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 – “Pride (In The Name Of Love)” | U2 | 1984.


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!”

It’s June 6, 2017, and I didn’t have the best day today.  It happens.  In late 1984, Casey Kasem wasn’t having a good day during the recording of a segment of AMERICAN TOP 40.  I’ll come back to that in a bit.  But, Casey’s bad day was a good day for Dublin, Ireland’s U2. 

With their first three albums – 1980’s BOY, 1981’s OCTOBER and 1983’s WAR – U2 was slowly building an audience here in America.  All three albums sold well here in the U.S., especially WAR (now at 4x Platinum), which reached No. 12 on BILLBOARD’s Album chart.

My introduction to U2 happened somewhere between WAR and when I picked up the live “mini-album,” UNDER A BLOOD RED SKY, in July 1984.  And, apart from some of their most recent efforts, I’ve been a huge fan since, but I don’t think it really happened for me until I picked up their fourth studio album, THE UNFORGETTABLE FIRE.

the unforgettable fire

Released on October 1, 1984, THE UNFORGETTABLE FIRE took the band in a new music direction from the edgier, more raw sound of their first three albums.  U2’s first three albums were produced by the great Steve Lillywhite (who worked with many artists in the 80s like Big Country, Peter Gabriel and XTC, to name a few), but, in order to achieve this newer sound, THE UNFORGETTABLE FIRE was co-produced by legends in their own right, Brian Eno and Daniel Lanois. 

Bassist Adam Clayton once said about the change in producers, “We were looking for something that was a bit more serious, more arty.”  The powers that be at U2’s record label, Island, tried to encourage them NOT to work with Brian Eno and Daniel Lanois, but U2 was persistent.  And, in the end, it paid off.

The first single released from THE UNFORGETTABLE FIRE was “Pride (In The Name Of Love),” and was released in early September 1984, a month before the release of the album.

PRIDE front

Prior to “Pride,” U2 had reached the Top 5 of Ireland’s singles chart four times, reaching No. 2 twice – with “New Year’s Day” and “Two Hearts Beat As One.”  Over on the BILLBOARD Hot 100, U2 had only seen a couple of their singles reach the BILLBOARD Hot 100: “New Year’s Day” (No. 53, 1983) and a live version of “I Will Follow” (No. 81, 1984).  “Two Hearts Beat As One” just missed the survey, stopping at No. 101.

“Pride (In The Name Of Love)” became the band’s third single to reach the Hot 100, debuting in late October 1984 at No. 85.  Within four weeks, it became their biggest U.S. hit to that point, and on December 1, 1984, “Pride” reached the Top 40.  It would spend a week at No. 33 two weeks later, and stayed on the Hot 100 until early February 1985.

Around the globe, folks were proud for “Pride” and it was U2’s first big worldwide hit, reaching No. 1 in New Zealand, No. 2 in Ireland, No. 3 in the U.K., No. 4 in Australia, No. 5 in Holland, No. 7 in Norway, No. 12 in Sweden and No. 33 in Canada (must have been a North American thing).

NERDY FUN FACT: The Pretenders’ Chrissie Hynde, married to Simple Minds’ Jim Kerr in 1984, sang backing vocals on “Pride (Is The Name Of Love),” and was credited on the song as “Mrs. Christine Kerr.”

Now back to Casey Kasem’s bad day back in 1984.  Apparently, during the recording of an American Top 40 countdown (I believe the week when U2 debuted on the Top 40 at No. 39 on December 1, 1984), in AT40-ese, Casey dropped a couple of notches.  As he was listing off U2’s members, he got frustrated and said, “These guys are from England and who gives a shit?!”

In 1991, this sample and other vocal and more profane samples by Casey over the years found their way onto the EP of San Francisco Experimental band Negativland.  The U2 EP was notorious for highlighting “U2” in huge letters and “Negativland” in very small letters underneath it, with an image of a Lockheed U-2 spy plane in the foreground of “U2.”


On this U2 EP were a couple different mixes of “I Still Haven’t Found What I’m Looking For,” with those Casey Kasem samples (including his famed “Long Distance Dedication,” thrown in there as well).  These covers were more parodies than covers (kazoos were involved, as were bits and pieces and samples of the original U2 song).  Regardless of whether or not they were covers, U2 was not impressed and Island Records sued Negativland for a violation of trademark law, not just for the huge “U2” on the EP, but for the song itself.

Island Records also believed it was a deliberate attempt to confuse U2 fans awaiting the new U2 release, ACHTUNG BABY, making them believe they were purchasing a new U2 album called NEGATIVLAND.  The EP was withdrawn, but the tracks resurfaced on a legally-released album a decade later (with bonus material) as THESE GUYS ARE FROM ENGLAND AND WHO GIVES A SHIT?

these guys are from england

Negativland’s interest is in intellectual property rights.  They argued that their use of U2’s and other artists’ work falls under the “fair use” clause.  They released a CD in 1995, along with an accompanying book about this whole U2 experience, called, FAIR USE: THE STORY OF THE LETTER U AND THE NUMERAL 2 (Of U2’s name, Casey Kasem described it on AMERICAN TOP 40 as “That’s the letter U and the numeral 2.”) 

fair use

“Pride” was originally written about Ronald Reagan’s pride in the USA’s military power, but Bono was influenced by Stephen B. Oates’s 1982 book, LET THE TRUMPET SOUND: A LIFE OF MARTING LUTHER KING, JR., as well as a biography about Malcolm X, examining the violent and non-violent sides of the civil rights campaigns of the 60s.  Lead singer and lyricist Bono rewrote the lyrics to “Pride (In The Name Of Love),” and it ended up being about Martin Luther King, Jr.

