US of A, and all over the world.  2016 has been a particularly rough year for a lot of reasons, and I do hope and pray that 2017 will be a peaceful New Year.  But first, Happy Xmas, Happy Hanukkah, or whatever you choose to celebrate, if anything – be safe, have fun and do what you can to help those who won’t have much of either this holiday season…

https://www.youtube.com/watch?v=Zc8TYsYb5i0

song of the day – “Everybody Wants To Rule The World” | TEARS FOR FEARS | 1985.

The other night, I was at a get-together in South Portland, Maine, at the home of my friend Melissa, and there was a conversation going about The British (music) Invasion.  I chimed in and said, “Which one?”  They were talking about the one in the mid-1960s, while I was referring to the one in the mid-1980s.  When questioned about the 80s British Invasion, I then tried to remember all the big British hits in the U.S. during 1985, and had a huge gaping brain cramp.  So, I’ll properly answer that question here.

I’ve prolly said on the bloggy thing here that the New Wave era here in America started and ended with The Human League.  Their big 1982 hit, “Don’t You Want Me” spent three weeks at No. 1 on the BILLBOARD Hot 100 in July 1982, and for the next four years, New Wave artists were prominent on the Hot 100 singles chart.  In November 1986, their hit, “Human,” reached No. 1 on the Hot 100, and was replaced the following week by “You Give Love A Bad Name” by Bon Jovi.  I’ve also prolly said here (half-jokingly) that Bon Jovi killed New Wave.

Another interesting thing about The Human League’s two bookend reigns at No. 1 on the Hot 100 – not only did New Wave come into play (pun intended) during this time – with the tremendous help of MTV – it was also the time of the Second British (music) Invasion. 

On the BILLBOARD Hot 100 dated July 16th, 1983, British music acts shattered the record established in 1965, where 14 songs by British recording artists were in the American Top 40 at the same time.  On this July 1983 chart, HALF of the Top 40 were songs by British artists, and of those 20, seven of the Top 10 singles that week were by Brits: “Time (Clock Of The Heart)” – Culture Club (No. 10), “Is There Something I Should Know” – Duran Duran (once called The Fab Five; No. 9), “Our House” – Madness (No. 8), “Too Shy” – Kajagoogoo (No. 7), “Come Dancing” (The Kinks, who were part of the original British Invasion; No. 6), “Electric Avenue” – Eddy Grant (a Londoner from Guyana, which was known as British Guiana at the time of his birth in 1948; No. 2), and “Every Breath You Take” – The Police (for the second of eight weeks at No. 1).

In April 1984, 40 of the singles on the Hot 100 were by British acts, and on the Hot 100 chart dated May 25, 1985 (the year of the height of the Second British Invasion), a record EIGHT of the Top 10 singles that week were by Brits: “Things Can Only Get Better” – Howard Jones (No. 10), “Some Like It Hot” – The Power Station (No. 9), “Suddenly” – Billy Ocean (of British origin; No. 8), “One Night In Bangkok” – Murray Head (No. 7), “Smooth Operator” – Sade (No. 5), “Everybody Wants To Rule The World” – Tears For Fears (No. 3), “Don’t You (Forget About Me)” – Simple Minds (No. 2), and “Everything She Wants” – Wham! (No. 1).

For three months between May 18, 1985 and August 17, 1985, and starting with “Don’t You (Forget About Me),” songs by acts from Britain would rule the U.S. music world for all but two weeks – the aforementioned “Everything She Wants” and “Everybody Wants To Rule The World,” plus “Sussudio” by Phil Collins, “A View To A Kill” by Duran Duran, Paul Young’s cover of the Daryl Hall song, “Everytime You Go Away,” and “Shout” by Tears For Fears.

When Bon Jovi claimed their first No. 1 song on the Hot 100 in late November 1986, and in the process signaling the end of the reign of New Wave and the Second British Invasion, the No. 1 songs for the better part of the rest of the 80s were dominated by Glam Metal and Dance acts, though in 1988, many songs by Brits did manage to reach No. 1 on the Hot 100.

One of the British acts who had a banner year in 1985 – in the U.S. and all over the globe – was Bath, England’s Tears For Fears.  Led by Roland Orzabal and Curt Smith, Tears For Fears had been around since 1981, but despite a brilliant debut album (THE HURTING), they hadn’t been able to break through to the U.S. market until the success of “Everybody Wants To Rule The World,” their third single from their second album, SONGS FROM THE BIG CHAIR.