PRIDE back

Hard to think about now, but oddly enough, at the time of its release, “Pride” got mixed critical reviews.  Kurt Loder, who reviewed THE UNFORGETTABLE FIRE in 1984 (and would later join MTV), gave the album three out of five stars, and said of “Pride”: 

“One would like to be able to summon praise for such well-intentioned tracks as ‘Pride (In the Name of Love),’ which was inspired by Martin Luther King, but ‘Pride’ gets over only on the strength of its resounding beat (a U2 trademark) and big, droning bass line, not on the nobility of its lyrics, which are unremarkable.”

Well, reviews for both THE UNFORGETTABLE FIRE and for “Pride” only improved with time, and ROLLING STONE ranked it as No. 388 on their 500 Greatest Songs Of All Time list, and it’s also included on the list of the Rock And Roll Hall Of Fame’s 500 Songs That Shaped Rock And Roll. 

And prolly the best review of all?  When the song came out, the late, great Coretta Scott King, the widow of Dr. King, invited the band to the Martin Luther King Center in Atlanta, which they visited during their 1984 tour.

Maybe Casey Kasem didn’t give U2 much thought when “Pride” came out, but he changed his tune (pun intended) the next time U2 made the Top 40 – when THE JOSHUA TREE’s “With Or Without You” spent three weeks at No. 1 on the Hot 100 in May 1987.

As for me?  Well, when I bought UNDER A BLOOD RED SKY, I was curious about the band so many people were raving about.  And I loved the album.  When I bought THE UNFORGETTABLE FIRE, I would never forget U2 again…


song of the day – “Me Myself And I” | DE LA SOUL | 1989.


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 (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!”


An ad for AMERICAN TOP 40 with Shadoe Stevens, 1988.  Nothing against Shadoe, but this made me sad.

By the Fall of 1988, due to contractual issues with ABC Watermark, Casey Kasem sadly left the show he created in 1970 to start another show, Casey’s Top 40.  With no 29-year-old offense intended at AT40’s replacement host, Shadoe Stevens, I listened for one or two weeks after Casey left, and it just wasn’t the same.  But for this tribute to Casey, I’m still sticking with the 80s format, and will feature a number of songs from August 1988 through December 1989, or post-Casey on American Top 40.  Here’s one of those songs. 

De La Soul, the Hip Hop / Rap trio formed Long Island, New York, in 1987 (while still in high school) and are still together 30 years later.  Consisting of members Posdnous (real name Kevin Mercer), Dave (David Jude Jolicoeur) and Maseo (Vincent Mason), De La Soul came onto the music scene a couple of years later with their debut album, 3 FEET HIGH AND RISING, and right out of the gate, they were heralded for their impressive contributions to Jazz Rap and Alt-Hip Hop, their fun wordplay and their revolutionary sampling (on this album alone, they sample anything from Daryl Hall & John Oates to Johnny Cash to Steely Dan to The Turtles to Richard Pryor to Liberace to Wilson Pickett to Billy Joel).

3 feet high

3 FEET HIGH AND RISING was one of the most critically-acclaimed albums of 1989, making it onto many publications’ Top 10 lists that year, including ROLLING STONE (#5), MELODY MAKER (#10), plus other notable accolades from SPIN (#7, 100 Greatest Albums, 1985-2005), VILLAGE VOICE (“The Sgt. Pepper of Hip Hop”), NEW MUSIC EXPRESS (NME) (“One of the greatest albums ever made”) and famed music critic Robert Christgau said 3 FEET HIGH AND RISING was “unlike any rap album you or anybody else has heard.”

Another thing that 3 FEET HIGH AND RISING had in its favor was its tone.  In 1989, Gangsta Rap was taking off, and De La Soul went in a different direction, a more positive spin on Rap, promoting peace and harmony, as opposed to violence and substance abuse and then some.  And, because of it, both De La Soul and the album were well-received.  3 FEET HIGH AND RISING was certified Platinum and spent five weeks at No. 1 on BILLBOARD’s R&B / Hip Hop chart.  In Robert Christgau’s VILLAGE VOICE review of the album, he said that De La Soul is “New Wave to Public Enemy’s Punk.”

3 FEET HIGH AND RISING was released in mid-March 1989, but it took about three months for the album’s first single, “Me Myself And I,” to reach the BILLBOARD Hot 100.  On June 3, 1989, the week it debuted on the Hot 100, it was No. 1 for a week on BILLBOARD’s Dance chart.  The following week, it was No. 1 for a week on BILLBOARD’s R&B / Hip Hop chart. 

Prior to its Hot 100 debut, “Me Myself And I” was the second song to reach No. 1 on BILLBOARD’s then-new Rap Singles chart.  It spent eight weeks at No. 1 on that chart.

me myself and i

“Me Myself And I,” with its quirky video set in a high school guidance office and then a classroom, helped propel the song up the Hot 100, though it was an unusual chart run.  Just three weeks on the chart, it jumped from No. 72 to No. 49.  But, for whatever reason, the following week, it quickly held the No. 49 position, only to move back up the week after.

randee of the mtv

QUIRKY FUN FACT: The MTV character, Randee of the Redwoods (played by actor and comedian Jim Turner from 1987 through 1990) appears briefly in the music video for “Me Myself And I.”  Q-Tip and Ali Shaheed Muhammed of A Tribe Called Quest also make cameo appearances. 

In its sixth week on the Hot 100, “Me Myself And I” was already certified Gold (pretty impressive for a song that hadn’t yet reached the Top 40), but retreated back from No. 43 to No. 45.  And, once again, the following week, it regained its bullet and climbed back up.

Eight weeks into its chart run, in late July 1989, “Me Myself And I” bounded into the Top 40 at No. 34, but that is where it would peak for one week, and it spent three total weeks in the Top 40.  “Me Myself And I” (which incorporates five samples of songs from Funkadelic to Ohio Players) bowed out of the Hot 100 after 17 weeks.

“Me Myself And I” picked up an audience around the globe as well, reaching No. 1 in Holland for two weeks, plus No. 7 in Belgium, No. 16 in Germany, and the Top 30 in the U.K., Austria and Switzerland.  It was also nominated for a Grammy Award for Best Rap Performance.

The legacy of “Me Myself And I” in the history of Rap / Hip Hop and music altogether continues today.  In addition to being featured in commercials and video games, the song is included in the Rock And Roll Hall Of Fame’s “500 Songs That Shaped Rock And Roll.”

de la soul 2017

De La Soul, still together 30 years later…

De La Soul has now released a total of nine studio albums, including 2016’s AND THE ANONYMOUS NOBODY… album, which featured a number of guest performers, including David Byrne.  One reviewer called the album “one of the most thrilling, wide-ranging Rap releases of the year,” and this year, it gave the trio their first Grammy nomination since 2006.


Those who know me know I’m not really into most Rap music, so I never really kept up on De La Soul, but I’m so glad they are still together and still promoting that more peaceful, traditional Hip Hop alternative to Rap from a lot of the (C)rap that’s out there.  And, though I don’t really know them, from what I’ve read, they seem like the real deal.

As for “Me Myself And I,” I don’t know anyone who doesn’t like this song.  I know folks were into Goth back then and who loved this song.  There was just something about it, and still is…

“De La Soul is from the soul / And this fact I can’t deny…”

de la soul

song of the day – “Stand Back” | STEVIE NICKS | 1983.

69 years ago today, on May 26, 1948, Stephanie Lynn Nicks was born in Phoenix, Arizona, USA.  While in high school, Stevie met her future music (and romantic) partner, Lindsey Buckingham, and in mid-1967, she took over as the lead singer for Lindsey’s Psychedelic band, Fritz, a band that would open for huge acts like Jimi Hendrix and Janis Joplin from 1968 through 1971. 

Speaking of 1967, Stevie Nicks was exactly 19 years old when The Beatles released (in the U.K.) the brilliant SGT. PEPPER’S LONELY HEARTS CLUB BAND, what many folks still consider as the greatest album of all time.  Happy 50th SGT. PEPPER!

sgt pepper

Stevie Nicks and Lindsey Buckingham both attended the San Jose State University in Northern California, and Stevie dropped out just a semester before graduating.  She had wanted to become an English teacher, which is indeed a noble profession (my oldest niece, Elizabeth, currently on a two-year journey working with the Peace Corps in Tanzania, will most likely be an English teacher somewhere here in the U.S. when she returns.  You can check out Elizabeth’s amazing blog here:

Elizabeth, Day 2, Tanzania 7.15.16

I love this picture.  That’s my oldest niece, Elizabeth, taken on her Day 2 in Tanzania (in Africa), 7.15.2016.

buckingham nicksWhile I’m sure Stevie Nicks would have made an excellent English teacher, the profession she ended ended up excelling at – being a Rock star – worked out pretty well, but not at first.  For a couple of years, from 1972 through 1974, she and Lindsey Buckingham worked together as Buckingham Nicks, and released an unsuccessful self-titled album in 1973, and whose cover prolly got more press than the album itself. 

In 1975, when Lindsey Buckingham met up with Mick Fleetwood, the namesake of the Rock band, Fleetwood Mac, he said that he and Stevie were “a package deal,” if he was to join the band (following the departure of Mac guitarist Bob Welch).  Well, even if it ended up not working out romantically for Stevie and Lindsey, their contributions to Fleetwood Mac changed the band forever. 