“Everybody Wants To Rule The World” (with vocals by Curt Smith) was the first single released here in the U.S., and for awhile in the Spring and Summer of 1985, Tears For Fears did rule the world with their incredible hit.  It spent a couple of weeks at No. 1 on the Hot 100 in June 1985, as well as reaching No. 1 on BILLBOARD’s Dance chart for two weeks.  The love for this song was felt through many different genres, and it reached No. 2 on BILLBOARD’s Rock and Adult Contemporary charts – no easy feat.  Here in America, it rightfully ranked at No. 7 for all of 1985.

Around the globe, it reached No. 1 in Canada and New Zealand, and the Top 10 in the U.K., Australia, Belgium, Holland and Ireland.  A year later, Roland and Curt returned to the Top 10 of the U.K. and Ireland charts with a rework of their big hit, titled “Everybody Wants To RUN The World,” in support of Sport Aid, which was a sports-themed offshoot campaign of Live Aid, to aid in the effort to help the famine problem in Africa.  The highlight of this campaign was the Race Against Time, a 10K fun run simultaneously held in 89 countries.  $37 million was raised for Live Aid and UNICEF.

For many years, Roland Orzabal kept performing under the Tears For Fears name while Curt Smith had left the band, but they have been together again since 2000, released an album in 2004 (EVERYBODY LOVES A HAPPY ENDING) and are currently on the last dates of their rescheduled U.S. and Canada tour. 

Though overall Tears For Fears may not be the household name they were in 1985, it’s great to see them still together and so wonderful to hear their songs like “Everybody Wants To Rule The World” on the radio.  It’s one of those songs I have always loved from the start and a song I always love driving to.  One of the lyrics of the song goes, “Nothing ever lasts forever.”  Clearly, Roland and Curt aren’t referring to their own song, as this song will live on in radio eternity, and as I’ll love this song forever…

https://www.youtube.com/watch?v=ST86JM1RPl0

song of the day – “Come Back And Stay” | PAUL YOUNG | 1983 / 1984.

English singer / songwriter / musician Paul Young just celebrated his 60th birthday in January, and there’s a couple of things you prolly don’t know about him.  The first tidbit about Paul you may or may not know is, that, back in the 80s, Paul Young was a teen idol (many of my female friends would be quick to confirm that, yes, he indeed was).  You could find him on magazine covers like SMASH HITS, MUSIC LIFE, THE RECORD, LOOK IN, TUTTI FRUTTI, HELLO! and NO. 1 magazine.

The second thing about Paul Young you may or may not know is that, over the years, he has had a penchant for cover songs.  Between 1983 and 1992, out of his 9 chart hits on the BILLBOARD Hot 100, 7 of them were cover songs, including all 5 of his Top 40 hits, led by his No. 1 song from 1985, “Everytime You Go Away” (written by Daryl Hall and first released by Daryl Hall & John Oates on their 1980 album, VOICES).

The first Top 40 hit in the U.S. for Paul Young was the wonderful “Come Back And Stay,” from his debut album, NO PARLEZ.  “Come Back And Stay” was first recorded in 1981 by the founder of the short-lived 80s Los Angeles Power Pop band, The Nerves, Jack Lee.  He also composed a longtime Blondie favorite from their 1978 album, PARALLEL LINES, “Hanging On The Telephone.”

Paul Young’s version of “Come Back And Stay” was released in late 1983, and it was an instant global hit, reaching No. 1 in Belgium (1 week), Germany (7 weeks), New Zealand (1 week) and Switzerland (5 weeks).  It also reached the Top 10 in Austria, France, Holland, Ireland, Norway, and his homeland of the U.K., where it peaked at No. 4.  Here in the U.S., it spent a week at No. 22 on the Hot 100 this week in April 1984.

There was a 12” remix issued for “Come Back And Stay,” and I found my copy on the flip side of the 12” single for follow-up single (and another cover song), “Love Of The Common People.”  When 80s 12” singles were really taking off in 1983 and 1984, at first many major labels (Sire Records comes to mind) were releasing 2 hits on the same 12”.  Another example of this is Madonna’s “Borderline” and “Lucky Star.”  Oddly enough, years later, someone felt the need to add scratching to the remix of “Come Back And Stay,” and it appears on certain 80s compilations, although no scratching was required on a song that was perfect without it.

Paul Young and his Tex-Mex band, Los Pacaminos.

In 1993, Paul Young formed a Tex-Mex band, Los Pacaminos, which released albums in 2002 and 2014, and still tour the world today.  He’s scheduled to release a new solo album this month, a collection of Memphis Soul tunes titled GOOD THING.  It’s his first Soul album in 20 years. 

If you lost touch with Paul Young over the years, perhaps you should revisit his first international hit, which I’m sure he hopes will make you, well, come back and stay…

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