After the huge success of the albums FLEETWOOD MAC and RUMOURS, the latter of which still holds the record for the longest run at No. 1 on the BILLBOARD Album chart (31 weeks) by a band, and still remains as one of the Top 10-selling albums of all-time here in America.


Following RUMOURS, Stevie started contributing to the songs of other recording artists.  In 1978, she sang backup on the Top 10 hits “Magnet And Steel” by her friend, Walter Egan (a song she inspired), and on “Whenever I Call You Friend,” the first big solo hit for Kenny Loggins.  In 1979, both Stevie and Lindsey teamed up with the late, great John Stewart and contributed their talents on three Top 40 singles for The Kingston Trio alum, including the big Top 5 hit, “Gold.” 


Kenny Loggins and Stevie Nicks, singing about calling each other a friend, 1978.

On July 27, 1981, Stevie released (on the Atlantic Records imprint, Modern Records, a label she co-founded) her debut album as a solo artist – BELLA DONNA.  The album was a huge success, reaching No. 1 on the BILLBOARD Album chart (selling over four million copies in the U.S. alone), plus, it charted four Top 40 singles (including her biggest solo hit – with Tom Petty & The Heartbreakers, “Stop Draggin’ My Heart Around”), and she was instantly hailed by ROLLING STONE as “the Reigning Queen of Rock and Roll.”


In between BELLA DONNA and her second solo album in 1983, THE WILD HEART, Fleetwood Mac released their No. 1 album, Mirage, which generated the big singles, “Hold Me” and “Gypsy,” which I just heard on the radio this past week, and hear often.

the wild heart

THE WILD HEART was released on June 10, 1983, and while it was not as popular as BELLA DONNA, the album still reached No. 5 on the BILLBOARD Album chart, was certified Double-Platinum, and gave Stevie another three Top 40 solo hits, including one of her all-time biggest hits, “Stand Back.”

Released exactly a week before her 35th birthday in May 1983, “Stand Back” has a cool and interesting story behind it, one I didn’t realize until after Prince’s death in April 2016:

On January 29, 1983, Stevie Nicks had just gotten married, and was on her honeymoon, driving North to Santa Barbara, California, when she heard Prince’s “Little Red Corvette” for the first time.  Inspired, she wrote “Stand Back” that day, while humming along to “Little Red Corvette.” 

little red corvette

When Stevie went to record “Stand Back,” she called Prince and told him the story of how the song came about.  20 minutes later, Prince showed up at her studio.  She once told ROLLING STONE that Prince “walked over to the synthesizers that were set up, was absolutely brilliant for about 25 minutes and then left.  He spoiled me for every band I’ve ever had because nobody can exactly recreate – not even with two piano players – what Prince did all by his little self.”

Prince’s work on “Stand Back” remains uncredited, but Stevie has always maintained that even though she wrote the song, she says it belongs to Prince (they did end up splitting the publishing royalties 50-50).  She added, “he got up and left as if the whole thing happened in a dream.”

Well, what a dream, and what a story, and what a song.  “Stand Back” remains as one of my all-time favorite songs by Stevie Nicks.  It debuted on the BILLBOARD Hot 100 in early June 1983 at No. 60, while Prince’s “Little Red Corvette” was still driving itself within the highway of the Top 10. 

stand back US

“Stand Back” took just a couple of weeks to reach the Top 40, giving Stevie her fifth consecutive Top 40 hit on the Hot 100.  In mid-August 1983, “Stand Back” spent a week at No. 5 and stayed on the chart for 19 weeks, finishing its chart run at No. 100 in early October 1983.  According to BILLBOARD, it finished the year at No. 44.

Over on BILLBOARD’s Mainstream Rock chart, it’s no surprise that “Stand Back” was a big hit, reaching No. 2.  Prolly more surprising was that it also reached No. 12 on BILLBOARD’s Dance chart.  (It’s not surprising to me, though, as it features a killer funky guitar riff in the middle of the song that sounds like it could have easily been provided by Nile Rodgers, or for a Michal Jackson song). 

Around the globe, “Stand Back” reached the Top 20 in Canada and Australia, and the Top 40 in Germany and Holland.  A reissue of “Stand Back” in 2007 sent it to No. 2 on BILLBOARD’s Dance chart, thanks to several updated remixes.

stand back 2007

“Stand Back” was so popular in fact, that, on Fleetwood Mac tours since 1987, it has been a staple at their shows, including the band’s 2013 world tour.

24 karat gold tour

Stevie was in Boston in November 2016 for her 24 Karat Gold Tour, which included The Pretenders, and yes, “Stand Back” was thankfully on the playlist.  Would have loved to have seen that show.  In July, she’ll be performing two dates at Dodger Stadium in Los Angeles with Fleetwood Mac as part of The Classic West, a two-day concert featuring six classic acts, including The Eagles, Steely Dan, The Doobie Brothers, Journey and Earth, Wind & Fire.  All of these bands return a couple weeks later at New York’s Citi Field for The Classic East.  That’d be fun.


For 69 years, time and space have been two incredible factors in the life and continued success of Stevie Nicks.  She even titled her first hits compilation, in 1991, TIMESPACE: THE BEST OF STEVIE NICKS.  I don’t think that was an accident.  And, I think if you do stand back and look at the career of birthday girl Stevie Nicks, I’d bet my record collection that you’d agree and say she’s definitely still Rock royalty, and always will be… 

Happy Birthday, Stevie!

stevie 1983 v1

song of the day – “The Bottom Line” | BIG AUDIO DYNAMITE | 1985.

“The horses are on the track…”

In September 1983, with what was prolly the beginning of the end for The Clash, Mick Jones, the legendary band’s lead guitarist, co-lead vocalist and songwriter since their inception in 1976, was fired from the band.  Punctuality (or lack thereof) was a prominent factor in his dismissal from The Clash. 

Not long after getting booted from “the only band that mattered,” Mick Jones did something that prolly felt natural for him – he helped start another band – General Public, which was founded with The English Beat’s Dave Wakeling and Ranking Roger, from the ashes of that band, which broke up in 1983.

But, the association Mick Jones had with General Public was quite short-lived.  Although his name is featured on the credits of General Public’s debut album, …ALL THE RAGE (he did play guitar on “Tenderness,” “Never You Done That” and at least three other songs), Mick left during the recording of the album.  I think had Mick stayed with Dave and Roger and General Public, it would have been quite interesting and amazing.  But, I can’t be mad at Mick and forgive him for leaving because…

…in 1984, Mick went on to co-found the Post-Punk, Alt-Dance band, Big Audio Dynamite, with film director Don Letts, who had previously directed a number of Clash videos and later the 2000 Clash documentary, WESTWAY TO THE WORLD, which picked up a Grammy Award in 2003 for Best Long Form Video.

this is BAD

The first album for Mick’s third band in two years, the appropriately-titled THIS IS BIG AUDIO DYNAMITE, was released in October 1985, interestingly enough, the month before the release of CUT THE CRAP, the last album by The Clash, which most folks thought was, well, crap (save for tracks like “This Is England”).

cut the crap

When ROLLING STONE’s David Fricke reviewed CUT THE CRAP in January 1986, THIS IS BIG AUDIO DYNAMITE got mentions as well: “If CUT THE CRAP is a cheat, then Mick Jones’ new band Big Audio Dynamite is an unexpected gamble.  ‘That old time groove is really nowhere,’ Jones shrugs in ‘The Bottom Line,’ brusquely dismissing [Joe] Strummer’s retropunk didacticism.  Instead, he continues, ‘I’m gonna take you to part two,’ which on THIS IS BIG AUDIO DYNAMITE is an intoxicating subversion of Eighties dance-floor cool with SANDINISTA!’s dub-funk turmoil…  THIS IS BIG AUDIO DYNAMITE hardly transcends the Clash’s finest hours, but for Jones it is a new beginning.  With CUT THE CRAP, one might well wonder if Joe Strummer’s at the end of the road.”  David was right – The Clash broke up in early 1986.  Many folks, yours truly included, thought they had already broken up long before then.

bad 2

No, that’s not Terence Trent D’Arby standing next to a seated Mick Jones.  That’s film and video director, DJ, musician and B.A.D. co-founder Don Letts.

But, with songs like “E=MC2,” “Medicine Show,” “C’Mon Every Beatbox” and “BAD” (featured in the 1986 John Hughes classic, FERRIS BUELLER’S DAY OFF), Big Audio Dynamite and THIS IS BIG AUDIO DYNAMITE were thriving.  The album was certified Gold in their U.K. homeland, and reached the Top 10 in New Zealand.

the bottom line UK

The first single released from the album (and the only song on the album solely written by Mick Jones) was “The Bottom Line.”  It was also the first song by B.A.D. that made me fall in love with the band, though not until 1987, when one of my (future) best friends, Michael, introduced me to them.  “The Bottom Line” did not fare well in the U.K. (where it reached a surprising No. 97 chart peak), but it was a Top 40 hit in Australia, New Zealand and BILLBOARD’s Dance chart.

There were at least a couple of different remixes for “The Bottom Line,” and though I enjoy the U.S. 12” mix by Rick Rubin, I have always favored (and will always prefer) the original and glorious 8-minute, 40-second U.K. 12” Remix.  Not only does it mirror the 4:35 album version, but when the album version is ready to cut out, in the U.K. Remix, Mick and Co. actually DO take you to Part Two (“I’m gonna take you to, I’m gonna take you to part two, part two…”)

bottom line US

Nearly 32 years after its release, it’s interesting how the song’s lyrics could still apply today:

Big_Audio_Dynamite-1-200-200-100-crop“A dance to the tune off economic decline / Is when you do the bottom line / Nagging questions always remain / Why did it happen and who was to blame

“When you reach the bottom line / The only thing to do is climb / Pick yourself up off the floor / Don’t know what you’re waiting for

“They’ve been doing it down at the zoo / And I can show ya here’s what to do / All of the States and over UK / Even the Soviets are swinging away…

“So when you reach the bottom line / The only thing to do is climb / Pick yourself up off the floor / Anything you want is yours…”

bottom line BACK

Apart from a 2011 reunion, Big Audio Dynamite (and later, the successful Big Audio Dynamite II) stopped years ago, but Mick (who turns 62 in June 2017) is still keeping busy, performing in recent years with the live band for the popular U.K. Alt-Rock / Electronica band, Gorillaz, and on albums for Alt-Rockers, The Wallflowers, and Algerian singer, Rachid Taha (who released a brilliant Arabic cover of “Rock The Casbah” in 2004).

rock el casbah

All these years later, my bottom line on “The Bottom Line” is that it’s still so infectious (especially the original 12” U.K. Remix) and amazing to dance to or listen to in the car, or anywhere.  And, if for some Godforsaken reason you have never heard this song, click on the link to the original video below, or take the next 10 minutes, find the link to the original 12” U.K. Remix and get ready to move.  It may not be that “new dance that’s going around” anymore, but “when the hits start flying,” you’re GONNA get down.  And then you’re gonna “pick yourself up off the floor” and do it again…


song of the day – “All Around The World” | LISA STANSFIELD | 1989 / 1990.

lovesongIn mid-October 1989, Pop music in America didn’t know which direction it was going in.  Take the Top 10 of the BILLBOARD Hot 100 chart for October 14, 1989 for example.  You had 80s Pop mainstays Janet Jackson and Madonna leading the pack (“Miss You Much” and “Cherish,” respectively), the future great Grammy taker-awayers, Milli Vanilli (“Girl I’m Gonna Miss You”), a rare big American hit for The Cure (“Love Song”), the last big hit for the Rolling Stones (“Mixed Emotions”), Tears For Fears channeling The Beatles (“Sowing The Seeds Of Love”), rapper Young M.C. with the first (and last) big hit of his own (“Bust A Move”), Hollywood, CA Glam Metal band Warrant (“Heaven”), another big Pop hit for Sweden’s Roxette (“Listen To Your Heart”) and the first Pop single for R&B singer, songwriter and future mega-producer, Babyface (“It’s No Crime”).

Meanwhile, over in the U.K., Disco, which saw its peak ten years earlier, was mounting a sort of comeback.  Sure, there were Disco influences in the 80s – you heard it in the music of Madonna, Michael Jackson, Lionel Richie, Irene Cara, Queen and Pet Shop Boys, to name a few (Pet Shop Boys even named several of their early remixes as the “Disco Mix”).

it's a sin disco

In September 1989, Italian Eurohouse band Black Box started a six-week run at No. 1 on the U.K. singles chart with “Ride On Time,” and ended up being the biggest U.K. single of 1989.  Black Box would go on to have big global hits in the early 90s, scoring a couple of Top 10 hits in the U.S. with “Everybody Everybody” and “Strike It Up.”

everybody everybody

During the last week of Black Box’s reign on the U.K. singles chart, Manchester, England native Lisa Stansfield released – that same week in mid-October 1989 mentioned at the beginning of the blog post – the second single from her then-forthcoming album, AFFECTION – “All Around The World.”

Lisa Stansfield had tried out a solo career back in the early 80s, and released a number of singles, including a 1983 song called “Listen To Your Heart” (no relation to the Roxette song from 1989). 

listen to your heart

After a brief first try at a solo career, Lisa joined the short-lived trio, Blue Zone, which was a combination of Pop, Dance and Blue-Eyed Soul.  Their only album, 1988’s BIG THING, well, wasn’t.  It did, however, give Blue Zone (known as Blue Zone UK in the U.S.) one hit on the BILLBOARD Hot 100, with the song “Jackie,” featured in the 1987 film, SUMMER SCHOOL, starring Mark Harmon and Kirstie Alley.  “Jackie” reached No. 54 on the Hot 100.


It was not until Lisa’s first collaboration with producer and remixer Coldcut in the Spring of 1989 that gave her a big U.K. hit.  The song was “People Hold On,” from Coldcut’s debut album, WHAT’S THAT NOISE?.  Lisa sang and co-wrote the song, and it reached No. 11 on the U.K. singles chart and No. 6 on BILLBOARD’s Dance chart.  It also had Top 40 success in some countries around the globe.

people hold on

After “People Hold On” was a hit on both sides of the Atlantic, Arista Records signed Lisa on as a solo artist.  Her first successful solo single, “This Is The Right Time,” was released in late July 1989 (it was released as her third single in the U.S. a year later).

“This Is The Right Time” (produced by Coldcut) was a success, reaching No. 13 on the U.K. singles chart, and would go on to fare well in Austria, Canada, Germany, the BILLBOARD Hot 100 (where it reached No. 21), and the BILLBOARD Dance chart, where it spent a week on top in mid-October 1990.

A month before the mid-November 1989 release of Lisa’s debut solo album, AFFECTION, her second U.K. solo single was released – “All Around The World.”  And this one WOULD take her all around the world. 


Almost immediately, critics and music fans were hooked.  ROLLING STONE critic Amy Linden gave the AFFECTION album four out of five stars, saying “the way her voice slinks around the line ‘so-oo sad’ in ‘All Around The World’ show[s] that this is someone who knows her roots even if they aren’t really hers.”

The sound of “All Around The World” was inspired by the late, great R&B legend, Barry White (who would sing, with Lisa, on a version of the song in 1992), and it paid off.  Ten years after the peak of Disco, Lisa Stansfield brought the genre back for four-and-a-half minutes and then some all around the world.

barry + lisa

The single “All Around The World” was a massive hit nearly everywhere it landed.  It spent two weeks at No. 1 in the U.K. in November 1989, and from there, it reached No. 1 in Austria (six weeks), Belgium, Canada (five weeks), Holland (four weeks), Norway, Spain, and two weeks at No. 1 on both of BILLBOARD’s R&B and Dance charts, where it finished 1990 at Nos. 6 and 3, respectively, for the year.

Over here in the U.S., “All Around The World” was released in mid-January 1990, three months after its U.K. release, and the news of its success, well, all around the world was good news to American radio stations and record stores.  “All Around The World” debuted on the BILLBOARD Hot 100 just a couple of weeks later, in early February 1990. 

A couple of months later, it had reached No. 3, and certainly had the momentum to reach No. 1, but it got stuck in a few tight chart weeks, and it stayed at No. 3 for three weeks.  The competition for No. 1 was so tight, in fact, in those three weeks, there were three different No. 1 songs, the last of which was “Nothing Compares 2 U,” the Prince-composed gem of a cover by Sinéad O’Connor. 

all around the world

As it turns out, “All Around The World” really did have the momentum of being a No. 1 song here in America.  When BILLBOARD tallied up the top Hot 100 songs of 1990, “All Around The World” beat out the first two songs that did go to No. 1 (and prevented Lisa from going to there), not to mention it beat out several other No. 1 songs that year too.

Though some would prolly classify it more as an R&B or Dance song than a Disco song, I think “All Around The World” had a real big hand in reinvigorating the Disco genre for awhile in the early 1990s, or at least inspiring other artists and / or songs to include that “Disco” influence. 

One of THE BEST songs to dance to evah, Deee-Lite’s “Groove Is In The Heart” (released during the Summer of 1990), would certainly fit into that category.  Maybe even U2’s “Lemon” (1993), the Pet Shop Boys remix of Blur’s “Girls & Boys” (1994) and the brilliant “Justified & Ancient” by The KLF and Tammy Wynette (1991) would fit into that category as well.


In 1991, Lisa Stansfield was nominated for two Grammy Awards, including Best New Artist and Best Female Pop Vocal Performance, losing out to Mariah Carey in both categories.  For the British equivalent of the Grammy Awards, the BRIT Awards, Lisa won Best British Newcomer in 1990 and Best British Female in 1991.

After “All Around The World” (and not counting her vocal contribution to 1989’s “Do They Know It’s Christmas II”), Lisa Stansfield would go on to have 13 more Top 40 U.K. hits, six of those which reached the Top 10.  And she did okay over here in the U.S. for awhile.  Most recently, she released her seventh solo studio album, appropriately titled, SEVEN, in early 2014.  It was her highest-charting U.K. album in 17 years.  That same year, she also released her fourth compilation, and her second and third remix albums back-to-back.

Between 1999 and 2013, Lisa Stansfield appeared in five films, and in 1998, she married her second husband – her longtime friend, engineer, mixer, co-writer and co-producer, Ian Devaney.  They were married in a small ceremony in New York City.


Hard to imagine at one time I didn’t even like Lisa Stansfield or “All Around The World.”  It took me about five years, around my second year living in Portland, but I finally saw and heard what folks were raving about back in 1990.  And, once I learned this song was actually a U.K. hit in 1989, you can bet I played this song often on my little 80s radio show, STUCK IN THE 80s.  And, why wouldn’t I? 

Sure, somewhere in there, “All Around The World” is a melancholy song with some hope (“I can’t find my baby / I don’t know when, I don’t know why / Why he’s gone away / And I don’t know where he can be, my baby / But I’m gonna find him…”).  And it did what it set out to do – go all around the world, but also, it helped incorporate and reintroduce a genre that had pretty much been declared dead a decade before, and at a time where Grunge was about to take off, that’s a pretty impressive feat and then some for a song that almost sounds like it could have come out of 1977…

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song of the day – “Raspberry Beret” | PRINCE AND THE REVOLUTION | 1985.

Hard 2 believe it’s been an entire year since we lost Prince at the far-too-young age of 57.  I’ll never forget that day, April 21, 2016.  I was at work in Central Maine, and one of my co-workers said that Prince had died.  I told him that wasn’t funny.  We had already lost so many great musical talents by April 2016.  It was truly a year of losses like no other, right until the end of the year. 

On April 21, 2016, after work, I was heading down 2 the Portland area (the Westbrook Performing Arts Center, 2 be exact), 2 see Men At Work alum Colin Hay perform a solo acoustic show.  That day, I actually didn’t have many Prince songs on my iPod, so between Men At Work and Colin Hay tunes on my iPod, I channel-surfed the radio on the way 2 the show 2 see if they were paying tribute 2 Prince.  They were.  And Colin Hay himself played a little bit of “Little Red Corvette,” and called it a “weird day.”  It certainly was that.

colin hay 4.21.16

The wonderful Colin Hay, performing live at the Westbrook (Maine) Performing Arts Center, 4.21.16.

1985’s “Raspberry Beret” is far and away not my favorite Prince song (and maybe not even in my Top 20, though I do love it), but one year ago when I learned Prince had died, I heard this song on the radio more than any other Prince song.  And I’ll never forget that. 

Released on April 22, 1985, hot on the heels of the still incredibly popular PURPLE RAIN, AROUND THE WORLD IN A DAY took Prince and his band, The Revolution, on a more psychedelic than commercial musical journey than with PURPLE RAIN or previous efforts, garnering comparisons 2 The Beatles’ SGT. PEPPER’S LONELY HEARTS CLUB BAND, in both sound and the album’s cover artwork.


The full album artwork for 1985’s AROUND THE WORLD IN A DAY.  For the singles released from this album, images were used from this album art as the art for the singles.

prince talksIn the September 12, 1985 edition of ROLLING STONE, Prince disagreed with the Beatles comparison: “The influence wasn’t the Beatles.  They were great 4 what they did, but I don’t know how that would hang 2day.  The cover art came about because I thought people were tired of looking at me.  Who wants another picture of him?  I would only want so many pictures of my woman, then I would want the real thing.  What would be a little more happening than just another picture would be if there was some way I could materialize in people’s cribs when they play the record.  I don’t mind [the album being called psychedelic], because that was the only period in recent history that delivered songs and colors.  Led Zeppelin, for example, would make U feel differently on each song.”

“Raspberry Beret,” the first American single from the No. 1 album, AROUND THE WORLD IN A DAY (“Paisley Park” was released as the first single in Europe and other parts of the globe) incorporated strings and Middle Eastern finger cymbals (and a harmonica on the 12-inch remix), and was released in mid-May 1985, three weeks after the album’s release, and it only took three days 2 debut inside the Top 40 on the BILLBOARD Hot 100, rocketing in at No. 37.

raspberry beret

By early July 1985, “Raspberry Beret” seemed like it would B Prince’s third No. 1 song in America, but Duran Duran’s “A View To A Kill” had other plans.  “Raspberry Beret” spent a week at No. 2 one week after LIVE AID, and was one of the biggest U.S. singles of 1985.  It would also reach No. 3 on BILLBOARD’s R&B chart and No. 4 on BILLBOARD’s Dance chart.

Around the world in more than a day, “Raspberry Beret” was not one of Prince’s biggest international singles, but it did reach No. 2 in New Zealand, No. 8 in Canada, No. 13 in Australia, and the Top 30 in the U.K., Belgium, Holland and Ireland.

An edited version of the remix can be found in the video 4 the song, which won an MTV Video Music Award (his first) 4 Best Choreography In A Video.  If U R a fan of the TV show, CHEERS (like yours truly), U will notice the young girl who hands Prince his guitar in the first part of the video (which I couldn’t obtain) is Jackie Swanson, who played Woody Harrelson’s love interest in CHEERS, Kelly Gaines.  Jackie Swanson and Prince were friends, and the “Raspberry Beret” video was her professional debut.


From the video of “Raspberry Beret,” this is Jackie Swanson, of CHEERS fame, handing a guitar to her friend, Prince.

In October 1990, the late, great Warren Zevon recruited Bill Berry, Peter Buck and Mike Mills of R.E.M. 2 record an album of covers, and “Raspberry Beret” was one of them.  The only single released from the album, it reached No. 23 on BILLBOARD’s Modern Rock chart.

hindu love gods

Though there wasn’t a lot of press or promotion 4 the album, AROUND THE WORLD IN A DAY still managed 2 reach Double-Platinum status here in the U.S., and two singles from the album reached the BILLBOARD Hot 100’s Top 10 – “Raspberry Beret,” and the wonderful “Pop Life,” which reached No. 7 in September 1985.

Of the album’s mixed reception, Prince also said in that 1985 ROLLING STONE interview, “I talked 2 George Clinton, a man who knows and has done so much 4 funk.  George told me how much he liked AROUND THE WORLD IN A DAY.  U know how much more his words mean than those from some mamma-jamma wearing glasses and an alligator shirt behind a typewriter?

“I’ve heard some people say I’m not talking about anything on this record.  And what a lot of other people get wrong about the record is that I’m not trying 2 B this great visionary wizard.  Paisley Park is in everybody’s heart.  It’s not just something that I have the keys 2.  I was trying 2 say something about looking inside oneself 2 find perfection.  Perfection is in everyone.  Nobody’s perfect, but they can B.  We may never reach that, but it’s better 2 strive than not.”

A year after Prince left this world 4 another, those words still ring so true 2day.  “Raspberry Beret” isn’t my favorite Prince song, but it’s the one I’ll listen 2 first on every April 21, because it’s the one Prince song I heard more on that day than any other. 

I miss U Prince, wherever U R.  Peace and Love 2 U and then some…